#adobsonartwork

For starters, by the time Dobson released the comic, he had already quite a bit of a reputation online for being a prick to other nerds. His infamous “West vs East” comic which he created “as a joke” to vent about the popularity of anime in the mid to late 2000s had been published three years prior and had, in combination with a lot of derogative journal entries and posts on deviantart and other pages, earned him the ire of many people. In addition, his failed or outright aborted “original” content had painted him as a quitter, who despite wanting all the fame someone could muster online, was not willing to put the necessary work in it.

Dobson was, for a lack of a better word, a bully among nerds who tried to use his platform to shame people for being “nerdier” than him or enjoying stuff he didn’t, while also playing the victim card for people not interested in purchasing his product or calling him out on his hypocrisies and flaws in opinions.

In that regard, Dobson was pretty much ahead of the curve to some “woke” companies. Insulting your customer and then being surprised when no one wants to buy your shit.

The other thing to be aware of, has to do with the history and popularity of Nintendo characters at least pre-1995 in America.

For the few not quite aware and as a quick reminder to everyone: Videogames back in the 80s and very early 90s (like 1990-92) did on average not necessarily have what we can call “complex” lore when it came to videogame stories and characters. At least not to a degree as we would get later in the mid-90s and onwards. Aside of (J)RPGs most games were simply focused on moving a character from one end of a level to the next and the story as to why we even bothered for Megaman to fight the Robo Masters and who the heck Dr. Wily was, was printed in the manual on a small page.

And Mario and Link were no exception to that. Mostly because they also had only very few genuine main titles under their name. By 1989, The Legend of Zelda had only two NES titles under its name, while Mario had (if we don’t account for non-jump n’run games in which he was shoved into because of his status as Nintendo’s mascot) the three main Mario Bros games for the NES, one game for the Game Boy, Mario Bros and the two Donkey Kong titles.

Lacking quite a bit in characterization game wise, Nintendo of America in order to sell the stuff had to partly make the characters appeal to the audience via localization done through merchandise and non-game related products. And early fans of these characters would obviously crave for it.

Enter The Super Mario Bros Super Show, a cartoon series produced on order of Nintendo of America by Haim Saban and DIC Enterprises (the same ones who would give us “The Adventures of Sonic the Hedgehog”, “Captain N” and “Inspector Gadget”) that ran from September 1989 till December of 1989. Using the first two Mario Bros games for the NES as basis for the character design of the show, the show itself had otherwise little to do with the games. Ignoring the live action segments, the actual animated episodes would have plots in which Mario, Luigi, Toad and Peach (the later going by the then American official name of Princess Toadstool) traveled into whatever territory and had to deal with Bowser (or King Koopa as he was known) in a plot that had elements of some book, movie or anything else to parody.

In addition the show would later have Legend of Zelda based animated segments, of which 13 were produced. Those featured Link living in Hyrule castle with a more active “power woman” Princess Zelda and a fairy companion named Sprite and the two having to deal with Ganon, who was more of a dark wizard than a warrior based demon.

Overall, the shows were not really all that great compared to other stuff that existed cartoon wise, with some aspects of the characters feeling jarring nowadays. But honestly, for the sake of this article, I watched some of them and frankly they were not that terrible. They were typical 80s cartoon fanfare, which among other things included some animation errors and dumb slapstick. Especially the Mario segments were very slapstick heavy and Mario and Luigi were mostly characterized by Luigi being a bit of a scaredy cat even before the games did show him like that, Mario being rougher than you would think and dumb jokes about Luigi and Mario loving pasta and other Italian dishes. Because you know, Italians are only known for their cuisine!

The Zelda segments also had a bit of an “odd” character dynamic imagined for Zelda and Link. Zelda was a bit of a jerkass commanding bitch and Link could be a horndog trying to always flirt with her or trying to get a kiss.

There is one moment in an episode for example, where Zelda sits on Links bed after just having stopped some condor from stealing a piece of the Triforce guarded in Link’s room. Right then Link enters the room, sees the Princess sitting there and immediately says “smooching time” and tries to jump her to make out.

Minute 3:15 – 3:20 more or less Yeah, I think Pepe le Hyrulian would not really sell well with more modern audiences and sensitivities.

All that said, I can understand people having a soft spot for the show and enjoying it unironically. It is just that I think most of them would also be intelligent and understanding enough to see, that these shows did NOT give the ultimate interpretation of who or what these characters and their games were. Truth be told, even back then those things weren’t really acknowledged by Nintendo. Sure, Nintendo of America may have given the okay to do those things. But in Japan, global headquarters gave more or less a rat’s ass about it. They were busy making the NES and Gameboy profitable and worked on Mario Bros 3.

