My favorite power-up moment is in The Incredibles, when the giant death robot accidentally gives Mr. Incredible a chiropractic adjustment that fixes his back and lets him fight better
Another ingredient in this scene is just minutes earlier, the out-of-practice Mr. Incredible strained his back during that very same fight, effectively disabling him and putting him in very real danger.
Yeah, it was awesome! And it even stands up to criticism: 1) Thor struggled the entire movie after believing he lost his power forever 2) The power-up didn't actually defeat the big bad and 3) It was freaking cool! Rule of cool and all that.
The best “The Power Was Within You All Along” I’ve ever seen is in the How To Train Your Dragon books, where Hiccup suddenly discovers he is a master sword fighter after being terrible at it until that point despite constant training… because he breaks his right arm at the start of the fight and learns for the first time that he is actually left handed
I think the best "I'm holding back" explanation I have ever read was in a Spider-Man comic. He was thrashing the Vulture in a Sinister Six arc and he, in his usual mocking fashion, asks Toomes if he ever wonders how Spider-Man barely defeats them when they come at him one at a time, but can defeat all six of them at once when they come together? Spidey provides an answer. I cannot hold back anymore. When it is just you I am trying, actively, not to hurt you but when the lot of you come together I can't afford to do that.
I think Superior Spider-Man also did that. Fighting a supervillain, Doc Ock Spider-Man asks him if he seriously think he can take on the guy with enough power to have gone up against the Hulk.
The last time they put a number to his strength they said he lift 50 tons of weight. That’s absurdly powerful all on its own but it’s rare that brute force saves the day alone because he’s the Friendly Neighborhood Spider-Man and the innocent bystanders are just as important to him as anything else. If theirs a bomb or a building gets wrecked Spidey is usually a little too distracted saving people.
@joshua kusuma in fact, Ock in Pete's body literally punched a villains jaw *off* in his first fight because he had no idea how much Spider-Man had been holding back.
@@joshuakusuma5953 even better example same series. Doc Ock as Spider-Man accidentally punches a guys head off. And realizes Spider-Man must’ve been holding back all those times they fought. Spidey could’ve easily killed Doc Ock at any time, and always chose not to.
This was done best in Baka and tests, summon the beasts; where Aki, the class idiot, reveals he's left-handed then loses because in these battles you don't use your hands.
This also happens in fire force where Arthur is fighting someone and is losing because he was holding his sword with the wrong hand. Once he switches he instantly wins
@@knweeb That doesn't count, that was stupidly contrived. Which is in character for Arthur cause he has a -4 in intelligence but come on, HE FORGOT HE WAS RIGHT HANDED FOR NO REASON!
"I'm not left handed either" is one of the best god damn moments in cinematic history. When Inigo is on the ropes early in the fight and switches hands, the audience knew it was coming since he already established that he was going to duel Wesley left handed so the fight wouldn't be *too* easy. When Wesley reveals that he was doing the same thing later in the fight, it not only tells us more about the character of this mysterious man in black, but firmly cements him as a highly talented badass. Someone badass enough to, say, win a wrestling match against a giant, or outwit a criminal mastermind, or be immune to one of the deadliest poisons on earth. Basically, the Princess Bride is probably the best movie ever, and all other cinema sword fights *wish* they were Inigo vs Wesley.
It truly is one of the best swordfights in cinematic history (I tie it with a particular one that it was based on, the sword fight in Scaramouche, aka one of, if not *the* longest cinematic sword fight)
In his book, *Manga in Theory and Practice*, Hirohiko Araki tells how by the end of Part 2 of Jojo's Bizarre Adventure he began to realize that basing your story around powerups and ever stronger heroes was a losing game. Over the course of the next parts of Jojo he threw out his old magic system entirely in favor of one that was designed around encounters whose structure wasn't 'am I powerful enough' but 'how do I escape this metaphysical mystery box the villain has put me in before he turns my organs into poker chips?' The heroes almost never get powerups of any kind, but have to figure out how to outsmart their overpowered enemies, and it all hinges on whether their own specific set of powers holds the key to unlocking victory- which it doesn't always. Jotaro's powers are just good enough to defeat a time-manipulating vampire king but he later gets clapped by a rat with a dart gun, all because his powers weren't right for the situation. It's how he's kept the series fresh and interesting for forty years.
I’d like to add to this that part 3 ends with Jotaro gaining a power up that could be seen as contrived, but instead of Jotaro just winning it becomes this poker game of him hiding the fact that he has it long enough to blindside an opponent that still heavily outclasses him. Excellent fight. I personally believe Jotaro let the rat hit him because he knew Josuke could heal him and brought the kid along to teach him something, but that’s just me.
@@ptlemon1101 For what it's worth, the back end of part 5 operated under the assumption of "you get the plot rock, you win." GER's power is absurd in a way that delivers on that and was also an insta win, as promised. Chariot Requiem was more complicated than it needed to be and a bit too easily defeated, but the mind games the body swaps led to were pretty good. I feel like jojo's over complicates itself at times, although I feel like some of them are just high concept abilities that didn't resonate with me. I love Civil War for example, but I also vibe with it harder than Bohemian Rhapsody or Underground.
@@rockyhankin8679 the part 3 end was so smart, because Jotaro just froze time after Dio’s counter ended, meaning he could score a free flurry. it wasn’t anything like “oh i can stop time for longer than you now”
I think Po is the best example of a good "the power was within you all along." The 'there is no secret ingredient ' theme means he just has to work hard and believe in himself when previously he didn't think he could.
Indeed. Though there *is* one important thing to consider. When themes like this are explored in standalone stories or movies, the story ends when the resolution is reached. It keeps the theme coherent and narrative concise. But with serialized content, you really can't get away with coming up with a new spin on the same tropes without the formula getting a bit stale. That's why longer-form shows tend towards episodic formats, where linear progression isn't as necessary and each episode can focus on its own themes or ideas. Sometimes you'll get character growth or continuity, but more often than not it'll just reset to the status quo without messing with power levels to ensure a self-contained narrative and theme within each narrative that serve as standalone works themselves. This isn't to say they can't work in longer serials, of course. (Avatar TLA and Full Metal Alchemist both immediately come to mind) But as was brought up in the above video, there becomes a power gap concern if future powerups keep coming from hidden potential being unlocked, so modes of conflict resolution throughout should be varied with only sparing usage of powerups in the first place. (usually once a theme is properly built up and paid off in a large character-focused moment)
@@riroufudo not at all, Mob is actively trying not to use his powers because he's aware of how insanely powerful he is. He *can* go absolute godmode but he has locked it away behind trauma, that's why it only comes out when he's unconscious, his inhibitors are gone in that instance.
The problem with Po is that this excuse gets worse in every movie. In the 1st one he trains so this is believable but in the 2nd one learning about your past should not give you the ability to deflect cannon balls. In the 3rd one all the pandas somehow became chi masters because the plot needed it to happen.
I like the fact that the “spiky glasses villain” Red has been drawing for this episode is basically a villain who is also a legitimate therapist who actually does their job at all times New favorite recurring character
There's a Marvel comic series from the 80s where one of the main villains is an actual psychologist with brainwashing powers (among many, many other abilities). I"m not kidding; look up DP7.
Idea: final boss of the game, the absolutely kick-ass music starts, and the boss pauses and goes "wait, this isn't my sound track. Whose song is this?" And then the leitmotif that has been playing during your character's moments of growth and triumph throughout the story kicks in.
@@anonymityanonymous7476 There's the Undertale fan theory that "Megalovania" isn't Sans' boss theme, it's Chara's. "Song That Might Play When You Fight Sans" is a sped-up remix of Sans' normal theme, and if you're the boss, that explains why Sans can "break the rules" and attack first.
@@TyphinHoofbun I think Megalovania is in a similar situation to It Has To Be This Way from MGR, as in it's not a boss theme, but a fight theme that's only meant to be played when certain characters fight on certain conditions. In Undertale, Megalovania played when Sans made his last attempt to stop a LV19 Frisk, and in MGR, It Has To Be This Way played when (spoiler warning) Armstrong went out of the Metal Gear and Raiden inherited the Murasama from Jetstream Sam. Doing things like these can help a theme feel more specific and not just (hey im fighting this guy).
If I recall correctly, In one of the Super Robot Wars animes, a recurring ennemy has equipped his giant mech with loudspeaker, not to do sonic attacks, but to actually play his own theme louder than the heroe's "power up" song, it's absolutely hilarious if you're familiar with the games'lore. Longer explanation: In the game where said hero and his mech + battle theme first appear, there was a glitch where his battle theme would always be picked whenever initiating an attack and even prevent other characters' themes to play, including the main characters, the bosses, the secondary characters great big powerup moments in their own chapters and even override the final boss' own! Since the character is generally liked, players joked that "Trombe!" (the character's theme) was the reason he was so badass, in the next games where that character returns, the devs renamed his song as 'Trombe! OVERRIDE!", and they purposefully let his theme still override most others.
@@VillackDeSage IIRC, the guy isn't actually trying to override Trombe!, he just wants everyone to listen to his favorite music in battle, no matter how loud the battlefield becomes. It overrides Trombe! because his music is diagetic
The more I learn from these videos the more I realize that the true lesson behind it all is "You can do any trope you like as long as there's story being told along with it."
It's like jazz. There are no wrong notes as long as they're intentional and motivated. They only become wrong when they start accidentally screwing up what you're trying to accomplish. The "rules" only exist as a hedge to protect you from yourself, so if you really know what you're doing and have a plan that requires it, you can break them all you want.
Take One Punch Man. A story where the hero effortlessly wins every fight is breaking a cardinal rule about stakes. How can you have tension or satisfying conflict without threat? And the answer is, you can't. And for One Punch Man, that *is* the theme being explored, that *is* the central conflict. Will Saitama ever find stimulation in a world he's physically outgrown? With no struggles or challenges left of any importance to him only whims, no iron left to sharpen iron, can he ever grow again at all, not just as a combatant but as a person? (Prediction: the answer is yes, but he's going to have to stop being "a hero for fun" only in it for his own entertainment and starts being Superman. He'll find his challenge once he stops fighting exclusively for challenge's sake and starts fighting for the sake of saving as many people as possible and preventing massive collateral damage. As long as he only sees W:L exclusively in terms of K:D, he will only ever win, because he can't die and his opponents always fall in one punch. But CIVILIANS and even other heros aren't invincible like he is. So if his metric changes to "kept everyone safe" suddenly even he can't keep up.)
yep. if there's anything i've learned from anime and playing mario + rabbids kingdom battle, its that what matters is execution, not concept. a show about girls from different eras being brought back as zombies to become pop idols in order to save the land from an ancient curse of being forgotten may seem ridiculous, but can actually hit suprisingly hard at times and explore themes not many other forms of media are able too. a crossover game about mario characters and rabbits teaming up to save the mushroom kingdom in a turn based fire emblem inspired strategy game with guns might seem like the most mind numbingly dumb idea cranked out by humanity, but can turn out to incredibly fun, challenging, and well made. And a story about joining the rebellion against an empire rising from the ashes can absolutely bomb
The lesson to take away from any of these analysis is the same that TV Tropes loves to stress over and over: "Tropes are tool, so they are never inherently good or bad" with the implied follow up "So their correct use makes all the difference".
"You can't use this ability without harming yourself" will always somehow become "You will somehow get away with using this ability whenever you want, as often as you want, with the consequences being absolutely minimal"
Haven't watched Boruto other than some clips here in there... Is Guy still crippled in that story I wonder after opening the 8th gate? I mean Naruto saved him, which kinda goes along with your point, but I thought that he lost a foot and was never able to fight again?
@@buttonmash7073 he is still cripple and can’t use i one of his legs so he has to use a wheelchair. But it is still guy so when he does have to fight he just jumps on one leg or walk on his hands
@@alexzero3736 I just realized they gave a character with a special technique he couldn't use without "almost dying"...a special bloodline ability that makes him even stronger if he survives "almost dying".
I love Rock Lee's "time to stop holding back" power up in his fight against Gaara. The whole time everyone's laughing at Lee and how he can't be a ninja without ninjustu, and Gaara is built up to be this monster of a kid. Then when Guy sensei tells him to remove his training weights, they laugh again about how a few training weights could affect the fight. Lee drops the weights causing them to crater the ground and send up a shockwave of dust. It shows everyone's face an shocked expressions. It wonderfully implies all the training Lee had to go through to get to this point.
I liked that moment as well. Perhaps my favourite part was that Gaara doesn't react to the shockwaves the training weights create, but he _does_ react to the super speed Lee then unleashes.
@@matthewmuir8884 i particularly liked that part as well. Because it showed that for all his innate power as a jinjuriki(sp?) And the unflappable arrogance that brought, he was still just a child with a lot to learn. That day he learned what it was to be afraid.
Definitely. I actually have a character like that in my RWBY fanfiction, for that very reason. Well, I intended to, but I never got to use her for that purpose, because everyone around her was too strong.
I think my favourite kind of power up is the 'dropping my moral code' power up. The hero has been actively avoiding killing people because they see it as morally wrong. Then the villain does something so terrible the hero snaps, and you get the amazing "Oh sh*t, they're actually trying to kill me now. Please God help me." moment from the villain.
Honestly, one of my favorite instances of that ended up only being theoretical even in the story... It was a web comic, and the villain had decided to lay a trap that would kill the hero's GF when he came to save her. The idiot wanted to make the hero decide there was no point holding to that code when his love had already 'been killed by him' so that he would join the villains. The side kick character then asked him which he thought was more likely, the hero joining the villains after they arranged the death of his love, or thinking 'Hey, I always wondered if it was possible to pull out a humans entire nervous system intact, and guess what? Now we have a volunteer right here!' The villain suddenly goes pale and starts stammering, and says he may have made an error in his calculations. The side kick asks if when he was adding numbers he forgot to carry the stupid, and the villain tries to deny it before saying '... maybe...'
I know this isn't a clear-cut case, but Superman's "World of Cardboard" scene feels like a Power-Up in a sense because he explains why he has to hold back. Very much a case of it being justified helping to explain Superman just beating the snot out of Darkseid
This is true for every superhero, to some degree. All superheroes need to hold back, because there is little margin of error between safely incapacitating criminals and killing them.
Was just thinking that. And it defuses the whole "Well, why doesn't he do that all the time?" by having him explaining it's because, ultimately, he doesn't WANT to hurt anyone. Even his foes. But with Darksied? He's perfectly fine knocking the snot out of him. His fight with the Elite is another quasi example. And it doubles as "Good is not dumb" moment as well because after taking a beating from them, he takes each one out with a creative use of his own powers and resources rather than just hitting them harder. Showing that yes, Superman can be utterly, pants crappingly terrifying when he needs to be. He just legitimately doesn't want to be. And that's what makes him Superman.
@@steampunker7 reminds me of the “why don’t the power rangers start with the megazord?” Question/meme that has been going around for decades now. Obviously you don’t bring out the giant robot that levels cities and makes the neighborhood uninhabitable until you absolutely must do so.
It hits extra hard with Superman, because through out JL and JLU, he’s getting trashed by a ton of people. He rarely lets loose in the show, and when he does you don’t notice it, like the fight with Doomsday in a volcano. But, in the last fight with Darkseid, we see Superman cut loose in the middle of the city and he basically two shots Darkseid when he finally stops holding back. He had to pull a bullshit secret move to stop Superman. It’s such a good moment.
@@frankwest5388 Or why doesn't Son Goku go Super Saiyajin 3 or Blue from the start? Although in this case, the explanation is that his ultimate forms consume too much energy, so Son Goku rather analyses his oppoent's fighting style first.
I really liked "The power was inside all along" in Rapunzel. The movie makes it such a point to focus on her hair that you forget she inherited the power by birth.
Yeah, in Tangled it works bc its tied to the themes. The story is about a girl w an abusive, gaslighting parent and we too are distracted to believe Gothel had the power, so when Rapunzel realizes it's HER magic it's an "Oh" moment for the audience too
@@poweroffriendship2.0 Well yes, but actually no Since her mom drank the flower juice she was basically blessed with its healing abilities, most prominently being her hair. The hair is like the petals of the flower. Singing to them heals you and can even reverse age temporarily. When her hair was cut, she lost her "petals", which caused Gothel to turn to dust. But the flowering parts of the plant aren't the plant itself. We see that cooking the whole plant and turning it into a potion was able to heal the queen from near death. In a similar fashion, Rapunzel's tears have healing properties. One can only imagine how much healing her blood could provide. Basically, Rapunzel IS the flower, in a sense. So if you cook her and eat her you could save yourself from death.
7:07 "a problem dropping in out of nowhere presents the opportunity for more story, a solution dropping out of the blue feels like cheating the audience out of a story" honestly the best articulated way of putting that I've ever heard
It's very similar to a Pixar storytelling rule "Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating."
The power level of the Bad-Guy B-Gone anvil producing company's anvils really crushed the bad guys with significantly more power after each anvil received a little kissy kiss from Red.
Sozen's Comet is probably my favorite example of a powerup. It doesn't really change the outcome of any fights, but it ups the stakes and makes everyone's powers more spectacular. And because it's set up in the first season (and presented as favoring the bad guys) it doesn't feel unearned
The Avatar State is also really good use of a power up because even though it's incredibly OP and basically unbeatable, Aang can't control it for most of the show, and it has the major downside of making the entire Avatar cycle vulnerable to being destroyed, which means you would only want to use it as a last resort. Another good example is bloodbending. It has the limitation that Katara can only use it during a full moon, and it also comes with major moral conflict for her character. If not for those limitations it would make her way too powerful and break the story. ATLA overall is just really, really good at doing power-ups.
God I'm getting war flashbacks to that one time in Hunter x Hunter where Gon was put through so much grief that he basically said "I don't care if this power is going to destroy me, because right now all I care about is getting revenge on you", powered up, and then put himself in what was supposed to be a permanent coma. Most depressing use of this trope I've seen.
In Hunter X Hunter works because of the whole "vows and conditions" thing of the Nen system that was previously established in the show, which ties to what Red said about the powerup having a kind of drawbak, consequence or disadvantage
the whole "The power was within you the whole time" Trope was what really killed my enjoyment for the 'Flash' live action show. Theres only so many times that the plot can be resolved by "Im not fast enough!!" "Yes you are Barry." "Oh I am" before you just start to guess the whole season by ep 1.
It's incredible, really. I don't think I've even heard of another high budget show that has managed to go on for 8 whole seasons while repeating the exact same plot points and the exact same villains it was using all the way back in the first season, despite only doing those plot points well in that first season.
That's why I honestly hated every time a new season started and the big bad was another speedster. If we had a main villain who actually made him do more than just "run faster" it would've been much more satisfying
I like it when the character doesn't just power up but instead learns clever new applications for their power. It seems like they have a new power but it is simply that they figured out how to use an existing power in an interesting way. Like when Superman uses his heat vision to remove the powers in Superman vs. The Elite.
Like in Avatar the Last Airbender where Toph learns how to metalbend. She didn't gain the ability to metalbend, it's just a natural extension of earthbending that all earthbenders can do, it just had to be discovered.
I know right! It's so much more rewarding that way - the audience can be like "Oh! That makes so much sense, why didn't I think of that?" instead of being flabbergasted at something they couldn't possibly predict. Brandon Sanderson's stories are amazing in this regard - I finished Mistborn Era One recently and god damn, there's just no way to complain about the magic-building in that story.