Truth be told, the most “characterization” Mario even got in Japan at the time was as followed: Shigeru Miyamoto thought he should be Italian and from New York. The former because he “looked” Italian to him (as a result of the mustache), the later because Donkey Kong, the game Mario originated from, was inspired in part by King Kong and King Kong is set in New York. Mario didn’t even have a name originally, having been known by Jumpman once. The origin of his Mario name is, that after Minoru Arakawa (president of Nintendo of America at the time) got into an argument with a real estate developer named Mario Segale, who Arakawa owned rent money, the game developers decided to name the character Mario. Which may or may not have been meant as a “take that” against Mr. Segale. But if so, it’s one that backfired.

But I digress. Point of that entire elongated history lesson is, that Mario and Link were in terms of characterization mostly defined to some 80s kids, by their depiction in the American cartoon, which had however very little in common with what the games were about. It was e.g. the cartoon who popularized heavily the entire idea of the brothers being from Brooklyn and having been transported via a magic pipe into the Mushroom Kingdom, while in the actual games, such a backstory was never really given. As evident by even the actual American instruction manuals for Super Mario Bros 1 and 3 I checked out online for this. Look them up.

And again, most people, even the kids, could accept that the animated show and what the games were, differed.

Then came the 90s, and with more titles under their belt, Nintendo of Japan decided to flesh out their mascots more to increase their popularity, resulting in Mario, Link and others getting “official” personalities as shown by their behavior in games and not just the inofficial ones via non-canon foreign material. And again, most kids and people were okay with that. After all, the games were what really mattered to them in the long run. Plus I think that as long as the games would simply “capture” the spirit of whatever they liked in the characters iand games n the first place, they would be okay with it.

But not Andrew Dobson.

Born in 1981 and likely not owning a NES up until the cartoon aired, he jumped onto the show as an eight year old and became a fan of it. In fact he enjoyed the Zelda cartoon so much, even as an adult he would draw fanart about it

Nothing at all wrong with that in my opinion. You like something, you have the ability to create fan content for it, go for it.

But as we more or less already established via the Howard and Nester comic, Dobson was as a person dead set that only the thing he liked or was first exposed to counts and not whatever others thought. Something that supposedly may explain why he genuine hates Bowser Jr and Yoshi, as evident by these tweets made a few years after the Localization comic was made.

And yeah sorry, but how can one hate Yoshi? Yoshi is an adorable pet dinosaur you can ride. You know how many kids would have loved someone like that in their life? Gues if Yoshi was less into vore and more into inflation, Dobson would have liked him more.

Speaking of the comic -and to finally get back to it- even Dobson admitted years later that the entire point of it is to simply piss all over Nintendo and that he was annoyed that his “beloved” American continuity got erased in favor of the “dirty Japanese” one. Despite the fact that the Japanese one is, as he himself admits, official.

And boy does he take the piss on it. To the point I want to call him R. Kelly.

So lets dissect how his stand is just the typicla strawman affair, unfunny and at times quite frankly outright homophobic, sexist, hypocritical and racist.

First, the art. As always, it is just “great” to see the degree in animation being fully utilized here. No background but skyblue, everyone looking more like a doodle, the use of the fillbucket, the director having 5 fingers on his hand in the second panel, but four in the fifth, getting the numbers of fingers on Mario completely wrong, missing out on Peach in the last panel and so on… brilliant! How come Disney would not hire someone who could draw like that! Oh right, because standards. Though those have gotten quite low over the years

Every single person working on this needs to be blacklisted.

But of course, the true brilliance comes through the writing. Starting with the strawman executive coming off as if what he does is something new. That he is the “evil soulless corporation” who doesn’t care for his employees and creations true personality and forces them to fit into some mold for the audience to enjoy. The “audience” and consumers also being more or less indirectly insulted by the way Dobson presents the entire affair, as he seemingly wants to blame “those damn kids” for ruining his favorite childhood characters.

But Dobson, I thought you loved corporations hating on fans.

Then we come to what the characters are supposedly changed into.

(warning, upload of the comic for the third time, so you cna always see what I refer to)

First, Mario being no longer from Brooklyn and that he is supposedly an Italian stereotype. As a non American, I have to ask: Why is it so important that Mario has to be from Brooklyn? I get the feeling the only reason people like Dobson or Moviebob care about it, is because they want to deep down culturally appropriate the character. Assure he is in some way of American culture and doesn’t belong to some “dirty, foreign country”, even if they have to go for a compromise and make him a dirty half blood Wop. I mean, I will say this: Yes, Mario has an accent that is stereotypical. And? I take a stereotypical accent and being otherwise a determined but friendly everyday hero over him being stereotypically obsessed with pasta and no personality conveyed through his actions aside of being a bit mean and bossy to his brother, as was the case in that dang cartoon.

The thing here is, Dobson was genuinely convinced that Mario’s portrayal as given by Charles Martinet, Mario’s VA from the early 90s up until August of 2023, wasn’t just stereotypical, but also racist, harmful and culturally insensitive. Something he believed even back in 2017 and resulted in a minor twitter meltdown

Look, I will say this here: Yes, Martinet’s voice for Mario is kinda stereotypical. And I did my research. Unlike Martinet, Lou Albano, the original voice of Mario in the Mario Bros Super Show, was actually of Italian heritage. Born in 1933 in Rome, having immigrated to the USA shortly after he got baptized in the Vatican (you can’t get more Italian than that!), he certainly was more authentically Italian than Martinet, who was born in California. Heck, Martinet’s father is actually French and he spend more time in France in his youth than in America or Italy. The story of how Martinet got his gig as Mario is also well known and painted by a rather stereotypical joke involving Italian food.

But to paraphrase the twitter user Dobson argued with, I think that all things considered, Martinet gave Mario and all the other characters he voiced over the years just a certain warmth and fun to their personality with the way he delivered his lines, that he managed to convey and define the cartoonish true nature of Mario and Co for many generations to come. And even now that he has been retired from the role, he is still a name recognized for the character. A character no one, not even freaking nationalistic Italians, seem to have a problem with. So, mangia un cazzo, Dobson. You sound just like the assholes who tried to get rid of Speedy Gonzales and in doing so pissed off all of Mexico.

Next the way he talks about Peach. Okay first, the Popeye arms are again just something from the cartoons. Or at least he believes it cause…. Well

Does that look like Popeye arms?

Second, he is essentially saying that Princess Peach, unlike the cartoon version, is a bimbo. Why, because she is blonde and you have some sort of deep seated hatred for blond people? Also, Peach hasn’t fought with Mario together in really any NES videogame either, Dobson. Oh what, Mario Bros 2? Aka the reskinned version of Doki Doki Panic? The way he talks here about Princess Peach is just utterly sexist, as he essentially devalues Peach as a character, just because she plays a damsel in distress often times. Which doesn’t even necessarily mean, that she isn’t a badass in her own way, even in that role. I mean, she is still the sovereign ruler of an entire nation and in Super Princess Peach -which seems to be the game he references when it comes to her being “over emotionally”- she saves the day all on her own. Sure, she is emotional in the game, but the entire premise of the game is centered around everyone’s emotions going haywire along Vibe Island, including the villains. Bet Dobson hasn’t even played the game back in 2006 and just went off on some shitty rumor. Not to forget that this statement is utterly false. Peach has also been a great supporting character and fighter in games such as Super Mario RPG and Super Paper Mario, which were released BEFORE that comic. And nowadays she is also known as a great character in stuff like the Mario + Rabbids games plus she will get her own upcoming Princess Peach: Showtime game for the Switch. Lastly, let us not forget every game where, even if she played a damsel, was still important to the plot by defying the villain as best as she could. Not to forget the current movie, in which she still kicked ass while going out all in pink.

So, after he has been racist towards Italians indirectly as well as sexist towards women embracing their brand feminity (boy, don’t want to know how 2011 Dobson would have then reacted to the Barbie movie of 2023), let Dobson be judgmental about anime fangirls and also rather homophobic, by the way how he tries to tear down “modern” Link.

There are four things I hate the most about the Link panel, which make it frankly in my eyes the one where Dobson’s hatred and own nastiness really shine through.

First, the accusation that the “changes” to Link’s design past “Link’s Awakening” can be attributed to anime fangirls. Showing both his true hatred for women when they don’t fall in line with his views and his stuck up shitty opinion about anime fans and combining it with latent misogyny. Look, I have seen thirst anime fangirls myself a lot over my lifetime. But they were not the demographic to “ruin” Link. If anything, I think that the popularity of Cloud Strife in general with others may have slightly influenced Link’s design for Ocarina of Time. Which in itself also had been in development at least since spring of 1996, till its release in November of 1998. And even then, that is a stretch I came up with, cause in my opinion someone in the development team likely just thought “Hey, what if we move on from the more cartoony look of the late 80s and early 90s and try some “darker” fantasy elements, without going full Berserk?” And that is how we got Link in that game. Because of some developers trying to appeal design wise to a general audience, not just a random group of made up strawmen. You want to see games pandering to actual Yaoi fangirls aesthetically? Play Enzai or Twisted Wonderland.