It’s not as nuanced as in other shows/films, but around episode 300 of one piece the main characters (though quite abruptly) figure out new ways to use their powers/strengths. It was cool to see stuff like the rubber man pump blood around his body faster to be able to expend more energy whilst fighting. And the navigator was able to manipulate weather to create mirages of themselves, without really getting any physically stronger in combat.
just imagine if the protagonist just got their powerup at a random time, they could just be talking about oranges then they just suddenly go super sayian
I like how the first Kung Fu Panda did the ‘power was inside you all along’ trope. It’s built up that the dragon scroll is the ultimate power up and that it’s going to externally somehow turn Po into the dragon warrior. But when it’s revealed that the power was inside him all along we really get it, because it’s a big part of his character to constantly self deprecate. In the end it’s by being himself and using what he learned from the people who believed in him that he defeats Tai Lung who couldn’t fathom the idea that what he had always fought for had always been within
@@Guardian-of-Light137 The Wuxi Finger Hold is a make-believe technique that Po manifested using Tai Lung's belief and his own chi power. Po basically nuked Tai Lung with so much chi that he was instantly sent to the Spirit Realm.
My only problem with that is that the movie itself already have a ''The power was within you all along'' when Shi Fu discover Po HAVE innate kung fu prodigy ability, just that it's hidden under a layer of self-depreciation and food motivated.
@@Guardian-of-Light137 The whole idea is that the technique isn't actually special at all, but people are so caught up in the mystic of it, that they can't replicate it. Then it become a tool of teaching, to not mystical up things and leaning that there is no secret ingredient, you are the result of everything you did yourself up to that point (which is why the scroll is reflective)
This actually reminds me of the explanation for why JoJo's Bizarre Adventures switched the main power system from Hamon to Stands. Basically Araki felt that repeating himself to the audience would be a huge mistake, so after Jonathan Joestar trained to learn to use Hamon, and then Joseph Joestar started knowing all the Hamon basics and had to train hard to gain advanced mastery, Araki didn't want to repeat either training, so Jotaro Kujo and the later JoJo's instead gained Stand powers which being a lot more varied allowed every Learning / Mastery arc to be different for each JoJo.
It also handily avoids the power creep issue because stand battles are almost 100% about clever tactics and power matchups. Jotaro curbstomped almost everyone he fought in part 3 and 4, but nearly died to a fucking rat because the little bastard had a clever strategy and a good counter to Jotaro’s power.
@@nerdyvids1 also avoids power creep by being one of the few series with the confidence to move on, it doesent matter if the previous protag got some op new ability we are dealing with a new guy, Kars was explicitly a near unstoppable threat, dio had both the power and ambition to eventually threaten the world, then the next arc was just a serial killer who only threatened one town, the next was just a mob boss, and while pucci did become a bigger threat that was only at the very end and it was almost entirely personal till that point
Also doesn’t hurt that Hamon is basically designed to fight vampires and vampire adjacent opponents and you could see Araki running outta ideas for how to use Hamon cleverly by the latter half of part 2. Stands by design are opponent agnostic and can vary wildly in power and stay interesting.
@@nerdyvids1 Jotaro is arguably a very special case. Throughout the series it has been said that Star Platinum is the most powerful stand in Za Wardo and every other stand user knows this. They also know Star Platinums strengths and weaknesses and will often create scenarios where they can use their stand and Jotaro cannot like in The Lovers and Gambler Arcs. And this is the general philosophy with JoJo's battle design.
This is why I love Mob Psycho 100. It starts off by asking what if the hero is already the most powerful being in the world, and is doing everything he can to hold himself back? We do see a power creep through out the series, but we see it as Mob slowly learning to control more of his power. And the finale is him accidentally fully unleashing his power, and everything he's doing to gain back that control.
Negative power creeps go hard ngl. Mob is undeniably at his weakest by the end of S3 due to him denouncing his psychic abilities, but he's also become the best version of himself.
One of my favorite “Internal Revelation Powerup” moments is in The Princess Bride during Fezzik’s wrestling match with the Man in Black. Fezzik is having a lot of trouble pinning his opponent down, until he has the revelation that he’s been fighting groups of enemies for so long that he’s almost forgotten how to fight a single enemy. While he’s having this revelation, the Man in Black gets Fezzik by the throat and chokes him into unconsciousness, which means the powerup ended up being useless.
Flash defeating Brainiac in Justice League Unlimited is a great example of 'the power was within you all along' done well. It provides a built-in explanation of why Wally doesn't just do that to solve whatever problem he's faced with. Not only is it objectively dangerous-- the team has to save him immediately afterwards-- but it takes a personal toll on Wally who is clearly disturbed by the experience.
one of my favorite "I'm always holding back" ones is that time Kingpin put Aunt May in the hospital by ordering thugs to attack her from jail. Spiderman went to the jail, Explained to Kingpin that he never kills anyone as spiderman because the suit represents a more pure ideal than that. He says "I'm spiderman, and I'm not here to kill you", starts taking off his costume, and says "I AM" He proceeds to use the full extent of his superhuman strength to BRUTALLY beat kingpin within an inch of his life; where kicks from spiderman barely phased kingpin, a punch from Peter Parker KNOCKS TEETH FLYING. He's not here to have spiderman enact justice; spiderman already did that when he put kingpin in jail. He's here to BEAT THE SHIT out of a guy that put peter parker's aunt in a coma. He holds back this lethal force as spiderman because spiderman has to be better than that; but peter parker just saw his only parent in a coma they might not wake from; Peter lets it ALL loose and after brutalizing kingpin, grabs him by the fat on his chest, Positions his hand over kingpin's mouth, and explains how when he fills kingpin's lungs and nasal passages with webs, no surgery will be able to save him before he suffocates. He says he'll kill him at zero, and counts down to zero. He then explains how he already Did kill kingpin, by showing him that at any time, no matter how well guarded he is, Peter Parker could Effortlessly Kill Him, and so if Aunt May dies in the hospital, peter will come to collect his corpse. Peter does all this in front of The Entire Jail at a gathering time. Kingpin falls to his knees, staring lifelessly at the ground.
@@m4nta_703 One More Day, the infamous storyline where, in the aftermath of Pete revealing his secret identity to the public during Civil War, Aunt May got shot, neither modern medicine nor any of the heroes with alien/futuristic tech or reality-altering magic could save her because... reasons, and so Spider-Man sold his marriage to the devil to save her, all because Joe Quesada is a manchild who thought Spidey could only be interesting while single.
@@m4nta_703 Back in Black, a comic that most argue is the last good Spider-Man story, as right after it comes the infamous and widely despised One More Day.
In early One Piece, the introduction of Dracule Mihawk is an excellent example of the extent of power in the story, where this guy out of nowhere can slice ships into pieces, and we don't see someone this strong for a while, nor do the main characters have this kind of power for an extended amount of time (aided by the actual extreme length of One Piece), but when they eventually do, it's rewarding rather than unexpected.
Yeah that's a real neat thing Oda did there. And not just once either. In East Blue, Dracule "I'm not a fool who hunts rabbits with a cannon" Mihawk shows up, casually cuts a galleon in half, humiliates one of the protagonists with a pocket knife (because he didn't have anything smaller on him - I guess he doesn't carry a sewing kit), disrespects the supposed biggest pirate of that quadrant of the world with a "not worth my time", and dips. Just a little visit to show the protagonists (and the audience) at what kind of a level the _actual_ big players of the world fight. Then we get Marineford. Mihawk's there too, but he's just _one_ of the big names, and not even the biggest present. The real headliner is Whitebeard, the old rival of the previous Pirate King, old sick and rapidly dying, but still the most terrifying fighter in the world. This time it's a showing of what battles at the top of the world are like, when it's not just one top tier fighter stomping a big fish in a small pond. Luffy's there, but it's made obvious that he's wholly out of his depth, only surviving due to a combination of a ton of help, both from people stronger and weaker than himself, some of his enemies not going after him fully serious, and him understanding that he _is_ that wildly out of his depth and avoiding fights as much as he can. And finally, in Wano, during the Oden flashback, we are shown a brief glimpse of a clash between Roger and Whitebeard in their prime, a true one on one clash at the top of the world, the level that Luffy's going to have to climb to. And _now,_ in four digit chapters, after 25 years of story, Luffy's finally _starting to_ reach the level of people like Mihawk and Whitebeard. The power level that we were given a peek at back in the fourth or fifth arc of the story, just a year and 50 chapters into publication, and shown more of 12 years and 550 chapters in. It's been a long road there, but indeed the fact that it's a possibility we've known of for a long time makes it all the more satisfying.
Also powerups in One Piece can happen from 4 different places: raw strength, observation skills, willpower, and devil fruit. Luffys recent power up with conquerors for example is a technique powerup where he had to learn to punch and hit the inside rather than just him just punching more or punching harder.
Not just Mihawk either. While it happens off-screen, Shanks notably kicked a sea king's ass barehanded without a devil fruit or any other known powers. This is incredibly early foreshadowing that a devil fruit alone is not enough to be a big fish in this world.
The big thing that always gets me in a lot of stories is they don't give the new power scale any time to breathe. They escalate, then escalate again before you've had time to process the first escalation. Let the heroes figure out how to use their new strength well, let the secondary characters catch up a bit so you've got more people at the level that matters, don't just escalate every five minutes.
That was actually something that Black Clover did really well for the longest time: because each arc was fairly short and because the protagonist himself existed outside the series' power system (he's a warrior with anti-magic in a world otherwise-entirely consisting of spellcasters), the story is actually able to take a breath in between power escalations and the secondary characters are given time to keep up.
One Piece also does this really well. There's always at LEAST one major arc between power ups for the main character, during which the main character will show off new ways to use the power up or variations of it while the rest of the main cast also get their own power ups sprinkled in.
@ Real talk, I love DBZ, but it's kinda bad about this, too. Vegeta, then Frieza, with the Ginyus inserted in there to space things out, then Freiza and his Dad, then the Androids, then Cell, then Buu. Toriyama couldn't help making the next villain stronger, to the point of not only invalidating most of the cast, but even making most of the power ups kinda token.
The magic potion in the Asterix comics is power ups done without the need for power creep. It’s in limited supply so when out and about they have to choose when and where to use it. Various crises occur to limit their access to the potion and the enemies often try to access it themselves. It allows Asterix’s cunning to be the solution to the problem while still having a satisfying punch up at the end. Plus Obelix always wanting some but not being able to is a funny and cute twist
From what I recall, the reason why Obelix never gets any of the potion was because he once drank a whole cauldron of it and thus has the super-strength given by it permanently
@@thomasthecoolkid7228 He fell into a cauldron of potion as a baby, thus giving him permament super-strength, and further potion is dangerous to his health.
@@thomasthecoolkid7228 Aquavitix, er, Getafix the druid, does give him a single drop at one instance, to bust out of a prison. Not sure he needed it... Placebo super strength? Surprised none of the other potions demonstrated at the druid meeting never got extrapolated on. Invulnerability sounds useful...
Obélix being a permanent wielder of the power-up is also a constraint that steers the plot towards different kinds of problems, that can't be solved by the power-up alone. Which always gives rise to some fun interactions because in his view there *are* no such problems.
Man I have to say, it really speaks to how amazing Spiderverse is that I see those few frames and instantly tear up just thinking about them. What an amazing movie.
Rock Lee dropping his weights, revealing he was Gaara’s biggest challenge up to that point while carrying a metric F*** ton of weight is my favorite “power up that isn’t” example.
Honestly that brings up an interesting thought. If rock lee was able to move casually without any effort with those things on, just how much does it hurt for someone to try can catch/block his kicks or even carry him if needed
"Gaara's biggest challenge" lmao no. Gaara let him do all that dumb shit and then put his green ass in the hospital. Sasuke & Naruto were Gaara's biggest challenge, and Sasuke was the first opponent to make Gaara bleed.
Jeez, I really just thought everyone saw like that. I felt like I had the eyes of an eagle when I first put them on. Easily a top ten moment of my entire life.
There is one variant of "the power was within you all along" that doesn't get used a lot, and that's when the character is prompted to use their smarts in an unconventianal way. Say for instance the protag has ice and thunder powers, but none of it works on the big bad even in combination. The support cast do their "You're the smartest one of all of us, I know you can think of something!" speech and the protag starts to look around. They then realise that if they can freeze that nearby cliff, *then* hit it with a strong shockwave, it might be enough to bury the big bad. Basically Mulan avalanche scene, but prefaced with a lot more self doubt.
I honestly think this is the purest form of "The power was within you all along" because instead of some latent, but previously unseen power emerging conveniently when they need it, they have the tools they need from the beginning and usually know how to use it, they just need to think outside the box.
This goes to show why the Avatar State is such a cool power-up narratively, logically and thematically. Because it's not just a power up; it's a character. For one thing, it totally breaks the rules by being shown in the first episode of the show, instead of just a later episode where Aang is in a dangerous situation. Then it slowly reveals itself throughout the course of the show, bit by bit. Next we see it when Aang is grieving the loss of the Air Nomads and it's totally out of control. Then it's used for good against the Fire Nation. Then it's used for bad when that asshole general pushed Aang too far. Just like the other characters in the series, the Avatar State grows and changes throughout the series, depending on the way Aang is feeling, and is a force for both good and evil. It's neither a clear cut superpowered evil side or some heavenly "the power was in you all along" magic. It's the combined powers of previous Avatars, who all did good and bad things. It's an inherently human force and kind of a character itself, in the sense that it evolves alongside the characters and not just a tool for cool battles.
It’s also explicitly a terrible weakness, since dying in the avatar state breaks the cycle of reincarnation. It’s throwing away your shield and hoping the reduced weight will let you move fast enough to parry
The Avatar State and the whole "oh yeah you can ask all your past lives for help" were clearly big problems for Korra's writers once they didn't have the Gaang being just a small plucky band up against 100 years of fascist military spending.
The Avatar State is both a power-up and a liability. The current Avatar has all the knowledge and experience of their past lives, but if they are killed while in the State, the Avatar cycle ends. There's also the part that ALL the Avatar's past lives are acting simutaneously through their body, it's like having a Dissociative Identity Disorder episode where your personality is swallowed by hundreds of other more vengeful ones. Aang makes it clear how horrifed he is whenever he enters the State and causes a lot destruction after it (and the creators said what makes a fully realized Avatar is the capacity to enter AND exit the State at will).
@@blacksage2375 A bit funny how even that issue could have maybe been avoided by making some kind of statement that what Azula did basically nerfed the Avatar state to a degree, especially since Aang said he felt himself die. But I guess that would have had to have been addressed against Ozai in the original series finale too, and it's not like _Legend of Korra_ didn't have a bunch of other problems too unfortunately.
@@blacksage2375 If I had remake the show to explain why she doesn't into the avatar state, I would probably say that you need complete mastery over the air element, which includes air-bending and all the spirit connecting stuff, the whole package. Since she can't do that, she should have a very difficult time entering the avatar state. Only if she's on the verge of death, and maybe even then she can't do it.
My favorite implementation of a 'power of friendship' ending comes from Gatekeepers 21, because it's based on _logical synergy and thematic weight._ Spoilers ahead: The story follows an absolute golden retriever of a girl named Miu, and the antisocial misanthrope who roped her into the magical girl gig, Ayane. Miu wants to be friends. Ayane likes birds better than people, and wishes she could just fly away from people's bullshit. The villain has been trying to court Ayane all series long, by getting rid of the crowds of people that Ayane hates. The villain succeeds. The city is turned into a barren wasteland, and Ayane realizes she should've been careful what she wished for. At this point, she and Miu are the only ones left who can confront the villain. Ayane has wind powers. Miu has the power to Jump Good (~80 feet vertically). As Ayane realizes that she _really does care about people, including Miu,_ the two of them hop on a motorized scooter and use their powers together. Jump Good + air manipulation = endless, massive double-jumps. Ayane has finally learned to fly like she always wanted, _by trusting someone else._ They are literally greater than the sum of their parts.
This is why I love One's stories, especially Mob Psycho 100. He deliberately writes characters that are already the most powerful beings right from the beginning of the story, so there's no room for the typical shonen power-scaling. Mob does have his ???% form which only comes out when he's unconscious, and it functions basically like the "No holding back" kind of power-up. But since Mob is already so powerful even in his conscious form, his growth and conflicts in the story instead all come from him trying to improve himself by working out, making friends, and trying to be a good person. Even though he does face increasingly powerful opponents, the real stakes come from Mob's emotional and psychological struggles with himself, which makes the whole story really satisfying.
Saitama and Mob basically have the same theme of "I have all the power in the world and it's not making me happy, so why would more power do anything for me?"
This is why Mob Psycho 100 is top tier; the teenage protagonist actually acts like a teenage protagonist (without being a depressingly realistic subversion like Shinji from Evangelion)! It's not about his powers, we already know he's strong enough, it's about growing up!
I also love how while Mob has these amazing psychic powers it won't get him want he wants. They are effectively useless to him. Which really balances out the story and makes it interesting to watch.
And technically Reigen gets a traditional power up moment twice, where he borrows strength from another character to overcome and solve the main conflict. And it's always so cathartic because more than a flashy ability, it demonstrates how Mob can rely on Reigen to be the responsible adult and voice of reason. Plus it subverts our expectations of him being powerless, reinforcing the theme that strength comes in a variety of forms and raw power isn't everything. One of my all time favorite shows
While it doesn't technically count as a Power Up, I've always enjoyed the moment where the hero is on edge and on the brink of collapse yet manages to squeeze out enough power to overcome the odds, with the most popular example being Spider-Man.
The movie version of Gurren Lagann has a moment that fits pretty well here, where they just keep getting thrown further towards the villain, losing mechs along the way until it's just Simon left
Spider-Man is the prime example of only being as strong as absolutely necessary. Spidey can fight HULK to a standstill and bench press a locomotive; but only in the direst of circumstances. One explanation I’ve seen for why Parker with the Venom symbiote is so strong is the symbiote relaxes Parker’s inhibitions.
@@A_J502 - Few writers have shown him fight the Hulk to a standstill; I think it's more that he's fought the Hulk and NOT DIED. There was an early 90s issue where Spider-Man fought an enraged Professor Hulk, and it was mostly avoiding contacting giving chip damage wherever he could, then getting disabled by the Hulk's sonic clap. There was also the fight against the Grey Hulk/Joe Fixit a few years before that, but that was while Spidey was imbued with cosmic powers and VERY doesn't count.
One of my favorite examples of this is in Shinkenger's [/PR Samurai's] last mecha fight where they form their strongest possible mecha and with every hit they take, they keep losing parts and by the time they finally reach the foe they're left with only the first 5 parts but manage to take him out with one last attack.
This video just made me realize how amazing the power ups in Jojo's bizarre adventure are. There's very rarely any actual unlocking of new powers, and most often it's just the heroes being pushed into situations where they are forced to use their already existing powers in invetive ways which then become part of their arsenal.
JoJo does tend to do a good job at avoiding making the story about power vs power by having each Stand's ability be really specific and weird, meaning the protagonists have to get inventive (What good is your super strength in a game of Poker? How does the ability to undo damage help you in a street race?), on top of the fact that every part/season has a new cast, so the protagonists aren't just continuously accruing power as the series goes on. (Stardust Crusaders being the exception. There's literally no reason why Jotaro should've gotten the ability to stop time, and the thing that finally killed Dio was just... a really hard punch. IN GENERAL, though, JoJo does it well.)