Second, again his hatred towards blond people. I really would like to know where that comes from, because I doubt it was only related to some random bully in school being blond.

Third, the way he uses the word effeminate and describes post Ocarina of Time Link essentially as “nonthreatening”.

For starters, considering Link rams his sword into Ganon’s skull in Ocarina of Time and slashes away at many of his enemies, which is way more threatening and violent than just poking them with a stick in 2D overhead view, I wouldn’t really consider him “non threatening”. I like to call him and many of his future incarnations, badass as fuck. Even the cartoonish, childlike Link from the Wind Waker continuity, who didn’t just stab Ganon in the head, but put his sword in there for good. It also is kinda laughable how Dobson uses the word “non threatening” in a negative manner, seeing how over the years ever since he sucked off Steven Universe, he would whine on twitter and other social plattforms again and again how males in media are always resolving conflict only via violence and are not in tune with their emotions. In other words, he once considered being more or less pacifistic a negative trait.

Also, “effeminate”? Okay first, Link looks like this in Ocarina of Time…

What exactly looks “effeminate” about male Link here, or at least let’s say more “effeminate” than for example in a character like this?

Second, we all know that if Link all off sudden looked more like Guts from Berserk or the protagonist of DarkSoul (you know, more “manly”), Dobson would throw enough of a hissy fit, he would likely come back from his sabbath and whine how Nintendo is embracing toxic masculine traits in his characters. All while also blaming PS3 games for some reason for that.

Third, how exactly would Dobson define effeminate here? I mean, the term is already defined as being derogatory, the most common definition I found by Merriam-Webter online being as followed

Effeminate: having feminine qualities untypical of a man : not manly in appearance or manner

Effeminate: marked by an unbecoming delicacy or overrefinement

So, Andrew “I hate all men” Dobson, has a problem with a character not being “typical” or stereotypical manly male? The same guy who praised the She-Ra reboot for its portrayal of Bow and fucking worships that fat fuck below as one of the best protagonists in a cartoon of the last decade…

Has actually deep down a problem with people embracing more female interests, qualities or just looking more feminine in appearance, even though the later may not be by choice but rather genetics? All while also having the audacity to say then this years later?

I find this just genuinely hate- and hurtful. Not just a simple complaint about a design choice regarding his supposed favorite fantasy game hero, but a “deep cut” towards people who just enjoy things not considered “stereotypically manly” or may feel not comfortable falling in line with gender expectations. I mean, what? Is a man now supposedly not manly in Dobson’s eyes because they like musicals, sweets are capable of showing empathy and other emotions or like to dress up in certain ways or take care of their appearance?

It is just disgusting to me, because I know people, both male and female, who had to deal with bullying and name calling a lot simple because they didn’t quite fall in line with expectations by others or struggle with their own identity partly because of expectations vs reality. And as evident by THIS comment TheHypocrisyofAndrewDobson received once it isn’t just “a joke” to people genuinely affected by that sort of mentality. And again, this derogatory use of the world and complaint towards “modern” Link comes from someone who years later would whine about toxic masculinity, put women on pedestals even if they are abusive, likely jerked it off to Link in Gerudo gear following Breath of the Wild and in the biggest ironic “twist”, loves the cartoon incarnation of Link, whose catchphrase is “Excuse me, Princess” and needs a restraining order as much as Warner Bros gave Pepe lePew.

And to finish this panel off (yes, we are still not at Samus), of course the next complain is how Zelda and Link are “no longer love interests” … now I apologize in advance towards any moderate shipper out here, but I am going full snarker mode now for this part. Okay?

Dobson… the fact that you cared so much about shipping two fictional characters in a series of children games, for a console primarily played by kids, while you were being in your 20s and above is pathetic as shit. I know that you have no one in life who genuinely loves you, because among other things you are incapable of either feeling or identifying true love while also being a selfish little shit, but to be so thirsty for affection that you project that need on some pieces of data or lines of color, makes you a bigger loser in my book than any republican who lost the primary against Donald Trump in 2015. The fact that you look at a piece of fiction and your immediate thought is “oohh, these two characters together would look very cute hugging, kissing and doing things I touch myself to at night”, while things such as plot progression and character development likely play second, third or fourth fiddle, only confirms to me that shippers (at least the once acting like you in that regard and other fields) are a fucking blight on any fandom and the world at large.