@@ionutbarbuc9364 in the most recent dragonball super arc involves basically every character who can fight getting a massive power boost or transformation fighting with it for a while then getting their shit kicked in by a different character who also got a power up. Basically every single kind of powerup red mentioned was used until Freeza showed up and beat everyone instantly and then explained that he got so strong by training. The moral of the story is basically don't find shortcuts to power and the fact that Goku and Vegeta learn that from Freeza of all characters is both a sign that freeza has changed as a person and that Goku and Vegeta have been overly focusing on transformations rather than their own strength (which is something else that db super seems to be wanting to tackle)
In the kill six billion demons arc "king of swords", the objective is to make Solomon bleed one drop of blood, white chain (the most competent fighter in the group) is unable to achive this until she accepts her desire to become human like and discovers a technique with lower defence but higher attack. However, David is still orders of magnitude more powerful than white chain, and this is only a victory for white chain becuase this is a sporting event with rules made to challenge David. (been a while since I read this comic, may have forgoten something)
@@M_Free What are you talking about? I didn't read the Granolah/Gas Arc, but I read Super up to the Moro Arc and Goku trained pretty convincingly to fully perfect MUI. The explanation for Goku even obtaining it (sudden surge of energy causing him to break his limits to the point of being able to react subconsciously) is pretty solid. From reviews I've seen on chapters of the Granolah/Gas arcs, TUI makes reasonable sense too. It's exploiting the fewer lack of restrictions of the UI Omen compared to MUI in order to use his emotions as a greater and more natural power boost, as saiyans have been doing since Raditz. IDK if Ultra Ego is just a transformation and nothing more, so I won't comment on that. Freeza LITERALLY finds a shortcut to power by training in a different dimension similar to the Hyperbolic Time Chamber. Freeza's entire shtick is that he has unjustified amounts of potential that allows him to get ridiculously strong in comparatively short amounts of time. I'm pretty sure he only got stronger between Ress F and T.o.P because he was thinking of killing Goku. He is quite literally blessed with the highest amount of potential in the franchise, he is a living shortcut.
@@ionutbarbuc9364 It may not be exactly, but the scene where the Guardians of the Globe are massacred in Invincible. They see knock-off flash’s head explode and get a “My friend just died” power up, just to get killed themselves.
I think most of Jojo's is a pretty good example of power ups. Generally speaking, the only characters that get major power ups are villains. As a result, protagonists need to get smarter as opposed to stronger. The only real major exception - at least, prior to the universe reset - is part 5. But, to be fair, I'd say it actually fits there because Giorno's the son of Dio, chasing and obtaining power is literally in his blood.
Well with part 5, the whole main final battle was set up to be essentially a race to get the power-up. Either the hero would get it or the villain. Whoever would get it, they would win. It was basically stated a big chunk before it happened. It's not really a power-up in a conventional sense when you think of it. It's basically a win condition.
The most useful thing Araki does is also not the stand system - it's an excellent medium-term solution but only medium-term - but having the audacity to just hard reset the story and the set of protagonists every few years. Getting to start over like this not only means not having to do silly things in-universe to explain it, but it also means more satisfying moments of ending. Of course, you need a LOT of confidence in your writing to even try this since it means cutting off a lot of your audience investment, and you need a publisher who is amazingly tolerant since this is a scary plan from a sales perspective.
I mean... post universe reset I would say the only one who has activly gotten a power up is Johnny because... Act stand, its kinda just what it does. Gappy is less of a powerup and more a new Technique he learns, and also Wonder of U is utter BS with its powers, kinda necessitating the powerup for the final fight.
Honestly the best “power up” (if you can even call it that) is when the baddie’s henchmen see what’s happening through the eyes of the protagonist, right before the baddie has won, and they stop helping the big guy, like when Anakin throws palpatine into the pit. Extra points if the entire villain army does a full 180 and attacks the general, like in the lion king.
Asura's Wrath is what happens when you have an endless series of powerups, and it somehow makes sense thematically and narratively. That game is bonkers and I love it.
12k years of level grinding vs. One Angry Dad. Honestly, one of my favourite parts of how that game handles the insane powerups is how it flips the whole thing on its head in the final battle: when the final boss hits his strongest form, Asura gets reduced back to his _weakest_ form that hasn't been seen since the beginning of the game, and then pulls out the win anyway out of sheer determination and too-angry-to-die-ness rather than raw power.
The modern Persona games do ‘the power of friendship’ pretty well by making it a fundamental aspect of the ludonarrative. Like, of course the power of friendship is what saved the day, I just spent the past 100 hours bonding with these strangers to get us here!
I mean, it helps a bit that said power is the expression of subconscious archetypes. Those archetypes only really make sense in the context of the people around them, so your social links are basically refining your Personas into becoming more of what they are.
On the other hand, while the Persona 3-likes are instinctively about the fact that developing yourself develops the Persona you have or the Persona of your friend, Persona 4 at least has the fact that befriending Naoto was actually necessary for everybody to not just keep going after the fake serial killer was kill but it also started the drilling down onto the actual killer and eventually the person orchestrating the events in Persona 4. Persona 5 also has this with gaining the planner Makoto and the hacker Futaba and even the person who legally is on their side Sae, but it feels less like a meaningful connection and more done because it was done.
One power up that I liked was when Tanjiro unlocked Himokami Kagura. It was stated earlier in the same ark that when a person is about to die, their life flashes before their eyes, and that this is the mind's way of finding some way to try and survive. For Tanjiro, he remembers the sacred dance of his family and the breathing that's taught with it. In that moment, it clicks in Tanjiro's head that he should mix that breathing with his total concentration breathing and swordplay.
I also love how it is entirely technique based and not some kind of magic (despite what the special effects would have you believe). And after using it for the first time his personal journey at that point is to figure out what that technique even is despite him already subconsciously knowing it.
And he doesn't flawlessly execute it, or master it, from the get go. Whenever he uses it early on it pushes his body to the limits, leaves him wide open if he fails to finish off the demon in the short time he *can* use it (which is why the majority of fights in demon slayer are team battles. Another great aspect) and has to recuperate for weeks, if not months, afterwards. Tanjiro's mastery of hinokami kagura isn't one of "I'm a prodigy and I can do everything flawlessly from the start", it's one of gruelling training, recuperating and getting the sh*t absolutely beat out of him
I also love how it takes all of his strength and he still fails, really establishes the world and the powers residing in it, especially when Giyu clowns Rui
I think Miles' "within you all along" moment in Into the Spider-Verse worked so well because up until that point, he was the only Spider-Person in the movie without a unique gimmick or power set. He was just doing normal Spider Man web stuff, and both himself and we the audience were wondering what made him unique and why we should care about him compared to the others. Then this moment happens, and both story and character-wise we're like "OH, that's why." And THAT's when they hit you with his comic book cover intro, which all the other Spider-People got on their introductions. Instead of an existing hero getting a sudden powerup, the whole movie until that point was an elaborate origin story all along. I've found Critical Role, being a D&D campaign, has an interesting approach to powerups. Campaign 1 had the Vestiges, which mechanically have anime powerups built into them which the DM can grant if they feel their wielder's arc has progressed enough. A lot of these ended up happening at dramatic moments, but it was often coincidence as the boss happened to have really low HP at the time. (Though Matt, knowing how much HP bosses have, probably chooses when to grant the powerups so things time out that way) Campaign 2 didn't have much, but Campaign 3 had a lot of the party build powerups into their characters, and the fun part is both we the viewers AND the rest of the table don't know about them until they're used, since they arose out of private conversations with the DM. Chetney's is a classic case of holding back, although it's revealed fairly early and becomes a character staple from then on, so it's less of a deus-ex-machina and more of a one-time plot twist. Imogen's is a classic case of "the villain wants them to use the powerup" as the limiter, which I feel worked well in its so far only instance. F.C.G's is a Superpowered Evil Side he has to be careful not to cross into via getting too many "stress points". " So a decent variety of sub-types, that have all felt well-used so far.
I think my favorite "show the planning on screen" moment was in the A-Team. Where they interpose the planning with showing it being carried out at each step. It shows how good the planner is, while still keeping the audience able to be surprised.
It also has some plot twists built in because during the planning phase Hannibal has to leave out the part where they inevitably trick B.A. into getting on a plane.
@@thehittite6982 Nah, man, Hannibal tricks B.A. because Hannibal is an actual wizard. He once spiked a burger, gave it to Murdock, somehow knew Murdock would wander over next to B.A. before eating it, somehow knew B.A. would take Murdock's burger in a fit of paranoia, knew Murdock would go along with it and fake passing out, AND knew B.A. would buy it... without ever saying a word to Murdock because Hannibal left literally as soon as everyone got up that morning.
Gurren Lagann is one of the few good example of endless powerups. The story is tight enough that rather than getting tired and boring it ends it feeling like a roller coaster.
I actually think Gurren Lagann works partly BECAUSE it's a stupid trope. Like the fact that the main motivation, "Believe in the me that believes in you" or whatever nonsense the goofy protagonist said, objectively just makes zero sense. It's sort of wearing it's tropes on its sleeve and allowing the characters to be their own thing. I also appreciated how power creep operated in One Punch Man, where the main character becomes a god essentially overnight for no good reason. And then you never wonder if he can beat the bad guy, but how he can support his friends, if he will even care enough to bother to beat the bad guy, etc.
It's definitely a subversion of the trope. Gurren Lagann plays it completely straight and just keeps going. The powerups are a part of that universe's rules. "Tengen Toppa" literally translates to "Heaven-Piercing" - they tell you straight up where they're going.
@@tomc.5704 Guren lagann is infinitely better though out than most people think it is, and it's short and direct enough to not get us to see the problem. The power creep doesn't appear, because Gurren power level work on a requirement for always bigger mech(s) to fuse with. You don't tell yourself that the guy can fight universe size opponents at the start when you KNOW that he can't reach the moon, or the world vessels or that the world mechas aren't created yet.
@@skeetsmcgrew3282 ""Believe in the me that believes in you" or whatever nonsense the goofy protagonist said, objectively just makes zero sense." I disagree, that makes perfect sense. When that's first said, and every time its said after that is because the main protagonist CAN'T believe in themself. They have severe self confidence problems, but also have TOTAL faith in the secondary protagonist (Kamina.) When Simon's lack of confidence in himself holds him back Kamina takes advantage of Simon's confidence in him and says "Hey, I know you think you can't do this, but *I* know you can do this. You trust me, right? So stop doubting yourself, and believe me when I say you can." They just choose a goofy way to say it because it fits the show AND Kamina is explicitly not very eloquent or well educated.
In "Into the Spiderverse", Miles got the powerup early on when he was bitten by the spider. The entire rest of the movie is him trying to figure out how to use the powerup. All his difficulties have been inside his head the whole time. And that talk with his father helps him realize who he is and what he can be.
I wouldn't consider the bite to be a powerup. It doesn't make Miles any more competent than he was before. He has new abilities but no idea how to use them, and his pseudo mentoring from the other spider people builds him up, but not enough for the final fight. His final obstacle is the expectations of his father and the other spider people and realizing he can be his own person.
the bite of 87 wasnt the power up the power up was his dad talking to him when hes tied up, after that he puts on his new suit, takes the leap, and can suddenly move better than the other spider people, also he can control his invisibility now
I want a hero who throughout the entire story they are told they need glasses but they refuse because "I look hot, and I fight great, why should glasses be necessary?" And they are generally funny and kind, and they beat each Villain with technique and what they already have on their own until one day their friend convinces them to just ✨️try on✨️ some glasses and then they beat the next Villain with flying colors and basically nothing changes about the story or plot other than the hero can fight bigger and badder villains on their own now
This needs to include a play on that trope of being able to effortlessly dodge a barrage of attacks through minimal effort; either the villain was doing it before because the glasses-less hero was just off by that much before, or the hero can do it after putting on glasses because now they can precisely make out said incoming attacks.
@@mr.cobalt1668 That was literally a plot point in Dr. Stone. Really good fighter is nearsighted but refuses glasses until he's getting his ass kicked. After he puts them on, he's like "If I had been able to see like this from the beginning, you never would've been a threat."
tbh this is kinda funny, both because of the concept and the fact that it works backwards in real life fighting/combat sports. Charles Oliveira was the UFC lightweight champion for a decent bit and beat scary and accomplished fighters with flying colors, all while nearsighted to the point of blindness. But then he got eye corrective surgery, and proceeded to lose his very next match, and the championship. probably because he could actually see the hits coming, which is scary
I like how its done in steel ball run. The power up is achieved in hyper specific circumstanses and the villian is given enough info to do everything in their power to stop the power up. It increases tension while also making it much more satisfying.
I'm increasingly loving the little hapless writer character who does silly goofies while you talk. They're just kind of clueless which I find endearing, but its also fun when they clearly Messed Up and are like "whaaat? what'd I dooo?" its really funny and makes these very entertaining. Writer-chan, you fool! (affectionate)
@@danielwalker8133 In Gekiranger, The Black Lion, Rio and the Chameleon Fist, Mele, died tragically at the few last episodes. Their Power Ranger counterparts are Jarrod and Camille.
I really like how the heroe's darkest hour and consequential powerup is done in Disney's Moana. It is a "the power was inside you all along" type of powerup in the sense that Moana finds a new confidence that redefines her view of her role in the adventure. Until then she considers herself a support character. Her role was to "find the hero and deliver him to where he needs to be to solve the problem." Now it changes to "I will solve the problem myself, with or without the hero's help!" And with the new strategy and better teamwork, Moana and Maui overcome the challenge together. Also, the song is just great!
I think Constantine is often a great subversion of the power up trope. There's a lot of great John Constantine stories where it's clear Constantine COULD deal with the problem at any point in time, he's just looking for a solution that is less evil/horrifying. You spend the whole time hoping he gets the mcguffin that lets him win with 'nice' powers because otherwise he'll need to pull out the OTHER toolkit, and after that, winning is just a technicality.
An entire season of the Bleach anime dealt with this... where Ichigo learns to control his inner hollow. It fit the deus-ex-machina power-up trope but had the caveat of being uncontrollable. Once he gets control, the caveat is exhaustion and a time limit. The danger to his soul is also omnipresent due to the hollow spirit slowly eroding it away and waiting for Ichigo to let his guard down or weaken to the point that the inner hollow could take control. The season was very entertaining, and as you said, it needed to not simply be a "here's a win button," but it worked well because it was a "here's a win button, but it'll eat your soul if you over-use it before you can control it."
I remember in the newest Voltron that one of the bad guys was just standing around until the heros tried to form Ultron. Then they attacked and interrupted, they did this twice.
Stormlight Archive is super duper good at this. Because the way the magic system works literally revolves around making oaths and growing as a person. So them being forced to reckon with their trauma is quite literally how they achieve their next "power up."
Another thing that helps is the multiple perspectives. You know someone will get a powerup, but you don't always know who. Those who get powerups cover for those who don't, leading to interesting dynamics.
yeah, it's not a bad trope, it just isn't enough by itself. It usually works best when powerups are reflective of character's psychological growth, when the power scale is clearly established, and when the means or circumstances of the powerup are different each time.
"I will take responsibility for what I have done. If I fall, I will rise each time a better man." "I will protect those I hate, even if the one I hate the most is myself." "I accept that there will be those I cannot protect."
The series' system of growing as a person almost reminds me of Digimon's method of advancement. Though that varies from series to series, generally reaching Ultimate requires manifesting a certain quality (Courage for instance in Adventure) or overcoming personal problems (Tamers). Reaching Mega also varies from series to series too (and sometimes requires outside help such as when WarGreymon and MetalGarurumon first appeared in Adventure, same with Imperialdramon in 02) but in Tamers it involved having a good relationship with your partner so you basically become one with them, quite literally.
Jujutsu Kaisen is one current shounen manga that handles power-ups really well, I think. It handles most things really well, granted, but the way the magic system is set up almost like a logic puzzle makes for a lot of power-up moments that make you go, "oh, yeah, of course" rather than "oohhh, yeaahh, of couuuurse (with a complementary eye roll)". Edit after watching further: JJK also takes the interesting challenge of making its bad guys *also* earn their power-ups. As other fans have noted, the recurring villain Mahito is basically written as an archetypical shounen protagonist with the morality inverted.
What made it even better to me was the suggestion the episode before that it wasn't gone, she just didn't know she could access it. So to see her figure it out and then proceed to wreck everything was wonderful on a level usually unachieved.
Possibly controversial, but along the same lines I thought Captain Marvel did it well too. Since in that case, Carol's powers had been actively suppressed by the Kree, and shaking off their brainwashing is the last step in her emotional journey that ALSO pays off with her going Super Saiyan and punching ships to death.
I will stand that the Seras Victoria powerup in Hellsing Ultimate is one of my favourites ever, combining a lot of the different powerup types you describe while feeling earned in the story and for her character, and an amazing song to add even more. It changes her permanently, showing she is now a complete vampire, and required the death of someone she cared for, who she then drank his blood with permission. This permission is hinted at being the reason she now exceeds the enemies vampires and gives her a more unique power set. The powerup feels earned, lets her fight on a more even playing field to the enemies, and gives a badass kill moment.
Not just that, it was a line she previously was unwilling to cross and avoided despite the power it offered. It came with a cost and after she attains it she changes as a character. Not entirely unrecognizable but still feels different to before she drank the blood now that she has crossed that line.
@@alexzero3736 By character and relationship development. The power isn't the part where she got bitten, we're talking about the part later where she chooses to drink blood. To get it she has to give up her humanity and embrace becoming a vampire, and her previous role model for vampire are enemies and her master (who is pretty much the worst of them all). She's reveled in the bloodlust before, so she's understandably afraid to lose control. And with the person she cared for, previously they were just kind of playful and flirting with each other, interested but never really committing anything. And before this it's shown that whoever her master drinks from, their souls are bound to him. So by drinking the blood, she commits to an eternal relationship (consensually, too). And she gains enough maturity that she can become a full-fledged vampire with all the powers but without any of the crazy, unlike the rest. In that sense she grew up to become her own person.
I’m shocked Red didn’t mention ATLA for this one, especially since this series is what convinced me to go watch the show. ATLA did a great job of handling the Avatar state. Prior to training with the guru, Aang couldn’t control it. But he earns access to the power up through training. Unfortunately, at the moment he unlocks full access to it, he is hit by Azula’s lightning bolt, cutting him off. So he never gets to use the Avatar state at full power. Until the moment he needs it the most, his fight with Ozai.
It also helped keep the final battle about Aang making a moral choice. When Ozai was dominating and Aang was getting pushed there was no room for whether he should kill or not, he was doing everything he could just to survive. Then Avatar State power up and he had enough room where he could and needed to make that moral choice. The comics that follow Aang after the show also were good in that even though he has this power nobody else comes close to, he still had stories and problems with whether or not he should use it, against whom, and problems where fighting isn't a solution.
One of my favourite canonical explanations of an instant powerup is in Jujutsu Kaisen. Basically it is explained that since every character draws power from a psychic source and mind domain, progress often comes when a curse user realizes something or shifts their mindframe to accept possibilities and consider their power in a way they haven't done before. This helps explain how the tide of battle often shifts back and forth, as it does often in shounen series.
Stormlight Archive isn't mentioned enough for this. While the characters undeniably power-up throughout the books, they generally feel earned due to how their magic system works. In order to unlock more abilities, generally compounding with previous ones, you must swear AND MEAN, an Oath, a promise. Knowing how it works, also helps to build tension because you don't know if a character is going to figure out what they need to say. We even have a moment where a character KNOWS the next Oath, but cannot say it because they wouldn't mean it. This means that it wouldn't give them any power at all, and it does bite the team. Then there is one where, they know the words, say it, and are rejected because they just broke said oath. The oath was "I will free those in bondage" and this person saying it, literally just watched a child be imprisoned and did nothing to stop it, despite knowing it wasn't morally correct.
What made JoJo's Bizarre Adventure damn great is that its fights are always about technique and using one's powers creatively with Stands. Any new techniques character finds are either new ways of using their powers (Giorno learning how to "heal") or are unlocked through character development (Koichi's ACT stands) ...just ignore the Same Type of Stand and Requiem arrow moments. EDIT: Ignore Star Finger too
I can argue for the Same Type of Stand and Gold Experience Requiem situations, respectively. Part 3 had a fair amount of foreshadowing that Jotaro had an ability besides just being really fast. Catching the bullet in the first episode, or his stunts against Elder D'Arby as examples. Plus, we're also told that DIO didn't even register he was stopping time at first. So the plot reveal that Jotaro had Time Stop, but didn't know that's what it was until having to overcome DIO and The World makes sense. As for Gold Experience Requiem, the sequence of using technique and creativity to overcome a more powerful foe was basically fulfilled by the Chariot Requiem fight, which itself foreshadows just how powerful a Requiem stand can be. Team Bucciarati already gave their everything just keeping that power out of Diavolo's hands, and now it's up to Giorno to make that power his own. And when he does so successfully, the tone switches from a tense fight where the heroes could lose at any moment, to a cathartic victory that validates the personal sacrifices to reach that point.
To build on what Griffith said, the fight against Diavolo wasn't really an outright fight. It was basically a race to get the Arrow. Most of the encounter was either chasing SCR or juggling the arrow around. Once Giorno got the arrow and stabbed his stand, he basically won at that point. That's why once GER appears, Diavolo gets "killed" almost immediately. The whole point was to get the Arrow, and now that's been done
To be fair, a lot of people just overlook the foreshadowing that DIO had the same Stands as the Joestars. Like, why does DIO have Hermit Purple? Joestar Bloodline. Why does Jotaro have The World? Joestar Bloodline.
Powerups when done well are so much fun. Unfortunately…it’s usually the power-scaling Red describes. Like, one of my main gripes with Sailor Moon (aside from finding the romantic/sexual relationship between a middle-schooler/highschooler and upper classman highschooler/college student just…SO DAMN GROSS. Where’s the fucking bleach.) was…every time the Sailor Senshi got a New Power Suit and New Power with it…they stopped using their old ones, they NEVER made strats, and they NEVER trained despite Luna quite literally begging them to do so (and feeling utterly taken for granted, as did Artemis.)
@Space Cat As far as u believing that's gross. Yes it is. From our cultures perception. Japan looks alot more favorable on sexual behavior. The west doe not. And also what is your take on age of consent. Is it 16 17 18 21. Most of the u.s.a is actually 16 with various stipulative laws read the laws for Colorado it will give u a head ache. Most of Europe is between 14 and 16. For age of consent. Traditionally Mexico was 16. Quincenera (oh I butchered that spelling) Japan is 13 Barmitzfa in ✡️ is 13. So culturaly they don't find it gross. Now as to powerups Ya there a issue.
@@r.a.panimefan2109 that problem isn't the age of one person, but the difference in age, and while 13 is the national minimum in japan, every city has a higher age of consent
@@r.a.panimefan2109 Developmentally there’s a massive difference between 13 to 14 to 15 and 17 to 18 to 19. There’s a fucking *reason* why we have 18 as a minimum “from our culture’s perspective” (when in reality our brains REGARDLESS of birthsex don’t finish forming until 25 Average, so Majority should quite frankly be 21) *nevermind japanese teens have been trying to raise majority from 13 to at least 16-17 as a compromise because they’re sick of getting preyed upon.*
Powerups achieved through training are some of my personal favorite. Sage mode from Naruto comes to mind, being a powerup earned through hard work and training, part of Naruto's emptional journey about himself, and it even comes with drawbacks that, as an added bonus, naruto works around or even uses to his advantage. It's amazing honestly
"But they have something more important. You! You, the writer, have the power to grant them the boon they so desperately need. And so, with the stroke of a pen, you do!" I love The Dark Tower because this is literally what happens. I won't elaborate further to avoid spoilers. Go read The Dark Tower series. It is so bonkers and amazing and unique :)
Mahito’s domain expansion is my favorite example of a villain power-up, since he gets it in the same manner as any other character, right as he’s on the ropes and his options are literally do or die, and even still all it amounts to is having the duo jumping him on their back foot long enough for him to get away.
It also helps that Mahito spent most of that arc honing his powers and experimenting with their limits. It's established early on that he's young and a lot of the time is dedicated to showing his growth.
My favorite fighting anime, Kengan Ashura, subverted this trope very well in my opinion. The main character is fighting a really strong opponent and he thinks he can’t beat him with the skills he has. So he uses his de facto power up that sacrifices his techniques for speed and strength and loses. It is only when he properly understands how to utilize his techniques that he is able to beat his opponent.
Something I really liked about the recent He-Man reboot is how the characters discuss the Sword's power up, and what it means. "We follow Adam because he was willing to put the power *down*."
Never seen the original He-Man (Zoomer) and I fear my eyes and ears will melt if I do, not to mention the trouble of finding which version to follow. But "Masters of the Universe: Revelation" seems cool. Can I get into it as a filthy normie, or do I need to watch one of the previous "He-Man" series, and if so, which one?
@@schwarzerritter5724 Yeah, its much more watchable in this day and age. The original is pretty rough (I'm an old who watched the Filmation after school FWIW).
One of the many reasons I love Hunter x Hunter is that it's an established rule in-story that characters can power up their abilities by setting specific conditions for their use.
This is precisely the reason why I don't like it. Most of the conditions are entirely arbitrary. It is not something like a powerful attack at the cost of taking a long time to charge up or leaving the user defenceless for a short amount of time. It is something like the power can only be used against a certain organization who's only members have nothing in common except for being members of that organization; no common weapon, fighting style or power source. It is less like building a battleship that has no armour to fit bigger cannons on it and more like having a cannon that can only be fired if the enemy captain has shoesize 43.
@@schwarzerritter5724 in its defense, I think the arbitrary nature of the limitations works well for characterization. Within the context of the story, the characters themselves craft their own abilities from scratch, and so therefore, whatever limitations that a character puts on their power can go far in showing what type of person they are. What they prioritize, what they are willing to sacrifice in the pursuit of power. Most characters in hxh don’t have the arbitrary limitation of “this move only works exclusively on 13 people” because it’s simply too niche. The only person who would be deranged enough to take that is someone who is determined to kill those specific 13 people.
@@schwarzerritter5724 I feel like describing that example as "members of an organization" kind of misses the point of it being a death pact designed specifically with revenge in mind. The story is pretty clear about it being a short-sighted and self-destructive decision, which I think makes it both compelling and justifiable for a power-up.
@@schwarzerritter5724 Except... No? A lot of the strongest nen pacts we see in series are VERY much relevant to rhe actual ability, it tends to just be a simple matter of setting specific limits and conditions so you increase potency/effectiveness. Actually the one time someone came close to arbitrary about it was called out as stupid in universe-
@@Noddarappa These 13 people have nothing in common, so how can the move only work on them if they don't have common weakness? That is what I mean with arbitrary.
I think a cool “mental block lifted” sort of power up could be if a character’s true power depends on their mental state being stable or positive, but something like depression causing them to always be hampered. At the end of the story, when they finally conquer their inner demons, they gain the power to defeat their external demons as well. Bonus points if the villain represents their internal conflict, is dealing with it themselves, or if they specialize in making that internal conflict worse for the hero
Personally I like the "loved one in danger/near death" power up combo becuse if used correctly it can be like a fail safe that the protag will not always be able to control when its been activated. And when they finally be able to actually fully control it is pretty cool. Even better if that power can drain them or something.
I like that one too, Omar, but only when the character is well written and it comes out of the story elements already established. A sudden 'Hey! I think I love those people!' moment has to be built up over time. :)
It also has the outside the game/narrative fact that as a player you get better. As you get better, you also get more leeway to recover from mistakes you make, so the first brutal hours in which every mistake is punished so harshly train you to make as few as possible. It lets them make truly brutal bossfights mechanically, because your baseline for how fights go is 'I can't afford to make any mistakes' and going back to that from being able to take a few hits and recover from so many hits isn't jarring.
This made me realize that Moon Knight is made of power-ups. Marc receives his from an outside source. Steven's comes from realization and growth. Jake Lockley saves them both but only with appalling violence. Layla's power up comes after gaining knowledge and growing as a person. She even negotiates control over her future. And Harrow's ultimately made him a villain and then a pawn.
Superman's world of cardboard speech is a prime example of a mental block on a power up & the no more holding back trope. Also, It's a really cool moment for Supes in terms of characterization🔥🔥
Honestly the first modern sonic movie honestly made that power of friendship and power was within you all along actually work quite well as 1. He genuinely made connection with people giving him the drive to protect them and 2. The move doesn't have that power come out of nowhere and it's an active part of the plot only really coming through when he finally gets a grip on how to control it.
You know the best part of the fight is about to happen when the villain starts boasting about winning and the opening theme of the anime starts playing while the protagonist starts remembering about all the people counting on them to win the fight so they can have go have fun at the festival at their hometown and then sneak off to the special hiding place for a secret picnic date with their childhood sweetheart so they can finally confess their feelings to each other.
Love the power up use of the avatar state, showing that at times Aang views it as a bad thing because he can’t control himself when he’s in it. Only through working through internal issues and doubts about himself does he control his internal power. A lesson the audience can take to heart
I love the Danny Phantom power up via the robot suit (i forgot which episode) where he wasn't even meant to be the one using it and it was put as a sacrifice from the very beginning because the suit doesn't make you more powerful but only helps you reach that power faster, which means it also drains you faster. In the end, Danny didn't even have enough strength to shut the Ghost King back in his coffin, Vlad had to be the one to do so.
I think it's worth noting that, when a powerup comes out of nowhere, usually the next few episodes/chapters will focus on exploring/explaining the origin of said powerup.
I could definitely see One Piece used as an exploration of this Trope. Specifically because we do see that there are characters just worlds beyond Luffy in power so early. The Admirals and the Four Emperors are set up as incredibly powerful, as are their organizations. Everyone in the Strawhat Crew gets more powerful either through strength or through understanding their own abilities. Luffy's power ups are him developing another way to use his elastic body while Ussop develops an upgrade to his Kabuto.
What One Piece did best is establish a cieling in Marineford, and it mostly stuck with the cieling, so it didn't felt like the power levels are gonna spill you know?
Agreed. Especially when you consider that for the most part of the first half of the series, there were NO constant Powerups. Sure, he'd use, Arlong's teeth to bite him back, water to defeat Crocodile, and a golden ball strapped to his arm to punch Enel, but all of them were temporarily and were gone afterwards because they were highly situational. All of them made each battle feel drastically different from the last without ever needing any "real" Powerup. In a sense, Gear 5 even is a step back to to those times where Luffy uses his surroundings and his opponent's weaknesses to defeat to defeat them.
@@Kimikachu22 That's right. Mihawk, Shanks, Whitebeard and the admirals are shown way before Luffy has any right to contend with them and they are still top dogs. Even former villains remain relevant like Lucci clashing with gear 5 and Crocodile having a higher bounty than Zoro (and of course Buggy D. Clown the greatest pirate since Roger has been present since Orange Town)
I’m surprised Gohan powering up wasn’t used as a clip in this video because it would work for several versions of the trope. Rage boost - Kid Gohan Internal conflict - SSJ2 Gohan “The power was in you all along” - Mystic/Ultimate Gohan Hell, the recent Dragonball movie involves Piccolo lambasting Gohan for NOT training and relying on miraculous power boosts in the moment…. Which he then got to become Beast Gohan
I think a trope talk on shapeshifters or changelings would be sick. Those two aren't exactly the same thing, but they're similar enough to the point where they can accomplish the same things. The tension of knowing someone's not who they pretend to be, the paranoia, and, of course, the crushing dread when you finally get stabbed in the back by the person you put your trust in. I also absolutely adore the specified version where a shapeshifter can only change into the shapes of things it's killed because that way, every shift of its shape has that dreadful implication. It changed into a cute pupppy? Well, damn. Similarly, if it's something like SCP-939, which imitates the voices of prior victims to lure in prey, it gets you thinking. Is what I'm hearing what someone said in their last moments? How do I know if that's real or not? If I rush in, would I make the situation better by saving someone or worse by becoming another piece of this thing's repertoire? Stuff like that yknow :D
Adora's transformation into She Ra in season 5 is one of my favorite moments in all of television. It's so cathartic to see her rise up and transform without the sword, finally proving to everyone (and herself) that she is and always will be She Ra.
My favorite power up is Deku's full cowling technique. It's just him realizing that his powers don't need to be used in one part of his body at a time because his powers aren't a video game, they are a part of him now. It also doesn't happen during a fight, so there's no argument that he let horrible things happen by getting in his own head, other than damage to his own body.
That, and because we _know_ he has more power and he has to get used to it, we know he'll get more powerful and his Full Cowl will get better, my favorite example being his fight with Bakugo, where he goes up to 8% by accident. So very satisfying!
@@Mechawizard Never really understood the problem with that. On _paper_ it looks stupid, but it makes sense when you step back and look at how much Deku fanboys All Might, and tried to be literally the "next All Might" so he stuck to punches even though it would've been smarter, and if he'd been thinking like he usually does about how Quirks work, he would've, to use his legs more or primarily. It's a sign of his growing past being just a fanboy to All Might who got the chance to become his successor, and instead growing to be his own hero. A simple concept with deeper implications. Deku is a smart kid who thinks about Quirks a lot, but he stopped applying that to _himself_ in certain areas due to his own personal hangups.
Realizing your power works in ways you hasn’t thought of is my favorite type of power up. Deku realizing that OFA is part of his whole body and can be turned on just a little all over instead of full blast in one place makes complete sense and doesn’t completely break his power curve, it just raises his power floor in a small but significant way.
When Gohan scream “STOP IT, THATS ENOUGH” it gives you goosebumps like no other power up scene, definitely earned because of how long they hint at it and how long it takes to get Gohan to that point.
something i like is how dr. stone, despite being about a smart guy, doesn't make the intellect the new power scaling. most of the characters that participate in such endeavors contribute with their own specialized experience, and senku's enemies, despite getting sort of "smarter", arent really trying to outsmart him. from the first few chapters tsukasa already can predict senku's actions. its more of a game of how the characters adapt to the progressing story. senku's book smarts are treated as a tool rather than a character trait.
Dr. Stone in general does a really good job of making a narrative in which EVERYONE has something to contribute. All of the characters have a specialty and none of them can function well as lone wolves, Senku included.
The Stormlight Archive by Brandon Sanderson does power ups exceptionally well. They're always tied to moments of character growth, in such a way that it seems uncertain if the character will ever get there, and it's really satisfying when they do.
And it overlaps with so many points in the video. The bond is both internal, granted by an outside force, limited by a resource, and a test of character.
My favorite power-up moment is in The Incredibles, when the giant death robot accidentally gives Mr. Incredible a chiropractic adjustment that fixes his back and lets him fight better
I'd totally forgotten about that, but yeah that is a great one.
Oh my god yes that was so good
He could have also been riding the high of having his back fixed and not being in pain.
Another ingredient in this scene is just minutes earlier, the out-of-practice Mr. Incredible strained his back during that very same fight, effectively disabling him and putting him in very real danger.
That was hilarious. And then the evil laugh he gives before demolishing the robot made the silly moment awesome, kept it from undermining the drama
As much as the MCU gets wrong, one of the best lines I've ever heard was "Are you Thor, the god of hammers?"
But then Infinity War happened and he goes right back into “I need a frickin hammer!”
Yeah, it was awesome! And it even stands up to criticism:
1) Thor struggled the entire movie after believing he lost his power forever 2) The power-up didn't actually defeat the big bad and 3) It was freaking cool! Rule of cool and all that.
Thor: Ragnarok is easily one of the best MCU movies.
@@JaelinBezel not a hammer
Specifically a weapon that can kill Thanos that's the only reason stormbreaker was created
@@JaelinBezel to be fair, it was not just a hammer, it was also an axe
The best “The Power Was Within You All Along” I’ve ever seen is in the How To Train Your Dragon books, where Hiccup suddenly discovers he is a master sword fighter after being terrible at it until that point despite constant training… because he breaks his right arm at the start of the fight and learns for the first time that he is actually left handed
I had no idea about this, it's amazing and hilarious
bro pulled off a link
The anti-Princess Bride... or perhaps the anti-Inigomontoya Youkilledmyfather-Preparetodie.
forcibly inigo montoya'd
The books are so much better than films. Especially the later books. And the films are pretty great themselves
I think the best "I'm holding back" explanation I have ever read was in a Spider-Man comic. He was thrashing the Vulture in a Sinister Six arc and he, in his usual mocking fashion, asks Toomes if he ever wonders how Spider-Man barely defeats them when they come at him one at a time, but can defeat all six of them at once when they come together? Spidey provides an answer. I cannot hold back anymore. When it is just you I am trying, actively, not to hurt you but when the lot of you come together I can't afford to do that.
*One of the reasons I love spider man*
I think Superior Spider-Man also did that. Fighting a supervillain, Doc Ock Spider-Man asks him if he seriously think he can take on the guy with enough power to have gone up against the Hulk.
The last time they put a number to his strength they said he lift 50 tons of weight. That’s absurdly powerful all on its own but it’s rare that brute force saves the day alone because he’s the Friendly Neighborhood Spider-Man and the innocent bystanders are just as important to him as anything else. If theirs a bomb or a building gets wrecked Spidey is usually a little too distracted saving people.
@joshua kusuma in fact, Ock in Pete's body literally punched a villains jaw *off* in his first fight because he had no idea how much Spider-Man had been holding back.
@@joshuakusuma5953 even better example same series. Doc Ock as Spider-Man accidentally punches a guys head off. And realizes Spider-Man must’ve been holding back all those times they fought. Spidey could’ve easily killed Doc Ock at any time, and always chose not to.
I love that the "I am not left-handed!" scene absolutely counts as a power up and Red used it in the video. I absolutely love it.
This was done best in Baka and tests, summon the beasts; where Aki, the class idiot, reveals he's left-handed then loses because in these battles you don't use your hands.
@@uanime1 That sounds absolutely hilarious LOL
the what scene now???
This also happens in fire force where Arthur is fighting someone and is losing because he was holding his sword with the wrong hand. Once he switches he instantly wins
@@knweeb That doesn't count, that was stupidly contrived. Which is in character for Arthur cause he has a -4 in intelligence but come on, HE FORGOT HE WAS RIGHT HANDED FOR NO REASON!
"I'm not left handed either" is one of the best god damn moments in cinematic history. When Inigo is on the ropes early in the fight and switches hands, the audience knew it was coming since he already established that he was going to duel Wesley left handed so the fight wouldn't be *too* easy. When Wesley reveals that he was doing the same thing later in the fight, it not only tells us more about the character of this mysterious man in black, but firmly cements him as a highly talented badass. Someone badass enough to, say, win a wrestling match against a giant, or outwit a criminal mastermind, or be immune to one of the deadliest poisons on earth.
Basically, the Princess Bride is probably the best movie ever, and all other cinema sword fights *wish* they were Inigo vs Wesley.
True. It's ingenious.
It truly is one of the best swordfights in cinematic history (I tie it with a particular one that it was based on, the sword fight in Scaramouche, aka one of, if not *the* longest cinematic sword fight)
I remember reading a Mickey Mouse comic as a kid that copied that "I'm not left handed either" exchange wholesale lol
Inconceivable
In his book, *Manga in Theory and Practice*, Hirohiko Araki tells how by the end of Part 2 of Jojo's Bizarre Adventure he began to realize that basing your story around powerups and ever stronger heroes was a losing game. Over the course of the next parts of Jojo he threw out his old magic system entirely in favor of one that was designed around encounters whose structure wasn't 'am I powerful enough' but 'how do I escape this metaphysical mystery box the villain has put me in before he turns my organs into poker chips?'
The heroes almost never get powerups of any kind, but have to figure out how to outsmart their overpowered enemies, and it all hinges on whether their own specific set of powers holds the key to unlocking victory- which it doesn't always. Jotaro's powers are just good enough to defeat a time-manipulating vampire king but he later gets clapped by a rat with a dart gun, all because his powers weren't right for the situation. It's how he's kept the series fresh and interesting for forty years.
And then Requiems appeared or the bad guys (and even the hero's) are so convoluted and weird that you need 5 PhD's just to understand them.
I’d like to add to this that part 3 ends with Jotaro gaining a power up that could be seen as contrived, but instead of Jotaro just winning it becomes this poker game of him hiding the fact that he has it long enough to blindside an opponent that still heavily outclasses him. Excellent fight.