Now with that shit vented, I once again apologize for going that far, even for “comedic purpose” towards the people who actually can recognize when they go just a bit too far with shipping. But this isn’t just annoying in regard to this comic, it is annoying with Dobson in general. If you are even remotely aware of how he treats the LGBT subject for real as well as what he truly enjoys about Legend of Korra and Miraculous Ladybug, you know he is thirstier than someone stranded in the Gobi desert. Just look at his pic of Zelda and Linkle he made in honour of Hyrule Warriors.

I can kinda taste his urge to touch himself there.

To me it is just dumb to define any story out there and the characters in it by simply “are they getting together or not” because romance to me in storytelling is an additional flavor, not the main ingredient. It is one reason I really do not like Miraculous Ladybug for example. And the fact that Dobson seems to define Legend of Zelda a lot as a franchise by the “shipping potential” of Link and Zelda as implied by that panel, irks me in all the wrong ways.

I mean, for the most part the appeal of the Zelda games isn’t the “romance” between the two, it is traversing the land of Hyrule and saving it from evil while going on a big adventure. And let us be real here, Link and Zelda weren’t really an item pre-Ocarina of Time either. In the NES and SNES games they were essentially strangers to each other, with one filling the role of damsel in distress even a bit harder than Peach did. After all, Peach may be a princess, but she actually rules her kingdom. Zelda on the other hand is daddy’s little girl in those and other games post 1998. And the relationship they had in the cartoon, the one Dobson likes to call a “may they, won’t they” thing is in my opinion not cute, but toxic. She is a demanding bitch that calls him names at times, he is a horndog who needs a lecture by Sexual Harassment Panda and none of them improves character wise over the show.

What a misogynistic piece of shit

There is a reason I consider Tetra, Zelda from Skyward Sword and the “Wild” Zelda the better interests, because not only do Link and Zelda here have better chemistry and are both nicer and more respectful to each other in a manner, they also support each other in very heroic ways. I mean, Zelda in Tears of the Kingdom willingly sacrificed her own conscious just so Link can have a shot at defeating Ganon and saving Hyrule in the future, while Link wants to do everything to save his friend. If that isn’t impactful, tragic and has so much romantic potential, I don’t know what else would count.

But hey, supposedly the cartoon is better. And the 365 Days Trilogy is a great love story with no unfortunate implications involving sexual relationships and abuse. *snark*

And then it is Samus turn. And I really have to wonder, if Dobson ever even played a Metroid Game before Other M anyway, as he hates games with scary elements and FPS.

Aside of once again whining about changing the hair color (Dobson seems to be something of a reverse Aryan enthusiast), he acts as if the addition of the Zero Suit in Metroid was a cardinal sin and “sexist crap”, to entice more men to playing her game.

Okay… for starters, the Metroid games were already enjoyed by a huge male demographic long before that or before even Metroid Prime. Samus wasn’t a “played by females thirsty for representation” only character, as that comic seems to imply. She was considered a female badass hero from the moment she first appeared and her design is deliberately inspired by Ripley from Alien. And skimpy? Again, Dobson doesn’t seem to know what certain words mean. Skimpy would be when the outfit would show more off her skin or was barely there. This is a skintight jumpsuit, that also has a function in the game as a less movement restricting suit compared to Samus armor. Heck, just watch this video, that guy gives some decent explanation on the suit itself.

And yeah, I can agree that in certain cutscenes more so than the actual game, it does put quite a bit of emphasize on Samus “attributes” so to speak. But are we really trying to insinuate that the Zero Jumpsuit is more sexist than the character stripping off to her underwear as was the bonus ending content of the initial Metroid games?

And if the issue is that the skinsuit makes Samus more “sexy” and that Dobson does not want to see sexy characters in Nintendo games…

He should reevaluate the fact that he enjoyed the above later.

There is also this little tweet I found after the fact, Dosbon would make later in 2015, where he actually more or less confirms the idea, that he thinks the Japanese only care for Samus in a “sexy skintight” manner, by making this dumbass “joke” comparison

Ignoring the fact btw, that the pic on the left was drawn by Samus original designer Hiroji Kiyotake. Again, Dobson trying to discredit the Japanese. And don't get me even started that he enjoys Other M or takes more offense to the shoedesign of Samus in Smash Bros than anything

Finally, and to wrap this thing up, we reach the final panel, showing the executive declaring that the “old” stuff shall from now on be brushed off like Dobson tried to brush off his fetish artist days, all while the “new and improved, but truly despicable” pretenders of his favorite childhood heroes are behind him. Mario lobotomized to say MAMA MIA while his eyes look like he is possessed by the retardation of Talus, Link being a “silly girl who makes silly movements with her hands and likely just wants to hang out with cute boys”, while Samus looks pissed and just wishes she was in something less degrading for her than this comic. Like Other M.