I personally believe Jotaro let the rat hit him because he knew Josuke could heal him and brought the kid along to teach him something, but that’s just me.
@@ptlemon1101 For what it's worth, the back end of part 5 operated under the assumption of "you get the plot rock, you win." GER's power is absurd in a way that delivers on that and was also an insta win, as promised. Chariot Requiem was more complicated than it needed to be and a bit too easily defeated, but the mind games the body swaps led to were pretty good.
I feel like jojo's over complicates itself at times, although I feel like some of them are just high concept abilities that didn't resonate with me. I love Civil War for example, but I also vibe with it harder than Bohemian Rhapsody or Underground.
@@rockyhankin8679 the part 3 end was so smart, because Jotaro just froze time after Dio’s counter ended, meaning he could score a free flurry. it wasn’t anything like “oh i can stop time for longer than you now”
“Before he turns my organs to poker chips” OMG that’s hilarious.
I think Po is the best example of a good "the power was within you all along." The 'there is no secret ingredient ' theme means he just has to work hard and believe in himself when previously he didn't think he could.
There s also mob from mob psycho 100
Indeed. Though there *is* one important thing to consider. When themes like this are explored in standalone stories or movies, the story ends when the resolution is reached. It keeps the theme coherent and narrative concise. But with serialized content, you really can't get away with coming up with a new spin on the same tropes without the formula getting a bit stale. That's why longer-form shows tend towards episodic formats, where linear progression isn't as necessary and each episode can focus on its own themes or ideas. Sometimes you'll get character growth or continuity, but more often than not it'll just reset to the status quo without messing with power levels to ensure a self-contained narrative and theme within each narrative that serve as standalone works themselves. This isn't to say they can't work in longer serials, of course. (Avatar TLA and Full Metal Alchemist both immediately come to mind) But as was brought up in the above video, there becomes a power gap concern if future powerups keep coming from hidden potential being unlocked, so modes of conflict resolution throughout should be varied with only sparing usage of powerups in the first place. (usually once a theme is properly built up and paid off in a large character-focused moment)
@@riroufudo not at all, Mob is actively trying not to use his powers because he's aware of how insanely powerful he is. He *can* go absolute godmode but he has locked it away behind trauma, that's why it only comes out when he's unconscious, his inhibitors are gone in that instance.
@@TheJH1015 ye sorry i was jut comparing the ??? form to the avatar state
The problem with Po is that this excuse gets worse in every movie. In the 1st one he trains so this is believable but in the 2nd one learning about your past should not give you the ability to deflect cannon balls. In the 3rd one all the pandas somehow became chi masters because the plot needed it to happen.
I like the fact that the “spiky glasses villain” Red has been drawing for this episode is basically a villain who is also a legitimate therapist who actually does their job at all times
New favorite recurring character
There's a Marvel comic series from the 80s where one of the main villains is an actual psychologist with brainwashing powers (among many, many other abilities). I"m not kidding; look up DP7.
@@DDlambchop43I've Read That Comic!
I love DP7 and I think I still even have a copy of that one...
@@scotthurr5925 oh, cool! you also know that Overshadow's arc kinda stretches to the other titles in new universe?
@@DDlambchop43 I Do! He interacted with Nightmask I believe.
@@scotthurr5925 really? I have to check into that. Of course I know he prolly flattened nightmask, thanks for telling me.
8:09 We need to talk about "Why do I hear Boss Music besides my own" The thought that bad guys just exude Boss Music is hilarious
Idea: final boss of the game, the absolutely kick-ass music starts, and the boss pauses and goes "wait, this isn't my sound track. Whose song is this?"
And then the leitmotif that has been playing during your character's moments of growth and triumph throughout the story kicks in.
@@anonymityanonymous7476 There's the Undertale fan theory that "Megalovania" isn't Sans' boss theme, it's Chara's. "Song That Might Play When You Fight Sans" is a sped-up remix of Sans' normal theme, and if you're the boss, that explains why Sans can "break the rules" and attack first.
@@TyphinHoofbun I think Megalovania is in a similar situation to It Has To Be This Way from MGR, as in it's not a boss theme, but a fight theme that's only meant to be played when certain characters fight on certain conditions. In Undertale, Megalovania played when Sans made his last attempt to stop a LV19 Frisk, and in MGR, It Has To Be This Way played when (spoiler warning) Armstrong went out of the Metal Gear and Raiden inherited the Murasama from Jetstream Sam. Doing things like these can help a theme feel more specific and not just (hey im fighting this guy).
If I recall correctly,
In one of the Super Robot Wars animes, a recurring ennemy has equipped his giant mech with loudspeaker, not to do sonic attacks, but to actually play his own theme louder than the heroe's "power up" song, it's absolutely hilarious if you're familiar with the games'lore.
Longer explanation: In the game where said hero and his mech + battle theme first appear, there was a glitch where his battle theme would always be picked whenever initiating an attack and even prevent other characters' themes to play, including the main characters, the bosses, the secondary characters great big powerup moments in their own chapters and even override the final boss' own!
Since the character is generally liked, players joked that "Trombe!" (the character's theme) was the reason he was so badass, in the next games where that character returns, the devs renamed his song as 'Trombe! OVERRIDE!", and they purposefully let his theme still override most others.
@@VillackDeSage IIRC, the guy isn't actually trying to override Trombe!, he just wants everyone to listen to his favorite music in battle, no matter how loud the battlefield becomes. It overrides Trombe! because his music is diagetic
The more I learn from these videos the more I realize that the true lesson behind it all is "You can do any trope you like as long as there's story being told along with it."
It's like jazz. There are no wrong notes as long as they're intentional and motivated. They only become wrong when they start accidentally screwing up what you're trying to accomplish. The "rules" only exist as a hedge to protect you from yourself, so if you really know what you're doing and have a plan that requires it, you can break them all you want.
Take One Punch Man. A story where the hero effortlessly wins every fight is breaking a cardinal rule about stakes. How can you have tension or satisfying conflict without threat? And the answer is, you can't. And for One Punch Man, that *is* the theme being explored, that *is* the central conflict. Will Saitama ever find stimulation in a world he's physically outgrown? With no struggles or challenges left of any importance to him only whims, no iron left to sharpen iron, can he ever grow again at all, not just as a combatant but as a person?
(Prediction: the answer is yes, but he's going to have to stop being "a hero for fun" only in it for his own entertainment and starts being Superman. He'll find his challenge once he stops fighting exclusively for challenge's sake and starts fighting for the sake of saving as many people as possible and preventing massive collateral damage. As long as he only sees W:L exclusively in terms of K:D, he will only ever win, because he can't die and his opponents always fall in one punch. But CIVILIANS and even other heros aren't invincible like he is. So if his metric changes to "kept everyone safe" suddenly even he can't keep up.)
yep. if there's anything i've learned from anime and playing mario + rabbids kingdom battle, its that what matters is execution, not concept. a show about girls from different eras being brought back as zombies to become pop idols in order to save the land from an ancient curse of being forgotten may seem ridiculous, but can actually hit suprisingly hard at times and explore themes not many other forms of media are able too. a crossover game about mario characters and rabbits teaming up to save the mushroom kingdom in a turn based fire emblem inspired strategy game with guns might seem like the most mind numbingly dumb idea cranked out by humanity, but can turn out to incredibly fun, challenging, and well made. And a story about joining the rebellion against an empire rising from the ashes can absolutely bomb
@@hollowshield2315 chad zls fan
The lesson to take away from any of these analysis is the same that TV Tropes loves to stress over and over: "Tropes are tool, so they are never inherently good or bad" with the implied follow up "So their correct use makes all the difference".
"You can't use this ability without harming yourself" will always somehow become "You will somehow get away with using this ability whenever you want, as often as you want, with the consequences being absolutely minimal"
Depends on author...With Goku it worked correctly, his body was trashed by KaioKen. Same with Rock Lee he couldn't move muscle after using the Gates.
Haven't watched Boruto other than some clips here in there... Is Guy still crippled in that story I wonder after opening the 8th gate? I mean Naruto saved him, which kinda goes along with your point, but I thought that he lost a foot and was never able to fight again?
@@buttonmash7073 he is still cripple and can’t use i one of his legs so he has to use a wheelchair. But it is still guy so when he does have to fight he just jumps on one leg or walk on his hands
except for gon 💀💀 poor guy
@@alexzero3736 I just realized they gave a character with a special technique he couldn't use without "almost dying"...a special bloodline ability that makes him even stronger if he survives "almost dying".
I love Rock Lee's "time to stop holding back" power up in his fight against Gaara. The whole time everyone's laughing at Lee and how he can't be a ninja without ninjustu, and Gaara is built up to be this monster of a kid. Then when Guy sensei tells him to remove his training weights, they laugh again about how a few training weights could affect the fight. Lee drops the weights causing them to crater the ground and send up a shockwave of dust. It shows everyone's face an shocked expressions. It wonderfully implies all the training Lee had to go through to get to this point.
I liked that moment as well. Perhaps my favourite part was that Gaara doesn't react to the shockwaves the training weights create, but he _does_ react to the super speed Lee then unleashes.
Yeah, that was awesome.
@@matthewmuir8884 i particularly liked that part as well. Because it showed that for all his innate power as a jinjuriki(sp?) And the unflappable arrogance that brought, he was still just a child with a lot to learn.
That day he learned what it was to be afraid.
@@laughingfox931 also also the fact that Bowl Cut damn near beat the second strongest known character, up to that point.
Lee was a fucking beast. Too bad he became extremely irrelevant after that point.
I think "wise-cracking character stops making jokes and just starts attacking" is a power-up in itself.
Definitely.
I actually have a character like that in my RWBY fanfiction, for that very reason. Well, I intended to, but I never got to use her for that purpose, because everyone around her was too strong.
Point in case: the Flash vs. Brainiac Luthor.
haha very true
Variant: Character that's always smiling calmly suddenly stops smiling
Sonic when he goes Super
I think my favourite kind of power up is the 'dropping my moral code' power up. The hero has been actively avoiding killing people because they see it as morally wrong. Then the villain does something so terrible the hero snaps, and you get the amazing "Oh sh*t, they're actually trying to kill me now. Please God help me." moment from the villain.
Honestly, one of my favorite instances of that ended up only being theoretical even in the story... It was a web comic, and the villain had decided to lay a trap that would kill the hero's GF when he came to save her. The idiot wanted to make the hero decide there was no point holding to that code when his love had already 'been killed by him' so that he would join the villains. The side kick character then asked him which he thought was more likely, the hero joining the villains after they arranged the death of his love, or thinking 'Hey, I always wondered if it was possible to pull out a humans entire nervous system intact, and guess what? Now we have a volunteer right here!'
The villain suddenly goes pale and starts stammering, and says he may have made an error in his calculations. The side kick asks if when he was adding numbers he forgot to carry the stupid, and the villain tries to deny it before saying '... maybe...'
my favorite example of this is super man vs the elite
"Alright,maybe i like killing people,a bit. Just a tiny bit that is you."
*Stains of Time starts playing*
I love this one
I see a metal gear, rising out of the water!
I know this isn't a clear-cut case, but Superman's "World of Cardboard" scene feels like a Power-Up in a sense because he explains why he has to hold back. Very much a case of it being justified helping to explain Superman just beating the snot out of Darkseid
This is true for every superhero, to some degree.
All superheroes need to hold back, because there is little margin of error between safely incapacitating criminals and killing them.
Was just thinking that. And it defuses the whole "Well, why doesn't he do that all the time?" by having him explaining it's because, ultimately, he doesn't WANT to hurt anyone. Even his foes. But with Darksied? He's perfectly fine knocking the snot out of him.
His fight with the Elite is another quasi example. And it doubles as "Good is not dumb" moment as well because after taking a beating from them, he takes each one out with a creative use of his own powers and resources rather than just hitting them harder. Showing that yes, Superman can be utterly, pants crappingly terrifying when he needs to be. He just legitimately doesn't want to be.
And that's what makes him Superman.
@@steampunker7 reminds me of the “why don’t the power rangers start with the megazord?” Question/meme that has been going around for decades now.
Obviously you don’t bring out the giant robot that levels cities and makes the neighborhood uninhabitable until you absolutely must do so.
It hits extra hard with Superman, because through out JL and JLU, he’s getting trashed by a ton of people. He rarely lets loose in the show, and when he does you don’t notice it, like the fight with Doomsday in a volcano. But, in the last fight with Darkseid, we see Superman cut loose in the middle of the city and he basically two shots Darkseid when he finally stops holding back. He had to pull a bullshit secret move to stop Superman. It’s such a good moment.
@@frankwest5388 Or why doesn't Son Goku go Super Saiyajin 3 or Blue from the start? Although in this case, the explanation is that his ultimate forms consume too much energy, so Son Goku rather analyses his oppoent's fighting style first.
I really liked "The power was inside all along" in Rapunzel. The movie makes it such a point to focus on her hair that you forget she inherited the power by birth.
Yeah, in Tangled it works bc its tied to the themes. The story is about a girl w an abusive, gaslighting parent and we too are distracted to believe Gothel had the power, so when Rapunzel realizes it's HER magic it's an "Oh" moment for the audience too
And Rapunzel lost her powers by having Eugene cut off her hair, which leads to Mother Gothel's demise.
@@poweroffriendship2.0 Well yes, but actually no
Since her mom drank the flower juice she was basically blessed with its healing abilities, most prominently being her hair. The hair is like the petals of the flower. Singing to them heals you and can even reverse age temporarily.
When her hair was cut, she lost her "petals", which caused Gothel to turn to dust. But the flowering parts of the plant aren't the plant itself. We see that cooking the whole plant and turning it into a potion was able to heal the queen from near death. In a similar fashion, Rapunzel's tears have healing properties. One can only imagine how much healing her blood could provide.
Basically, Rapunzel IS the flower, in a sense. So if you cook her and eat her you could save yourself from death.
@@dragonfell5078 Well, that's true and makes a lot of sense.
@@dragonfell5078 And here I was, nodding along in appreciation of this revelation all the way up until you hit us with that last bit 😨😰
7:07 "a problem dropping in out of nowhere presents the opportunity for more story, a solution dropping out of the blue feels like cheating the audience out of a story" honestly the best articulated way of putting that I've ever heard
It's very similar to a Pixar storytelling rule "Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating."
The power level of the Bad-Guy B-Gone anvil producing company's anvils really crushed the bad guys with significantly more power after each anvil received a little kissy kiss from Red.
"Li'l kissy-kiss" is my favourite line in this whole video.
Sozen's Comet is probably my favorite example of a powerup. It doesn't really change the outcome of any fights, but it ups the stakes and makes everyone's powers more spectacular. And because it's set up in the first season (and presented as favoring the bad guys) it doesn't feel unearned
The Avatar State is also really good use of a power up because even though it's incredibly OP and basically unbeatable, Aang can't control it for most of the show, and it has the major downside of making the entire Avatar cycle vulnerable to being destroyed, which means you would only want to use it as a last resort. Another good example is bloodbending. It has the limitation that Katara can only use it during a full moon, and it also comes with major moral conflict for her character. If not for those limitations it would make her way too powerful and break the story. ATLA overall is just really, really good at doing power-ups.
@@Dachusblot Although at the end Aang recovers the avatar state by pure chance when he hit that rock
@@LuisSierra42 That's just visiting a chiropractor.
@@LuisSierra42 All stories are really nothing but pure chance. Coincidences are how stories work.
@@lyly_lei_lei Indeed. Coincidences affect real life too when you dig deep enough...
God I'm getting war flashbacks to that one time in Hunter x Hunter where Gon was put through so much grief that he basically said "I don't care if this power is going to destroy me, because right now all I care about is getting revenge on you", powered up, and then put himself in what was supposed to be a permanent coma. Most depressing use of this trope I've seen.
Hunter x Hunter always has to make shonen tropes depressing and I fucking love it
In Hunter X Hunter works because of the whole "vows and conditions" thing of the Nen system that was previously established in the show, which ties to what Red said about the powerup having a kind of drawbak, consequence or disadvantage
the whole "The power was within you the whole time" Trope was what really killed my enjoyment for the 'Flash' live action show. Theres only so many times that the plot can be resolved by "Im not fast enough!!" "Yes you are Barry." "Oh I am" before you just start to guess the whole season by ep 1.
It's incredible, really. I don't think I've even heard of another high budget show that has managed to go on for 8 whole seasons while repeating the exact same plot points and the exact same villains it was using all the way back in the first season, despite only doing those plot points well in that first season.
"I am the fastest man in the world", he says in the opening, as if the next villain won't outspeed him right out the gate lmao
Right up there with the “god damnit Barry” trope every time he accidentally breaks reality.
That's why I honestly hated every time a new season started and the big bad was another speedster. If we had a main villain who actually made him do more than just "run faster" it would've been much more satisfying
Run, Barry, Run.
I like it when the character doesn't just power up but instead learns clever new applications for their power. It seems like they have a new power but it is simply that they figured out how to use an existing power in an interesting way. Like when Superman uses his heat vision to remove the powers in Superman vs. The Elite.
Via frying that specific part of their brain right out without killing them
Like in Avatar the Last Airbender where Toph learns how to metalbend. She didn't gain the ability to metalbend, it's just a natural extension of earthbending that all earthbenders can do, it just had to be discovered.
@@taelim6599 Exactly!
I know right! It's so much more rewarding that way - the audience can be like "Oh! That makes so much sense, why didn't I think of that?" instead of being flabbergasted at something they couldn't possibly predict. Brandon Sanderson's stories are amazing in this regard - I finished Mistborn Era One recently and god damn, there's just no way to complain about the magic-building in that story.
It’s not as nuanced as in other shows/films, but around episode 300 of one piece the main characters (though quite abruptly) figure out new ways to use their powers/strengths.
It was cool to see stuff like the rubber man pump blood around his body faster to be able to expend more energy whilst fighting.
And the navigator was able to manipulate weather to create mirages of themselves, without really getting any physically stronger in combat.
just imagine if the protagonist just got their powerup at a random time, they could just be talking about oranges then they just suddenly go super sayian
His power up only works if the bad guy says oranges, and spends the whole fight trying to get him to say it
@@coolgreenbug7551I would just bring oranges to every fight and start throwing them at the villain
AKA every "What if Goku went Super Saiyan before the Frieza saga" fic ever.
They kinda did this with Everything Everywhere All at Once, except it was a little more controlled but it made for some excellent fight scenes!
TVTropes calls it "Power Incontinence" when a hero can't control when their powers activate.
I like how the first Kung Fu Panda did the ‘power was inside you all along’ trope. It’s built up that the dragon scroll is the ultimate power up and that it’s going to externally somehow turn Po into the dragon warrior. But when it’s revealed that the power was inside him all along we really get it, because it’s a big part of his character to constantly self deprecate. In the end it’s by being himself and using what he learned from the people who believed in him that he defeats Tai Lung who couldn’t fathom the idea that what he had always fought for had always been within
@@Guardian-of-Light137 king fu cool
@@Guardian-of-Light137 The Wuxi Finger Hold is a make-believe technique that Po manifested using Tai Lung's belief and his own chi power. Po basically nuked Tai Lung with so much chi that he was instantly sent to the Spirit Realm.
@@Guardian-of-Light137 agreed. It’s Strange
My only problem with that is that the movie itself already have a ''The power was within you all along'' when Shi Fu discover Po HAVE innate kung fu prodigy ability, just that it's hidden under a layer of self-depreciation and food motivated.
@@Guardian-of-Light137 The whole idea is that the technique isn't actually special at all, but people are so caught up in the mystic of it, that they can't replicate it.
Then it become a tool of teaching, to not mystical up things and leaning that there is no secret ingredient, you are the result of everything you did yourself up to that point (which is why the scroll is reflective)
This actually reminds me of the explanation for why JoJo's Bizarre Adventures switched the main power system from Hamon to Stands. Basically Araki felt that repeating himself to the audience would be a huge mistake, so after Jonathan Joestar trained to learn to use Hamon, and then Joseph Joestar started knowing all the Hamon basics and had to train hard to gain advanced mastery, Araki didn't want to repeat either training, so Jotaro Kujo and the later JoJo's instead gained Stand powers which being a lot more varied allowed every Learning / Mastery arc to be different for each JoJo.
It also handily avoids the power creep issue because stand battles are almost 100% about clever tactics and power matchups. Jotaro curbstomped almost everyone he fought in part 3 and 4, but nearly died to a fucking rat because the little bastard had a clever strategy and a good counter to Jotaro’s power.
@@nerdyvids1 also avoids power creep by being one of the few series with the confidence to move on, it doesent matter if the previous protag got some op new ability we are dealing with a new guy, Kars was explicitly a near unstoppable threat, dio had both the power and ambition to eventually threaten the world, then the next arc was just a serial killer who only threatened one town, the next was just a mob boss, and while pucci did become a bigger threat that was only at the very end and it was almost entirely personal till that point
Also Means JoJo is never the same. Every single fight is unique because of the unique Stands that are fighting.
Also doesn’t hurt that Hamon is basically designed to fight vampires and vampire adjacent opponents and you could see Araki running outta ideas for how to use Hamon cleverly by the latter half of part 2. Stands by design are opponent agnostic and can vary wildly in power and stay interesting.
@@nerdyvids1 Jotaro is arguably a very special case. Throughout the series it has been said that Star Platinum is the most powerful stand in Za Wardo and every other stand user knows this. They also know Star Platinums strengths and weaknesses and will often create scenarios where they can use their stand and Jotaro cannot like in The Lovers and Gambler Arcs. And this is the general philosophy with JoJo's battle design.
This is why I love Mob Psycho 100. It starts off by asking what if the hero is already the most powerful being in the world, and is doing everything he can to hold himself back? We do see a power creep through out the series, but we see it as Mob slowly learning to control more of his power. And the finale is him accidentally fully unleashing his power, and everything he's doing to gain back that control.
God, Mob Psycho is such a beautiful show. My absolute favorite OP of ANY anime, too.
Negative power creeps go hard ngl. Mob is undeniably at his weakest by the end of S3 due to him denouncing his psychic abilities, but he's also become the best version of himself.
I love the idea of getting glasses being a power-up. Yes, I was but a weakling before I unlocked my true power!
"I can see! I! CAN! FIGHT!"
The eyes of science!
There's probably a Dr. Stone joke here
@@elenafriese891 yes, yes there is :3
@@noytelinu How did I know that, without a doubt, someone was going to say this? XD
One of my favorite “Internal Revelation Powerup” moments is in The Princess Bride during Fezzik’s wrestling match with the Man in Black. Fezzik is having a lot of trouble pinning his opponent down, until he has the revelation that he’s been fighting groups of enemies for so long that he’s almost forgotten how to fight a single enemy.
While he’s having this revelation, the Man in Black gets Fezzik by the throat and chokes him into unconsciousness, which means the powerup ended up being useless.
Flash defeating Brainiac in Justice League Unlimited is a great example of 'the power was within you all along' done well. It provides a built-in explanation of why Wally doesn't just do that to solve whatever problem he's faced with. Not only is it objectively dangerous-- the team has to save him immediately afterwards-- but it takes a personal toll on Wally who is clearly disturbed by the experience.
and it helps that one of his greatest fears is not being able to slow down to a normal person's pace.
One of the most interesting things about the Flash is that most of the time he's holding back out of fear of what his own powers are capable of.
one of my favorite "I'm always holding back" ones is that time Kingpin put Aunt May in the hospital by ordering thugs to attack her from jail. Spiderman went to the jail, Explained to Kingpin that he never kills anyone as spiderman because the suit represents a more pure ideal than that. He says "I'm spiderman, and I'm not here to kill you", starts taking off his costume, and says "I AM" He proceeds to use the full extent of his superhuman strength to BRUTALLY beat kingpin within an inch of his life; where kicks from spiderman barely phased kingpin, a punch from Peter Parker KNOCKS TEETH FLYING. He's not here to have spiderman enact justice; spiderman already did that when he put kingpin in jail. He's here to BEAT THE SHIT out of a guy that put peter parker's aunt in a coma. He holds back this lethal force as spiderman because spiderman has to be better than that; but peter parker just saw his only parent in a coma they might not wake from; Peter lets it ALL loose and after brutalizing kingpin, grabs him by the fat on his chest, Positions his hand over kingpin's mouth, and explains how when he fills kingpin's lungs and nasal passages with webs, no surgery will be able to save him before he suffocates. He says he'll kill him at zero, and counts down to zero. He then explains how he already Did kill kingpin, by showing him that at any time, no matter how well guarded he is, Peter Parker could Effortlessly Kill Him, and so if Aunt May dies in the hospital, peter will come to collect his corpse. Peter does all this in front of The Entire Jail at a gathering time. Kingpin falls to his knees, staring lifelessly at the ground.
I NEED THIS IN MY LIFE. Which comic is this
@@m4nta_703 seconded
@@m4nta_703 One More Day, the infamous storyline where, in the aftermath of Pete revealing his secret identity to the public during Civil War, Aunt May got shot, neither modern medicine nor any of the heroes with alien/futuristic tech or reality-altering magic could save her because... reasons, and so Spider-Man sold his marriage to the devil to save her, all because Joe Quesada is a manchild who thought Spidey could only be interesting while single.
Damn that's metal
@@m4nta_703 Back in Black, a comic that most argue is the last good Spider-Man story, as right after it comes the infamous and widely despised One More Day.
The ending of this episode just makes me want a trope talk on the Rule of Cool, something that a lot of powerups can definitely fit in with!
The Gurren Lagann fan would want an episode dedicated to Rule of Cool
@@ultimateexpander4517 Ah you found me out- guilty as charged!
@@ultimateexpander4517 Isn't that more Rule of Drill? :P
@@5peciesunkn0wn Drill of Cool
My Man 🤝
In early One Piece, the introduction of Dracule Mihawk is an excellent example of the extent of power in the story, where this guy out of nowhere can slice ships into pieces, and we don't see someone this strong for a while, nor do the main characters have this kind of power for an extended amount of time (aided by the actual extreme length of One Piece), but when they eventually do, it's rewarding rather than unexpected.
Yeah that's a real neat thing Oda did there. And not just once either.
In East Blue, Dracule "I'm not a fool who hunts rabbits with a cannon" Mihawk shows up, casually cuts a galleon in half, humiliates one of the protagonists with a pocket knife (because he didn't have anything smaller on him - I guess he doesn't carry a sewing kit), disrespects the supposed biggest pirate of that quadrant of the world with a "not worth my time", and dips. Just a little visit to show the protagonists (and the audience) at what kind of a level the _actual_ big players of the world fight.
Then we get Marineford. Mihawk's there too, but he's just _one_ of the big names, and not even the biggest present. The real headliner is Whitebeard, the old rival of the previous Pirate King, old sick and rapidly dying, but still the most terrifying fighter in the world. This time it's a showing of what battles at the top of the world are like, when it's not just one top tier fighter stomping a big fish in a small pond. Luffy's there, but it's made obvious that he's wholly out of his depth, only surviving due to a combination of a ton of help, both from people stronger and weaker than himself, some of his enemies not going after him fully serious, and him understanding that he _is_ that wildly out of his depth and avoiding fights as much as he can.
And finally, in Wano, during the Oden flashback, we are shown a brief glimpse of a clash between Roger and Whitebeard in their prime, a true one on one clash at the top of the world, the level that Luffy's going to have to climb to.
And _now,_ in four digit chapters, after 25 years of story, Luffy's finally _starting to_ reach the level of people like Mihawk and Whitebeard. The power level that we were given a peek at back in the fourth or fifth arc of the story, just a year and 50 chapters into publication, and shown more of 12 years and 550 chapters in. It's been a long road there, but indeed the fact that it's a possibility we've known of for a long time makes it all the more satisfying.
Oda is likely the master of power scaling. The amount of time he managed to progress the story without power creep is honestly impressive.
Also powerups in One Piece can happen from 4 different places: raw strength, observation skills, willpower, and devil fruit. Luffys recent power up with conquerors for example is a technique powerup where he had to learn to punch and hit the inside rather than just him just punching more or punching harder.
@@leonmat26 that's not even really a power up. It's more of just a way to get around of Kaido's super strong skin.
Not just Mihawk either.
While it happens off-screen, Shanks notably kicked a sea king's ass barehanded without a devil fruit or any other known powers.
This is incredibly early foreshadowing that a devil fruit alone is not enough to be a big fish in this world.
The big thing that always gets me in a lot of stories is they don't give the new power scale any time to breathe. They escalate, then escalate again before you've had time to process the first escalation. Let the heroes figure out how to use their new strength well, let the secondary characters catch up a bit so you've got more people at the level that matters, don't just escalate every five minutes.
That was actually something that Black Clover did really well for the longest time: because each arc was fairly short and because the protagonist himself existed outside the series' power system (he's a warrior with anti-magic in a world otherwise-entirely consisting of spellcasters), the story is actually able to take a breath in between power escalations and the secondary characters are given time to keep up.
This is something that Dragonball Z did well and Dragonball Super did rather poorly.
The manga for Super did better, anime didn’t.
One Piece also does this really well. There's always at LEAST one major arc between power ups for the main character, during which the main character will show off new ways to use the power up or variations of it while the rest of the main cast also get their own power ups sprinkled in.
@@Sass_Master9000 also the most of the side characters have skills that make them invaluable outside of combat scenarios
@ Real talk, I love DBZ, but it's kinda bad about this, too. Vegeta, then Frieza, with the Ginyus inserted in there to space things out, then Freiza and his Dad, then the Androids, then Cell, then Buu. Toriyama couldn't help making the next villain stronger, to the point of not only invalidating most of the cast, but even making most of the power ups kinda token.
The magic potion in the Asterix comics is power ups done without the need for power creep. It’s in limited supply so when out and about they have to choose when and where to use it. Various crises occur to limit their access to the potion and the enemies often try to access it themselves. It allows Asterix’s cunning to be the solution to the problem while still having a satisfying punch up at the end. Plus Obelix always wanting some but not being able to is a funny and cute twist
From what I recall, the reason why Obelix never gets any of the potion was because he once drank a whole cauldron of it and thus has the super-strength given by it permanently
@@thomasthecoolkid7228 He fell into a cauldron of potion as a baby, thus giving him permament super-strength, and further potion is dangerous to his health.
@@thomasthecoolkid7228 Aquavitix, er, Getafix the druid, does give him a single drop at one instance, to bust out of a prison. Not sure he needed it... Placebo super strength? Surprised none of the other potions demonstrated at the druid meeting never got extrapolated on. Invulnerability sounds useful...
Obélix being a permanent wielder of the power-up is also a constraint that steers the plot towards different kinds of problems, that can't be solved by the power-up alone. Which always gives rise to some fun interactions because in his view there *are* no such problems.
Spoilers:
Obelix does end up drinking the magic potion, but it turns him into stone.
Man I have to say, it really speaks to how amazing Spiderverse is that I see those few frames and instantly tear up just thinking about them. What an amazing movie.
Rock Lee dropping his weights, revealing he was Gaara’s biggest challenge up to that point while carrying a metric F*** ton of weight is my favorite “power up that isn’t” example.
That moment might just be my favorite scene in the entire run of the show
"Agh, call an ambulance..." *Drops leg weights* "BUT NOT FOR ME!"
@@zackakai5173 It was for him in the end tho
Honestly that brings up an interesting thought. If rock lee was able to move casually without any effort with those things on, just how much does it hurt for someone to try can catch/block his kicks or even carry him if needed
"Gaara's biggest challenge" lmao no. Gaara let him do all that dumb shit and then put his green ass in the hospital. Sasuke & Naruto were Gaara's biggest challenge, and Sasuke was the first opponent to make Gaara bleed.
As someone who wears glasses, I can confirm that glasses are a power up
No they’re not, you just have a debuff
Except then you can see all the trash on the street 😢
@@hannahrobbins1017 then pick it up and put it in the trash
Jeez, I really just thought everyone saw like that. I felt like I had the eyes of an eagle when I first put them on. Easily a top ten moment of my entire life.
@@allthebanter9316 Everyone looks better in glasses, so needing glasses is a roundabout buff.
There is one variant of "the power was within you all along" that doesn't get used a lot, and that's when the character is prompted to use their smarts in an unconventianal way. Say for instance the protag has ice and thunder powers, but none of it works on the big bad even in combination. The support cast do their "You're the smartest one of all of us, I know you can think of something!" speech and the protag starts to look around. They then realise that if they can freeze that nearby cliff, *then* hit it with a strong shockwave, it might be enough to bury the big bad. Basically Mulan avalanche scene, but prefaced with a lot more self doubt.
I honestly think this is the purest form of "The power was within you all along" because instead of some latent, but previously unseen power emerging conveniently when they need it, they have the tools they need from the beginning and usually know how to use it, they just need to think outside the box.
My favorite part about these trope talks is probably all the small little details in the slides.
"Why do I hear boss music aside from my own?"
Or the TFS references
lol i loved that one
This goes to show why the Avatar State is such a cool power-up narratively, logically and thematically. Because it's not just a power up; it's a character.
For one thing, it totally breaks the rules by being shown in the first episode of the show, instead of just a later episode where Aang is in a dangerous situation. Then it slowly reveals itself throughout the course of the show, bit by bit. Next we see it when Aang is grieving the loss of the Air Nomads and it's totally out of control. Then it's used for good against the Fire Nation. Then it's used for bad when that asshole general pushed Aang too far. Just like the other characters in the series, the Avatar State grows and changes throughout the series, depending on the way Aang is feeling, and is a force for both good and evil. It's neither a clear cut superpowered evil side or some heavenly "the power was in you all along" magic. It's the combined powers of previous Avatars, who all did good and bad things. It's an inherently human force and kind of a character itself, in the sense that it evolves alongside the characters and not just a tool for cool battles.
It’s also explicitly a terrible weakness, since dying in the avatar state breaks the cycle of reincarnation. It’s throwing away your shield and hoping the reduced weight will let you move fast enough to parry
The Avatar State and the whole "oh yeah you can ask all your past lives for help" were clearly big problems for Korra's writers once they didn't have the Gaang being just a small plucky band up against 100 years of fascist military spending.
The Avatar State is both a power-up and a liability. The current Avatar has all the knowledge and experience of their past lives, but if they are killed while in the State, the Avatar cycle ends. There's also the part that ALL the Avatar's past lives are acting simutaneously through their body, it's like having a Dissociative Identity Disorder episode where your personality is swallowed by hundreds of other more vengeful ones. Aang makes it clear how horrifed he is whenever he enters the State and causes a lot destruction after it (and the creators said what makes a fully realized Avatar is the capacity to enter AND exit the State at will).
@@blacksage2375 A bit funny how even that issue could have maybe been avoided by making some kind of statement that what Azula did basically nerfed the Avatar state to a degree, especially since Aang said he felt himself die. But I guess that would have had to have been addressed against Ozai in the original series finale too, and it's not like _Legend of Korra_ didn't have a bunch of other problems too unfortunately.
@@blacksage2375 If I had remake the show to explain why she doesn't into the avatar state, I would probably say that you need complete mastery over the air element, which includes air-bending and all the spirit connecting stuff, the whole package. Since she can't do that, she should have a very difficult time entering the avatar state. Only if she's on the verge of death, and maybe even then she can't do it.
My favorite implementation of a 'power of friendship' ending comes from Gatekeepers 21, because it's based on _logical synergy and thematic weight._ Spoilers ahead:
The story follows an absolute golden retriever of a girl named Miu, and the antisocial misanthrope who roped her into the magical girl gig, Ayane. Miu wants to be friends. Ayane likes birds better than people, and wishes she could just fly away from people's bullshit.
The villain has been trying to court Ayane all series long, by getting rid of the crowds of people that Ayane hates.
The villain succeeds. The city is turned into a barren wasteland, and Ayane realizes she should've been careful what she wished for. At this point, she and Miu are the only ones left who can confront the villain.
Ayane has wind powers. Miu has the power to Jump Good (~80 feet vertically). As Ayane realizes that she _really does care about people, including Miu,_ the two of them hop on a motorized scooter and use their powers together. Jump Good + air manipulation = endless, massive double-jumps. Ayane has finally learned to fly like she always wanted, _by trusting someone else._
They are literally greater than the sum of their parts.
This is why I love One's stories, especially Mob Psycho 100. He deliberately writes characters that are already the most powerful beings right from the beginning of the story, so there's no room for the typical shonen power-scaling. Mob does have his ???% form which only comes out when he's unconscious, and it functions basically like the "No holding back" kind of power-up. But since Mob is already so powerful even in his conscious form, his growth and conflicts in the story instead all come from him trying to improve himself by working out, making friends, and trying to be a good person. Even though he does face increasingly powerful opponents, the real stakes come from Mob's emotional and psychological struggles with himself, which makes the whole story really satisfying.
Saitama and Mob basically have the same theme of "I have all the power in the world and it's not making me happy, so why would more power do anything for me?"
This is why Mob Psycho 100 is top tier; the teenage protagonist actually acts like a teenage protagonist (without being a depressingly realistic subversion like Shinji from Evangelion)! It's not about his powers, we already know he's strong enough, it's about growing up!
I also love how while Mob has these amazing psychic powers it won't get him want he wants. They are effectively useless to him. Which really balances out the story and makes it interesting to watch.
And technically Reigen gets a traditional power up moment twice, where he borrows strength from another character to overcome and solve the main conflict. And it's always so cathartic because more than a flashy ability, it demonstrates how Mob can rely on Reigen to be the responsible adult and voice of reason. Plus it subverts our expectations of him being powerless, reinforcing the theme that strength comes in a variety of forms and raw power isn't everything. One of my all time favorite shows
@@etcetera5605 Both Mob and Reigen are OP. Mob with his psychic powers and Reigen with his pure charisma lol
While it doesn't technically count as a Power Up, I've always enjoyed the moment where the hero is on edge and on the brink of collapse yet manages to squeeze out enough power to overcome the odds, with the most popular example being Spider-Man.
this one could be a trope talk in itself
The movie version of Gurren Lagann has a moment that fits pretty well here, where they just keep getting thrown further towards the villain, losing mechs along the way until it's just Simon left
Spider-Man is the prime example of only being as strong as absolutely necessary.
Spidey can fight HULK to a standstill and bench press a locomotive; but only in the direst of circumstances.
One explanation I’ve seen for why Parker with the Venom symbiote is so strong is the symbiote relaxes Parker’s inhibitions.
@@A_J502 - Few writers have shown him fight the Hulk to a standstill; I think it's more that he's fought the Hulk and NOT DIED.
There was an early 90s issue where Spider-Man fought an enraged Professor Hulk, and it was mostly avoiding contacting giving chip damage wherever he could, then getting disabled by the Hulk's sonic clap. There was also the fight against the Grey Hulk/Joe Fixit a few years before that, but that was while Spidey was imbued with cosmic powers and VERY doesn't count.
One of my favorite examples of this is in Shinkenger's [/PR Samurai's] last mecha fight where they form their strongest possible mecha and with every hit they take, they keep losing parts and by the time they finally reach the foe they're left with only the first 5 parts but manage to take him out with one last attack.
This video just made me realize how amazing the power ups in Jojo's bizarre adventure are. There's very rarely any actual unlocking of new powers, and most often it's just the heroes being pushed into situations where they are forced to use their already existing powers in invetive ways which then become part of their arsenal.
"So it's the same type of stand as star platinum?"
@@arcanedoughnut2016shut
JoJo does tend to do a good job at avoiding making the story about power vs power by having each Stand's ability be really specific and weird, meaning the protagonists have to get inventive (What good is your super strength in a game of Poker? How does the ability to undo damage help you in a street race?),
on top of the fact that every part/season has a new cast, so the protagonists aren't just continuously accruing power as the series goes on.