Honestly, this comic just stinks of loser entitlement and as stated prior, toxic nostalgia. Dobson has never really been a creator of decent stuff, only a consumer who demands the next product as soon as he hungers for it and will be utterly judgemental to petty and spiteful degrees, when he doesn’t get what he wants or suddenly thinks he sees something “problematic” to it. And to him, already the fact that stylistic choices and aesthetics changed over time, a natural progression of things if you ask me, is “problematic” in his eyes. Dobson would have rather had for Zelda, Link, Mario, Samus and Co to be undefined postholders he could have projected himself on, or outdated 80s stereotypes and toxic men, because that is the first thing he was ever exposed to when it came to those characters. Why not go even further, Dobson? Erase the Switch, the Wii and any other game console post 1989 from history, so that gaming itself never evolves past the 8-Bit era. Let’s destroy Pokemon, God of War, Kirby, Sonic and many other franchises and characters, because they are not the “true heroes of the Golden Age of gaming”. Let’s see how you will like that, when they come for your beloved Skyrim.

Bottom line, Dobson is a nostalgic pig, stuck in a past he looks at through rose tainted, grease covered glasses and this comic more than anything written before and after that embodies the mentality quite as well. And even though he tried to play it off as a joke, anyone with half a brain saw through what it was really about. And they made Dobson know, partly through less words than I used here, why they thought his opinion and by extension he, sucked.

Dobson wasn’t just playing the overzealous Nintendo fan for shit and giggles. He was, this overzealous, almost destructive and utterly disrespectful fan, who believed in the superiority of his favorite childhood toy over the consoles of others, even if that included pissing off his own “kin” or accussing Nintendo of being problematic dirty foreigners. Just look at anything he would type in regard of Super Smash Bros for the Switch, like how pissed he was at the fact he had to put effort into getting his favorite character to play as. Essentially insinuating, the game and people enjoying it were crap, just because he was biased towards fighting games to begin with. And look, being critical of aspects of a game, is one thing. But some of the things Dobson found to complain about? Pathetic, childish and utterly irrelevant in the bigger picture of anything

I want to punch him in the throat for this voice alone...

And if you think Dobson being an opinionated Nintendo fanboy is cringe, wait till we get to him being an opinionated PS3 hater.

Let me explain.

First, over the course of three panels, Dobson comes essentially off like he is considering the medium of comics as inferior to the medium of movies. Making it look as if comics are unsuccessful because they cannot rail in the same amount of money than certain flics and calling them at best nothing more but a pitching ground for corporations to create new shallow mass product.

Now I am a bit of a realist and I know that, especially in the world of mainstream American superhero comics, this is kinda the case. Most comic book characters, stories and franchises are owned by multibillion dollar corporations, who either have a direct hand in the creation of the product (via corporate mandate for example) and/or use the likeness of the product to make profit in additional, more valuable revenues than the printed medium. Such as cartoons, merchandise and movies. One example I can think of, to show that it isn’t just an American issue: Yugioh. The card game wouldn’t have come to be if there hadn’t been a manga starring a little boy putting together an ancient Egyptian puzzle, but while the original manga ended way back in March of 2004, the card game makes millions globally still after 25 years and counting.

But that doesn’t change the fact, that comics as a medium still have value. Without the stories told within their pages, we wouldn’t have characters such as Captain America, Superman, the Mask, the Ninja Turtles and so on to begin with. Don’t get me even started on stories that aren’t falling into the American mainstream comic trend, but still succeeded in the printed comic medium partly because of genuine artistic and profound value such as Maus, Barefoot Gen, Watchmen, V for Vendetta, TinTin and a shitton of (other) stuff from Europe and Asia.

So when Dobson, who always acted like he is proud to be a cartoonist and that comics are a superior medium to others, suddenly reduces them to just being a “pitch ground for better stuff down the line” at best, I as a fan of the medium and just the art of creating stories in itself, get kinda pissed.

Additionally, the way how he compares movies to be better than comics, is severely flawed.

He brings up the fact, that “Captain America: Civil War” made over one billion dollars at the box office as an example, while pointing out the fact, that most single comic issues barely manage to sell 100.000 copies, while holding up a copypasted “Civil War” issue.

Already, Dobson essentially compares apples with bananas, while also giving both false and incomparable data, that also ignores many aspects to be considered.

For starters: He compares the earnings of both movies and comics with two different values. For movies, he goes by the monetary profit a superhero movie could possibly make, while for the comic issue, he goes by the total number of copies sold.

But here is the thing: Assuming the average selling price of a comic is at 4 dollars for a single 30 page issue, selling 100.000 copies would ring in like 400.000 dollars. And considering that producing one issue likely costs a company less than 20.000 dollars (obvious costs for mass production and distribution not withstanding) they can still make a decent profit this way from ONE issue alone. One issue. Not multiple issues of a long running, but sadly underperforming series. All of that by the way doesn’t even account for the fact, that most single issues at best tell only a quarter of a decent short story nowadays and ignores later “long term” factors, such as reprints of the issue, late term buying of the issue, tradepaperback sells of the issue, the longterm effect and cultural impact the issue may have on the actual series or plot continuity  (such as Amazing Spiderman 122, aka “The Night Gwen Stacy Died”). Don’t get me even started on the fact, that many of these issues get first sold in the US and only over the course of one year or longer may then additionally be sold in other parts of the world, therefore bringing in even more money for the publisher.

Example: The Duck comics by Don Rosa, which earn more than four times more in Europe, than they ever did in America, despite the guy being from California. Finally, a a little add addendum: that example Dobson gives indirectly via the “Civil War” issue? A quick google search revealed, that Civil War issue 1 sold over 300k copies in May of 2006 alone. Sure, not necessarily the best numbers ever for a single issue (as evident by the following list: https://bookriot.com/bestselling-comics-of-all-time/ )but still nothing to be ashamed of.

And yes, I know that we live currently in a time, where comic book sells have dropped significantly for a variety of reasons, one of them being an overall lack of decent stories. But as long as other stuff still manages to run freaking circles around American superheroes (*cough* One Piece *cough*) I wouldn’t say the medium itself is dead. Just a specific branch of it is suffering from a lack of quality and the customers are jumping ship.

A superhere movie meanwhile is a completely different beast. Ever since “The Avengers” came out in 2012, most superhero movies are 150-250 million dollar behemoths, that get overhyped by advertisement campaigns that are almost equally as expensive and try to trick the audience into believing, that they all are somehow the next big mindblowing thing on the big screen. Plus there hasn’t really been a superhero movie in the last 10+ years, that didn’t release simultaneously worldwide, instead of only coming out in the USA, and then a few months later, in other parts of the world.

So is it any wonder then, if a superhero movie that got advertised like the second coming of a saint, makes 1 billion, when there are already billions of potential customers worldwide all at once when the product launches?

That number btw becomes actually less impressive, once you start to think about how it came to be. Something our blue bear obviously didn’t.

See, on average every movie theater demands like what, 12-14 dollars per movie nowdays?

If we divide the box office of Civil war (1.152 billion btw) with 12 dollars, that makes on average 100 million people worldwide who watched the movie. A bit more than one or two percent of the worlds population. Not to forget, that of the box office success we have to substract such things as production cost of the movie, advertisement, the earnings of the theaters… so suddenly the movie may at best have had only earned one quarter of its box office for Disney as actual profit.

Not to forget, Dobson made that comic in 2018, when superhero movies on average did ring in so much money, because of the hype machine. But now we have 2023 and within the last five years (and especially 2023 itself) we have seen how superhero movies can also utterly fail to make money or even earn just enough to make back the production cost. Birds of Prey, Eternals, Ant Man 3, that Secret Invasion streaming show that still cost over 200 million… Do I need to get on?

Bottom line, Dobson’s indirect jab at comics as the less profitable revenue doesn’t hold that much water really in the real world, where once the hype dies down, comics may actually prove themselves as the more valuable longterm medium. Even if it may just be for the fact, that they end up staying longer relevant in the popcultural subconscious than the current movies, which tend to lose relevance with each new hastily produced and released installment in the franchise.

But where this comic really shines and shows Dobson’s ignorance on a cultural level, is in the last panel. When all off sudden it turns “racial” by claiming that Asian people, unlike “traditional” comic readers (aka white, in Dobbear s eyes therefore instantly racist people), would eat a Marvel character like Amadeus Cho up.