(Stardust Crusaders being the exception. There's literally no reason why Jotaro should've gotten the ability to stop time, and the thing that finally killed Dio was just... a really hard punch.
IN GENERAL, though, JoJo does it well.)
@@Roverdrive_X fair
Ehhhh
it’s fine in parts 1, 2, 4, & 6
But power ups are basically the only reason the goog guys win in 3, 5, 7, & 8
My favorite subversion of this trope is when the hero gets his power up and the villain just says "no" and instantly blitz him.
Where has it been done?
@@ionutbarbuc9364 in the most recent dragonball super arc involves basically every character who can fight getting a massive power boost or transformation fighting with it for a while then getting their shit kicked in by a different character who also got a power up. Basically every single kind of powerup red mentioned was used until Freeza showed up and beat everyone instantly and then explained that he got so strong by training. The moral of the story is basically don't find shortcuts to power and the fact that Goku and Vegeta learn that from Freeza of all characters is both a sign that freeza has changed as a person and that Goku and Vegeta have been overly focusing on transformations rather than their own strength (which is something else that db super seems to be wanting to tackle)
In the kill six billion demons arc "king of swords", the objective is to make Solomon bleed one drop of blood, white chain (the most competent fighter in the group) is unable to achive this until she accepts her desire to become human like and discovers a technique with lower defence but higher attack.
However, David is still orders of magnitude more powerful than white chain, and this is only a victory for white chain becuase this is a sporting event with rules made to challenge David.
(been a while since I read this comic, may have forgoten something)
@@M_Free What are you talking about? I didn't read the Granolah/Gas Arc, but I read Super up to the Moro Arc and Goku trained pretty convincingly to fully perfect MUI. The explanation for Goku even obtaining it (sudden surge of energy causing him to break his limits to the point of being able to react subconsciously) is pretty solid. From reviews I've seen on chapters of the Granolah/Gas arcs, TUI makes reasonable sense too. It's exploiting the fewer lack of restrictions of the UI Omen compared to MUI in order to use his emotions as a greater and more natural power boost, as saiyans have been doing since Raditz. IDK if Ultra Ego is just a transformation and nothing more, so I won't comment on that. Freeza LITERALLY finds a shortcut to power by training in a different dimension similar to the Hyperbolic Time Chamber. Freeza's entire shtick is that he has unjustified amounts of potential that allows him to get ridiculously strong in comparatively short amounts of time. I'm pretty sure he only got stronger between Ress F and T.o.P because he was thinking of killing Goku. He is quite literally blessed with the highest amount of potential in the franchise, he is a living shortcut.
@@ionutbarbuc9364 It may not be exactly, but the scene where the Guardians of the Globe are massacred in Invincible. They see knock-off flash’s head explode and get a “My friend just died” power up, just to get killed themselves.
I think most of Jojo's is a pretty good example of power ups. Generally speaking, the only characters that get major power ups are villains. As a result, protagonists need to get smarter as opposed to stronger. The only real major exception - at least, prior to the universe reset - is part 5. But, to be fair, I'd say it actually fits there because Giorno's the son of Dio, chasing and obtaining power is literally in his blood.
Well Kochi and Johnny Joestar are really the only one that get power ups, but then again they still have to be creative with them.
Well with part 5, the whole main final battle was set up to be essentially a race to get the power-up.
Either the hero would get it or the villain. Whoever would get it, they would win. It was basically stated a big chunk before it happened.
It's not really a power-up in a conventional sense when you think of it. It's basically a win condition.
The most useful thing Araki does is also not the stand system - it's an excellent medium-term solution but only medium-term - but having the audacity to just hard reset the story and the set of protagonists every few years. Getting to start over like this not only means not having to do silly things in-universe to explain it, but it also means more satisfying moments of ending. Of course, you need a LOT of confidence in your writing to even try this since it means cutting off a lot of your audience investment, and you need a publisher who is amazingly tolerant since this is a scary plan from a sales perspective.
I mean... post universe reset I would say the only one who has activly gotten a power up is Johnny because... Act stand, its kinda just what it does. Gappy is less of a powerup and more a new Technique he learns, and also Wonder of U is utter BS with its powers, kinda necessitating the powerup for the final fight.
And that's part 5's ending is far and beyond the worst in the entire show.
Honestly the best “power up” (if you can even call it that) is when the baddie’s henchmen see what’s happening through the eyes of the protagonist, right before the baddie has won, and they stop helping the big guy, like when Anakin throws palpatine into the pit.
Extra points if the entire villain army does a full 180 and attacks the general, like in the lion king.
Asura's Wrath is what happens when you have an endless series of powerups, and it somehow makes sense thematically and narratively. That game is bonkers and I love it.
12k years of level grinding vs. One Angry Dad. Honestly, one of my favourite parts of how that game handles the insane powerups is how it flips the whole thing on its head in the final battle: when the final boss hits his strongest form, Asura gets reduced back to his _weakest_ form that hasn't been seen since the beginning of the game, and then pulls out the win anyway out of sheer determination and too-angry-to-die-ness rather than raw power.
The modern Persona games do ‘the power of friendship’ pretty well by making it a fundamental aspect of the ludonarrative. Like, of course the power of friendship is what saved the day, I just spent the past 100 hours bonding with these strangers to get us here!
I mean, it helps a bit that said power is the expression of subconscious archetypes. Those archetypes only really make sense in the context of the people around them, so your social links are basically refining your Personas into becoming more of what they are.
On the other hand, while the Persona 3-likes are instinctively about the fact that developing yourself develops the Persona you have or the Persona of your friend, Persona 4 at least has the fact that befriending Naoto was actually necessary for everybody to not just keep going after the fake serial killer was kill but it also started the drilling down onto the actual killer and eventually the person orchestrating the events in Persona 4.
Persona 5 also has this with gaining the planner Makoto and the hacker Futaba and even the person who legally is on their side Sae, but it feels less like a meaningful connection and more done because it was done.
One power up that I liked was when Tanjiro unlocked Himokami Kagura. It was stated earlier in the same ark that when a person is about to die, their life flashes before their eyes, and that this is the mind's way of finding some way to try and survive. For Tanjiro, he remembers the sacred dance of his family and the breathing that's taught with it. In that moment, it clicks in Tanjiro's head that he should mix that breathing with his total concentration breathing and swordplay.
I also love how it is entirely technique based and not some kind of magic (despite what the special effects would have you believe). And after using it for the first time his personal journey at that point is to figure out what that technique even is despite him already subconsciously knowing it.
And he doesn't flawlessly execute it, or master it, from the get go. Whenever he uses it early on it pushes his body to the limits, leaves him wide open if he fails to finish off the demon in the short time he *can* use it (which is why the majority of fights in demon slayer are team battles. Another great aspect) and has to recuperate for weeks, if not months, afterwards. Tanjiro's mastery of hinokami kagura isn't one of "I'm a prodigy and I can do everything flawlessly from the start", it's one of gruelling training, recuperating and getting the sh*t absolutely beat out of him
I also love how it takes all of his strength and he still fails, really establishes the world and the powers residing in it, especially when Giyu clowns Rui
I think Miles' "within you all along" moment in Into the Spider-Verse worked so well because up until that point, he was the only Spider-Person in the movie without a unique gimmick or power set. He was just doing normal Spider Man web stuff, and both himself and we the audience were wondering what made him unique and why we should care about him compared to the others. Then this moment happens, and both story and character-wise we're like "OH, that's why." And THAT's when they hit you with his comic book cover intro, which all the other Spider-People got on their introductions. Instead of an existing hero getting a sudden powerup, the whole movie until that point was an elaborate origin story all along.
I've found Critical Role, being a D&D campaign, has an interesting approach to powerups. Campaign 1 had the Vestiges, which mechanically have anime powerups built into them which the DM can grant if they feel their wielder's arc has progressed enough. A lot of these ended up happening at dramatic moments, but it was often coincidence as the boss happened to have really low HP at the time. (Though Matt, knowing how much HP bosses have, probably chooses when to grant the powerups so things time out that way)
Campaign 2 didn't have much, but Campaign 3 had a lot of the party build powerups into their characters, and the fun part is both we the viewers AND the rest of the table don't know about them until they're used, since they arose out of private conversations with the DM.
Chetney's is a classic case of holding back, although it's revealed fairly early and becomes a character staple from then on, so it's less of a deus-ex-machina and more of a one-time plot twist.
Imogen's is a classic case of "the villain wants them to use the powerup" as the limiter, which I feel worked well in its so far only instance.
F.C.G's is a Superpowered Evil Side he has to be careful not to cross into via getting too many "stress points". "
So a decent variety of sub-types, that have all felt well-used so far.
I think my favorite "show the planning on screen" moment was in the A-Team. Where they interpose the planning with showing it being carried out at each step. It shows how good the planner is, while still keeping the audience able to be surprised.
It also has some plot twists built in because during the planning phase Hannibal has to leave out the part where they inevitably trick B.A. into getting on a plane.
@@thehittite6982
Nah, man, Hannibal tricks B.A. because Hannibal is an actual wizard. He once spiked a burger, gave it to Murdock, somehow knew Murdock would wander over next to B.A. before eating it, somehow knew B.A. would take Murdock's burger in a fit of paranoia, knew Murdock would go along with it and fake passing out, AND knew B.A. would buy it... without ever saying a word to Murdock because Hannibal left literally as soon as everyone got up that morning.
Gurren Lagann is one of the few good example of endless powerups. The story is tight enough that rather than getting tired and boring it ends it feeling like a roller coaster.
I actually think Gurren Lagann works partly BECAUSE it's a stupid trope. Like the fact that the main motivation, "Believe in the me that believes in you" or whatever nonsense the goofy protagonist said, objectively just makes zero sense. It's sort of wearing it's tropes on its sleeve and allowing the characters to be their own thing. I also appreciated how power creep operated in One Punch Man, where the main character becomes a god essentially overnight for no good reason. And then you never wonder if he can beat the bad guy, but how he can support his friends, if he will even care enough to bother to beat the bad guy, etc.
It's definitely a subversion of the trope. Gurren Lagann plays it completely straight and just keeps going. The powerups are a part of that universe's rules. "Tengen Toppa" literally translates to "Heaven-Piercing" - they tell you straight up where they're going.
@@tomc.5704 Guren lagann is infinitely better though out than most people think it is, and it's short and direct enough to not get us to see the problem.
The power creep doesn't appear, because Gurren power level work on a requirement for always bigger mech(s) to fuse with. You don't tell yourself that the guy can fight universe size opponents at the start when you KNOW that he can't reach the moon, or the world vessels or that the world mechas aren't created yet.
@@skeetsmcgrew3282 ""Believe in the me that believes in you" or whatever nonsense the goofy protagonist said, objectively just makes zero sense."
I disagree, that makes perfect sense. When that's first said, and every time its said after that is because the main protagonist CAN'T believe in themself. They have severe self confidence problems, but also have TOTAL faith in the secondary protagonist (Kamina.) When Simon's lack of confidence in himself holds him back Kamina takes advantage of Simon's confidence in him and says "Hey, I know you think you can't do this, but *I* know you can do this. You trust me, right? So stop doubting yourself, and believe me when I say you can."
They just choose a goofy way to say it because it fits the show AND Kamina is explicitly not very eloquent or well educated.
In "Into the Spiderverse", Miles got the powerup early on when he was bitten by the spider. The entire rest of the movie is him trying to figure out how to use the powerup. All his difficulties have been inside his head the whole time. And that talk with his father helps him realize who he is and what he can be.
I wouldn't consider the bite to be a powerup. It doesn't make Miles any more competent than he was before. He has new abilities but no idea how to use them, and his pseudo mentoring from the other spider people builds him up, but not enough for the final fight. His final obstacle is the expectations of his father and the other spider people and realizing he can be his own person.
@@tankj0ck3y that's a legitimate way of looking at it.
the bite of 87 wasnt the power up
the power up was his dad talking to him when hes tied up, after that he puts on his new suit, takes the leap, and can suddenly move better than the other spider people, also he can control his invisibility now
I want a hero who throughout the entire story they are told they need glasses but they refuse because "I look hot, and I fight great, why should glasses be necessary?" And they are generally funny and kind, and they beat each Villain with technique and what they already have on their own until one day their friend convinces them to just ✨️try on✨️ some glasses and then they beat the next Villain with flying colors and basically nothing changes about the story or plot other than the hero can fight bigger and badder villains on their own now
This needs to include a play on that trope of being able to effortlessly dodge a barrage of attacks through minimal effort; either the villain was doing it before because the glasses-less hero was just off by that much before, or the hero can do it after putting on glasses because now they can precisely make out said incoming attacks.
To some extent this happened in Dr. Stone
@@mr.cobalt1668 That was literally a plot point in Dr. Stone. Really good fighter is nearsighted but refuses glasses until he's getting his ass kicked. After he puts them on, he's like "If I had been able to see like this from the beginning, you never would've been a threat."
Tell them to get contacts.
tbh this is kinda funny, both because of the concept and the fact that it works backwards in real life fighting/combat sports.
Charles Oliveira was the UFC lightweight champion for a decent bit and beat scary and accomplished fighters with flying colors, all while nearsighted to the point of blindness.
But then he got eye corrective surgery, and proceeded to lose his very next match, and the championship. probably because he could actually see the hits coming, which is scary
I like how its done in steel ball run. The power up is achieved in hyper specific circumstanses and the villian is given enough info to do everything in their power to stop the power up. It increases tension while also making it much more satisfying.
I'm increasingly loving the little hapless writer character who does silly goofies while you talk. They're just kind of clueless which I find endearing, but its also fun when they clearly Messed Up and are like "whaaat? what'd I dooo?" its really funny and makes these very entertaining. Writer-chan, you fool! (affectionate)
I always loved that power rangers jungle fury actually made the villains earn power ups and anytime anyone got one it was related to character growth.
Which is hilarious compared to the season that commits the power up sin the most, Megaforce and Super Megaforce
I still think he should have had a tragic death like the super sentai counterpart.
@@BigAmericanGirlFan ROBOKNIGHT, YOU HAVE A MISSION TO FULFILL!!!!!!!!!!!!
@@Another_Hibiki Which character do you mean?
@@danielwalker8133 In Gekiranger, The Black Lion, Rio and the Chameleon Fist, Mele, died tragically at the few last episodes. Their Power Ranger counterparts are Jarrod and Camille.
I really like how the heroe's darkest hour and consequential powerup is done in Disney's Moana. It is a "the power was inside you all along" type of powerup in the sense that Moana finds a new confidence that redefines her view of her role in the adventure. Until then she considers herself a support character. Her role was to "find the hero and deliver him to where he needs to be to solve the problem." Now it changes to "I will solve the problem myself, with or without the hero's help!" And with the new strategy and better teamwork, Moana and Maui overcome the challenge together. Also, the song is just great!
I think Constantine is often a great subversion of the power up trope. There's a lot of great John Constantine stories where it's clear Constantine COULD deal with the problem at any point in time, he's just looking for a solution that is less evil/horrifying. You spend the whole time hoping he gets the mcguffin that lets him win with 'nice' powers because otherwise he'll need to pull out the OTHER toolkit, and after that, winning is just a technicality.
Considering the recent Detailed Diatribes, I'm kinda surprised Red didn't mention Superman's "World of cardboard" speech 😆
An entire season of the Bleach anime dealt with this... where Ichigo learns to control his inner hollow. It fit the deus-ex-machina power-up trope but had the caveat of being uncontrollable. Once he gets control, the caveat is exhaustion and a time limit. The danger to his soul is also omnipresent due to the hollow spirit slowly eroding it away and waiting for Ichigo to let his guard down or weaken to the point that the inner hollow could take control.
The season was very entertaining, and as you said, it needed to not simply be a "here's a win button," but it worked well because it was a "here's a win button, but it'll eat your soul if you over-use it before you can control it."
Golden good guy rule: Never interrupt a power-up or transformation! Ever!
This is entirely why Azula was so dangerous. XD
@@AegixDrakan True! That also came to my mind! She zapped Aang when he wanted to ascend, what a big meanie! XD
Eren Jeager enters the chat
Unless you're Android 17.
I remember in the newest Voltron that one of the bad guys was just standing around until the heros tried to form Ultron. Then they attacked and interrupted, they did this twice.
Stormlight Archive is super duper good at this. Because the way the magic system works literally revolves around making oaths and growing as a person. So them being forced to reckon with their trauma is quite literally how they achieve their next "power up."
Another thing that helps is the multiple perspectives. You know someone will get a powerup, but you don't always know who. Those who get powerups cover for those who don't, leading to interesting dynamics.
yeah, it's not a bad trope, it just isn't enough by itself. It usually works best when powerups are reflective of character's psychological growth, when the power scale is clearly established, and when the means or circumstances of the powerup are different each time.
It reminds me to the persona series, specially the 4.
"I will take responsibility for what I have done. If I fall, I will rise each time a better man."
"I will protect those I hate, even if the one I hate the most is myself."
"I accept that there will be those I cannot protect."
The series' system of growing as a person almost reminds me of Digimon's method of advancement. Though that varies from series to series, generally reaching Ultimate requires manifesting a certain quality (Courage for instance in Adventure) or overcoming personal problems (Tamers). Reaching Mega also varies from series to series too (and sometimes requires outside help such as when WarGreymon and MetalGarurumon first appeared in Adventure, same with Imperialdramon in 02) but in Tamers it involved having a good relationship with your partner so you basically become one with them, quite literally.
Jujutsu Kaisen is one current shounen manga that handles power-ups really well, I think. It handles most things really well, granted, but the way the magic system is set up almost like a logic puzzle makes for a lot of power-up moments that make you go, "oh, yeah, of course" rather than "oohhh, yeaahh, of couuuurse (with a complementary eye roll)".
Edit after watching further: JJK also takes the interesting challenge of making its bad guys *also* earn their power-ups. As other fans have noted, the recurring villain Mahito is basically written as an archetypical shounen protagonist with the morality inverted.
God Adora's 'the power was in you all along' moment on the velvet glove was easily the second best moment of the series, and felt so hard won
What made it even better to me was the suggestion the episode before that it wasn't gone, she just didn't know she could access it. So to see her figure it out and then proceed to wreck everything was wonderful on a level usually unachieved.
From She-Ra?
When she got her power back I swear I smiled till my face hurted. Such an epic moment.
@@Fluoman_ yes
Possibly controversial, but along the same lines I thought Captain Marvel did it well too. Since in that case, Carol's powers had been actively suppressed by the Kree, and shaking off their brainwashing is the last step in her emotional journey that ALSO pays off with her going Super Saiyan and punching ships to death.
I will stand that the Seras Victoria powerup in Hellsing Ultimate is one of my favourites ever, combining a lot of the different powerup types you describe while feeling earned in the story and for her character, and an amazing song to add even more. It changes her permanently, showing she is now a complete vampire, and required the death of someone she cared for, who she then drank his blood with permission. This permission is hinted at being the reason she now exceeds the enemies vampires and gives her a more unique power set. The powerup feels earned, lets her fight on a more even playing field to the enemies, and gives a badass kill moment.
Not just that, it was a line she previously was unwilling to cross and avoided despite the power it offered. It came with a cost and after she attains it she changes as a character. Not entirely unrecognizable but still feels different to before she drank the blood now that she has crossed that line.
How it feels earned? How? It's not training, not invention... She was just biten by vampire.
I mean, she also gained Pip back in the form of a familiar, so she quite literally gained a power up from consensually drinking his blood
@@alexzero3736 By character and relationship development. The power isn't the part where she got bitten, we're talking about the part later where she chooses to drink blood. To get it she has to give up her humanity and embrace becoming a vampire, and her previous role model for vampire are enemies and her master (who is pretty much the worst of them all). She's reveled in the bloodlust before, so she's understandably afraid to lose control. And with the person she cared for, previously they were just kind of playful and flirting with each other, interested but never really committing anything.
And before this it's shown that whoever her master drinks from, their souls are bound to him. So by drinking the blood, she commits to an eternal relationship (consensually, too). And she gains enough maturity that she can become a full-fledged vampire with all the powers but without any of the crazy, unlike the rest. In that sense she grew up to become her own person.
Seeing Princess Bride and the Sonic Movie both used as good examples brings me so much joy.
I’m shocked Red didn’t mention ATLA for this one, especially since this series is what convinced me to go watch the show. ATLA did a great job of handling the Avatar state. Prior to training with the guru, Aang couldn’t control it. But he earns access to the power up through training. Unfortunately, at the moment he unlocks full access to it, he is hit by Azula’s lightning bolt, cutting him off. So he never gets to use the Avatar state at full power. Until the moment he needs it the most, his fight with Ozai.
It also helped keep the final battle about Aang making a moral choice. When Ozai was dominating and Aang was getting pushed there was no room for whether he should kill or not, he was doing everything he could just to survive. Then Avatar State power up and he had enough room where he could and needed to make that moral choice. The comics that follow Aang after the show also were good in that even though he has this power nobody else comes close to, he still had stories and problems with whether or not he should use it, against whom, and problems where fighting isn't a solution.
sad ATLOK didn't do the avatar state justice.
One of my favourite canonical explanations of an instant powerup is in Jujutsu Kaisen. Basically it is explained that since every character draws power from a psychic source and mind domain, progress often comes when a curse user realizes something or shifts their mindframe to accept possibilities and consider their power in a way they haven't done before. This helps explain how the tide of battle often shifts back and forth, as it does often in shounen series.
Stormlight Archive isn't mentioned enough for this. While the characters undeniably power-up throughout the books, they generally feel earned due to how their magic system works.
In order to unlock more abilities, generally compounding with previous ones, you must swear AND MEAN, an Oath, a promise. Knowing how it works, also helps to build tension because you don't know if a character is going to figure out what they need to say.
We even have a moment where a character KNOWS the next Oath, but cannot say it because they wouldn't mean it. This means that it wouldn't give them any power at all, and it does bite the team.
Then there is one where, they know the words, say it, and are rejected because they just broke said oath. The oath was "I will free those in bondage" and this person saying it, literally just watched a child be imprisoned and did nothing to stop it, despite knowing it wasn't morally correct.
What made JoJo's Bizarre Adventure damn great is that its fights are always about technique and using one's powers creatively with Stands. Any new techniques character finds are either new ways of using their powers (Giorno learning how to "heal") or are unlocked through character development (Koichi's ACT stands)
...just ignore the Same Type of Stand and Requiem arrow moments.
EDIT: Ignore Star Finger too
But what about Made In Heaven?
I can argue for the Same Type of Stand and Gold Experience Requiem situations, respectively.
Part 3 had a fair amount of foreshadowing that Jotaro had an ability besides just being really fast. Catching the bullet in the first episode, or his stunts against Elder D'Arby as examples. Plus, we're also told that DIO didn't even register he was stopping time at first. So the plot reveal that Jotaro had Time Stop, but didn't know that's what it was until having to overcome DIO and The World makes sense.
As for Gold Experience Requiem, the sequence of using technique and creativity to overcome a more powerful foe was basically fulfilled by the Chariot Requiem fight, which itself foreshadows just how powerful a Requiem stand can be. Team Bucciarati already gave their everything just keeping that power out of Diavolo's hands, and now it's up to Giorno to make that power his own. And when he does so successfully, the tone switches from a tense fight where the heroes could lose at any moment, to a cathartic victory that validates the personal sacrifices to reach that point.
To be fair, same kind of stand is totally excusable considering the fight it enabled is one of the best in the series
To build on what Griffith said, the fight against Diavolo wasn't really an outright fight. It was basically a race to get the Arrow. Most of the encounter was either chasing SCR or juggling the arrow around. Once Giorno got the arrow and stabbed his stand, he basically won at that point. That's why once GER appears, Diavolo gets "killed" almost immediately. The whole point was to get the Arrow, and now that's been done
To be fair, a lot of people just overlook the foreshadowing that DIO had the same Stands as the Joestars.
Like, why does DIO have Hermit Purple? Joestar Bloodline. Why does Jotaro have The World? Joestar Bloodline.
I love a good power up. It’s satisfying to see a character learn a new skill or find a way to overcome one of their own flaws.
Powerups when done well are so much fun. Unfortunately…it’s usually the power-scaling Red describes.
Like, one of my main gripes with Sailor Moon (aside from finding the romantic/sexual relationship between a middle-schooler/highschooler and upper classman highschooler/college student just…SO DAMN GROSS. Where’s the fucking bleach.) was…every time the Sailor Senshi got a New Power Suit and New Power with it…they stopped using their old ones, they NEVER made strats, and they NEVER trained despite Luna quite literally begging them to do so (and feeling utterly taken for granted, as did Artemis.)
@Space Cat
As far as u believing that's gross.
Yes it is. From our cultures perception.
Japan looks alot more favorable on sexual behavior.
The west doe not.
And also what is your take on age of consent. Is it 16 17 18 21.
Most of the u.s.a is actually 16 with various stipulative laws read the laws for Colorado it will give u a head ache.
Most of Europe is between 14 and 16. For age of consent.
Traditionally Mexico was 16. Quincenera (oh I butchered that spelling)
Japan is 13
Barmitzfa in ✡️ is 13.
So culturaly they don't find it gross.
Now as to powerups
Ya there a issue.
@@r.a.panimefan2109 Japan Authorities will still arrest you for sleeping with a 13 yr old if you are over 13
@@r.a.panimefan2109 that problem isn't the age of one person, but the difference in age, and while 13 is the national minimum in japan, every city has a higher age of consent
@@r.a.panimefan2109
Developmentally there’s a massive difference between 13 to 14 to 15 and 17 to 18 to 19. There’s a fucking *reason* why we have 18 as a minimum “from our culture’s perspective” (when in reality our brains REGARDLESS of birthsex don’t finish forming until 25 Average, so Majority should quite frankly be 21)
*nevermind japanese teens have been trying to raise majority from 13 to at least 16-17 as a compromise because they’re sick of getting preyed upon.*
Powerups achieved through training are some of my personal favorite. Sage mode from Naruto comes to mind, being a powerup earned through hard work and training, part of Naruto's emptional journey about himself, and it even comes with drawbacks that, as an added bonus, naruto works around or even uses to his advantage. It's amazing honestly
"But they have something more important. You! You, the writer, have the power to grant them the boon they so desperately need. And so, with the stroke of a pen, you do!"
I love The Dark Tower because this is literally what happens. I won't elaborate further to avoid spoilers. Go read The Dark Tower series. It is so bonkers and amazing and unique :)
Mahito’s domain expansion is my favorite example of a villain power-up, since he gets it in the same manner as any other character, right as he’s on the ropes and his options are literally do or die, and even still all it amounts to is having the duo jumping him on their back foot long enough for him to get away.
It also helps that Mahito spent most of that arc honing his powers and experimenting with their limits. It's established early on that he's young and a lot of the time is dedicated to showing his growth.
My favorite fighting anime, Kengan Ashura, subverted this trope very well in my opinion. The main character is fighting a really strong opponent and he thinks he can’t beat him with the skills he has. So he uses his de facto power up that sacrifices his techniques for speed and strength and loses. It is only when he properly understands how to utilize his techniques that he is able to beat his opponent.
I know which fight you are talking about and seeing the rewards of that revelation was one of the most raw moments in manga for me
Something I really liked about the recent He-Man reboot is how the characters discuss the Sword's power up, and what it means.
"We follow Adam because he was willing to put the power *down*."
"BY THE POWER OF GRAY SKULL!"
"The sword was a conduit, but the spark...that was always me."
Never seen the original He-Man (Zoomer) and I fear my eyes and ears will melt if I do, not to mention the trouble of finding which version to follow. But "Masters of the Universe: Revelation" seems cool. Can I get into it as a filthy normie, or do I need to watch one of the previous "He-Man" series, and if so, which one?
@@samrevlej9331 Consensus is the 2002 series is the best one.
@@schwarzerritter5724 Yeah, its much more watchable in this day and age. The original is pretty rough (I'm an old who watched the Filmation after school FWIW).
One of the many reasons I love Hunter x Hunter is that it's an established rule in-story that characters can power up their abilities by setting specific conditions for their use.
This is precisely the reason why I don't like it.
Most of the conditions are entirely arbitrary. It is not something like a powerful attack at the cost of taking a long time to charge up or leaving the user defenceless for a short amount of time. It is something like the power can only be used against a certain organization who's only members have nothing in common except for being members of that organization; no common weapon, fighting style or power source.
It is less like building a battleship that has no armour to fit bigger cannons on it and more like having a cannon that can only be fired if the enemy captain has shoesize 43.
@@schwarzerritter5724 in its defense, I think the arbitrary nature of the limitations works well for characterization. Within the context of the story, the characters themselves craft their own abilities from scratch, and so therefore, whatever limitations that a character puts on their power can go far in showing what type of person they are. What they prioritize, what they are willing to sacrifice in the pursuit of power. Most characters in hxh don’t have the arbitrary limitation of “this move only works exclusively on 13 people” because it’s simply too niche. The only person who would be deranged enough to take that is someone who is determined to kill those specific 13 people.
@@schwarzerritter5724 I feel like describing that example as "members of an organization" kind of misses the point of it being a death pact designed specifically with revenge in mind. The story is pretty clear about it being a short-sighted and self-destructive decision, which I think makes it both compelling and justifiable for a power-up.
@@schwarzerritter5724 Except... No? A lot of the strongest nen pacts we see in series are VERY much relevant to rhe actual ability, it tends to just be a simple matter of setting specific limits and conditions so you increase potency/effectiveness.
Actually the one time someone came close to arbitrary about it was called out as stupid in universe-
@@Noddarappa These 13 people have nothing in common, so how can the move only work on them if they don't have common weakness? That is what I mean with arbitrary.
I think a cool “mental block lifted” sort of power up could be if a character’s true power depends on their mental state being stable or positive, but something like depression causing them to always be hampered. At the end of the story, when they finally conquer their inner demons, they gain the power to defeat their external demons as well. Bonus points if the villain represents their internal conflict, is dealing with it themselves, or if they specialize in making that internal conflict worse for the hero
Avatar
Hope everyone is doing good and staying safe. Sending support and hearts to all. ❤❤❤
Meliodas
Yu yu Hakusho tourney arc
The entirety of Project Moon
Personally I like the "loved one in danger/near death" power up combo becuse if used correctly it can be like a fail safe that the protag will not always be able to control when its been activated. And when they finally be able to actually fully control it is pretty cool. Even better if that power can drain them or something.
I like that one too, Omar, but only when the character is well written and it comes out of the story elements already established. A sudden 'Hey! I think I love those people!' moment has to be built up over time. :)
@@eshbena ofcourse, but when it's done well it can be fantastic.
I like the souls games approach of “you suck and are weak but you get stronger when you kill your enemies and absorb their soul”
It also has the outside the game/narrative fact that as a player you get better. As you get better, you also get more leeway to recover from mistakes you make, so the first brutal hours in which every mistake is punished so harshly train you to make as few as possible. It lets them make truly brutal bossfights mechanically, because your baseline for how fights go is 'I can't afford to make any mistakes' and going back to that from being able to take a few hits and recover from so many hits isn't jarring.
This made me realize that Moon Knight is made of power-ups.
Marc receives his from an outside source.
Steven's comes from realization and growth.
Jake Lockley saves them both but only with appalling violence.
Layla's power up comes after gaining knowledge and growing as a person. She even negotiates control over her future.
And Harrow's ultimately made him a villain and then a pawn.
Superman's world of cardboard speech is a prime example of a mental block on a power up & the no more holding back trope. Also, It's a really cool moment for Supes in terms of characterization🔥🔥
Honestly the first modern sonic movie honestly made that power of friendship and power was within you all along actually work quite well as 1. He genuinely made connection with people giving him the drive to protect them and 2. The move doesn't have that power come out of nowhere and it's an active part of the plot only really coming through when he finally gets a grip on how to control it.
You know the best part of the fight is about to happen when the villain starts boasting about winning and the opening theme of the anime starts playing while the protagonist starts remembering about all the people counting on them to win the fight so they can have go have fun at the festival at their hometown and then sneak off to the special hiding place for a secret picnic date with their childhood sweetheart so they can finally confess their feelings to each other.
Love the power up use of the avatar state, showing that at times Aang views it as a bad thing because he can’t control himself when he’s in it. Only through working through internal issues and doubts about himself does he control his internal power. A lesson the audience can take to heart
I love the Danny Phantom power up via the robot suit (i forgot which episode) where he wasn't even meant to be the one using it and it was put as a sacrifice from the very beginning because the suit doesn't make you more powerful but only helps you reach that power faster, which means it also drains you faster. In the end, Danny didn't even have enough strength to shut the Ghost King back in his coffin, Vlad had to be the one to do so.
Danny getting new powers in most of season 1 and the ice powers in season 3 also counts as powerups.
I think it's worth noting that, when a powerup comes out of nowhere, usually the next few episodes/chapters will focus on exploring/explaining the origin of said powerup.
I could definitely see One Piece used as an exploration of this Trope. Specifically because we do see that there are characters just worlds beyond Luffy in power so early. The Admirals and the Four Emperors are set up as incredibly powerful, as are their organizations. Everyone in the Strawhat Crew gets more powerful either through strength or through understanding their own abilities. Luffy's power ups are him developing another way to use his elastic body while Ussop develops an upgrade to his Kabuto.
What One Piece did best is establish a cieling in Marineford, and it mostly stuck with the cieling, so it didn't felt like the power levels are gonna spill you know?
Agreed. Especially when you consider that for the most part of the first half of the series, there were NO constant Powerups. Sure, he'd use, Arlong's teeth to bite him back, water to defeat Crocodile, and a golden ball strapped to his arm to punch Enel, but all of them were temporarily and were gone afterwards because they were highly situational. All of them made each battle feel drastically different from the last without ever needing any "real" Powerup. In a sense, Gear 5 even is a step back to to those times where Luffy uses his surroundings and his opponent's weaknesses to defeat to defeat them.
@@Kimikachu22 That's right. Mihawk, Shanks, Whitebeard and the admirals are shown way before Luffy has any right to contend with them and they are still top dogs. Even former villains remain relevant like Lucci clashing with gear 5 and Crocodile having a higher bounty than Zoro (and of course Buggy D. Clown the greatest pirate since Roger has been present since Orange Town)
I’m surprised Gohan powering up wasn’t used as a clip in this video because it would work for several versions of the trope.
Rage boost - Kid Gohan
Internal conflict - SSJ2 Gohan
“The power was in you all along” - Mystic/Ultimate Gohan
Hell, the recent Dragonball movie involves Piccolo lambasting Gohan for NOT training and relying on miraculous power boosts in the moment…. Which he then got to become Beast Gohan
Beast Gohan?
More like... Gohan Blanco
Piccolo criticized Gohan for not training, but made no mentions of miraculous power ups. You inserted that yourself.
@@jacobjensen7704 Neat.
I think a trope talk on shapeshifters or changelings would be sick. Those two aren't exactly the same thing, but they're similar enough to the point where they can accomplish the same things. The tension of knowing someone's not who they pretend to be, the paranoia, and, of course, the crushing dread when you finally get stabbed in the back by the person you put your trust in. I also absolutely adore the specified version where a shapeshifter can only change into the shapes of things it's killed because that way, every shift of its shape has that dreadful implication. It changed into a cute pupppy? Well, damn. Similarly, if it's something like SCP-939, which imitates the voices of prior victims to lure in prey, it gets you thinking. Is what I'm hearing what someone said in their last moments? How do I know if that's real or not? If I rush in, would I make the situation better by saving someone or worse by becoming another piece of this thing's repertoire? Stuff like that yknow :D
Adora's transformation into She Ra in season 5 is one of my favorite moments in all of television. It's so cathartic to see her rise up and transform without the sword, finally proving to everyone (and herself) that she is and always will be She Ra.
My favorite power up is Deku's full cowling technique. It's just him realizing that his powers don't need to be used in one part of his body at a time because his powers aren't a video game, they are a part of him now. It also doesn't happen during a fight, so there's no argument that he let horrible things happen by getting in his own head, other than damage to his own body.
That, and because we _know_ he has more power and he has to get used to it, we know he'll get more powerful and his Full Cowl will get better, my favorite example being his fight with Bakugo, where he goes up to 8% by accident. So very satisfying!
Yeah but then it’s followed up by “Oh yeah, I have legs!” for his next “power up”. Good job Deku, really showing that big brain of yours. /s
@@Mechawizard Never really understood the problem with that. On _paper_ it looks stupid, but it makes sense when you step back and look at how much Deku fanboys All Might, and tried to be literally the "next All Might" so he stuck to punches even though it would've been smarter, and if he'd been thinking like he usually does about how Quirks work, he would've, to use his legs more or primarily. It's a sign of his growing past being just a fanboy to All Might who got the chance to become his successor, and instead growing to be his own hero. A simple concept with deeper implications.
Deku is a smart kid who thinks about Quirks a lot, but he stopped applying that to _himself_ in certain areas due to his own personal hangups.
Realizing your power works in ways you hasn’t thought of is my favorite type of power up. Deku realizing that OFA is part of his whole body and can be turned on just a little all over instead of full blast in one place makes complete sense and doesn’t completely break his power curve, it just raises his power floor in a small but significant way.
@@balanc-joy9187 Also, punching things is a much more innate offensive style than kicking above the waist if you didn't train for it.
When Gohan scream “STOP IT, THATS ENOUGH” it gives you goosebumps like no other power up scene, definitely earned because of how long they hint at it and how long it takes to get Gohan to that point.
DBZ is Gohan’s story as far as I’m concerned, and I’m so sad that he didn’t become the true main character after that
Goku should have just thrown frieza into a freezer.
Cooler should lock himself up at the cooler.
Booo
But their father's kind of *cold* ...
Well he did unintentionally leave him floating in Space. That's an even worse freezer.
Cold puns? In these hallowed halls? I HOLLER and HOOT with HAUGHTY HUMOUR.
something i like is how dr. stone, despite being about a smart guy, doesn't make the intellect the new power scaling. most of the characters that participate in such endeavors contribute with their own specialized experience, and senku's enemies, despite getting sort of "smarter", arent really trying to outsmart him. from the first few chapters tsukasa already can predict senku's actions. its more of a game of how the characters adapt to the progressing story. senku's book smarts are treated as a tool rather than a character trait.
Dr. Stone in general does a really good job of making a narrative in which EVERYONE has something to contribute. All of the characters have a specialty and none of them can function well as lone wolves, Senku included.
@@zoro115-s6b, exactly. Senku goes out of his way to point out how civilization only flourishes due to a wide array of talents being put to use.
Best sudden power up scene was Amphibia tbh-it was hinted at, never fully recognized, had clear results and tiny bursts, and then BAM
The Stormlight Archive by Brandon Sanderson does power ups exceptionally well. They're always tied to moments of character growth, in such a way that it seems uncertain if the character will ever get there, and it's really satisfying when they do.
Especially since there are moments when characters almost get the power boost but fail, or even get killed in the middle of acquiring the power boost.
-YOU CANNOT HAVE MY PAIN!!!
-I will protect those I hate. Even if the one I hate the most is myself
-The Sky and the winds are mine!
@@jackbaxter2223 exactly! The stakes feel real, we've seen it fail before.
@@yomiel9191 literally chills 😆
And it overlaps with so many points in the video. The bond is both internal, granted by an outside force, limited by a resource, and a test of character.