Question Dobson: Why do you assume, they would eat him up? You give no real argument based on anything the character does storywise, that the “target audience” may find admirable. So I can only think, that your reasoning is, because he is ever so slightly east asian coded.

Boy, do we have to unpack not just a can of worms, but a whole package of cans now.

First, the chosen language by saying “eat it up”. When being a writer, you should know that you need at times to choose your words wisely, because of the sheer implications they can carry. And the statement “eat it up” sounds way to close to a negative statement like “suck it up”. Making it come off as if Dobson considers Asian people to be mindless cattle that will consume the grub the House of Mouse will give them without question or any desire for actual quality to it.

Second, it recks of a certain mind set I hate within the American entertainment industry and some of its creators and consumers. That mind set being, that “non-traditional” American cultures supposedly don’t know better than Americans in what is okay for the sake of representation and entertainment or not. It’s a mindset that goes beyond the necessity of e.g. localizing a foreign product to the national market, by e.g. creating a sterilized, corporately mandated and rather unrealistic depiction of another culture within their product, that will fall apart as soon as the people who are supposed to be represented get a proper look at it and realize, how pandering and often times badly researched, if not outright offensive, it is.

Only recently did we see in the world of animation how that can backfire, when Disney released the trailer for “Primos” an upcoming animated show supposedly about a half Latina girl spending her summer vacation with her annoying cousins, people calling it based on the intro (and a leaked pilot) pandering towards a latino audience in a racist manner. And guess what: currently, Disney shelves it and tries to bury its existence like Dobson his old inflation art.

Dobson himself has actually indulged in that sort of shit kinda, back with his infamous Nintendo comic.

Essentially calling the “true”, Nintendo corporation approved depiction of his childhood Nintendo heroes disgraceful, for not falling in line with the late 80s depictions he saw in localized, made in America products such as the DiC cartoons. That and minor homophobia mixed with misogyny by calling Link “girly” for having longer blond hair since Ocarina of Time and blaming fangirls for it.

Third, and that is kinda related to my prior point, the reality of things is, that “Asians” actually did not eat up that sort of thing in the last couple of years. Sure, there is always that thing about a Chinese market. the big movie companies try to pander to and may succeed with some dumb action flics featuring big robots.

But the reality is, that not even people living in a dictatorship will eat up every trash you give to them, just because it comes from Hollywood or is supported by their glorious leadership. Disney tried to create two pandering messes of movies for Chinese people to watch, called Mulan (the live action adaptation) and that Shang Chi movie. And how did they do there? Oh right! The government did not even allow Shang Chi to be released and Mulan was released but supposedly didn’t do so well, considering (COVID not withstanding) it only made 70 million globally!

Don’t get me even started on every human right controversy in relation to the later, starting with filming in China near a concentration camp and ending with the main actress being essentially a Chinese propaganda puppet.

So, if those movies flopped, why would Chinese people for example flock for an Asian Hulk? A hulk that is not even Chinese but Korean.

See, this is another issue that fails with the example: The actual choice of character Dobson name dropped is actually kinda terrible.

For those unaware: Amadeus Cho is a supporting character in the Marvel comics, created in 2005 by American writer Greg Pak and artist Takeshi Miyazawa. The later, despite the name being very east Asian, sounding, actually being from Canada. Now both do have east Asian roots so to speak (Pak  e.g. is the son of an Korean-american man with a Caucasian woman), but they also have grown up within a society that taught them both western social values more so than we would see in east Asian countries. So with the creators already not necessarily having the most real life experience with the average mindset of a Korean citizen, can we really say that their actual creation helps “represent” those people of a foreign, non-american culture?

And that is not even covering stuff like the actual story of the character itself.

See, in the comics, Cho is supposed to be an American-Korean genius (wish fullfillment much, Greg?) and one of the smartest people in the Marvel Universe. His parents named him after Amadeus Mozart (a pretty white motherfucker as far as I remember) and he grew up under Methodist beliefs. So basically the “Korean heritage” of the character has already been thrown out of the window. Now I don’t expect the character to act stereotypical Korean, listen to K-pop, declare bulgogi to be his favorite dish or any of that shit. But when you want to sell me the character as being in some way or another connected to his ancestral culture, shouldn’t he engage at least in some “Korean coded” things?

I mean, the character of Anne Boonchuy in Amphibia is a Thai-American who acts more like a 13 year old girl that learns to be less selfish and impulsive over the course of the show and whose “heritage” isn’t thrown at us, the viewer, most of the time. In fact, Anne herself acknowledges that she e.g. can’t really speak thai, despite her own mother being fluent in it and a season 3 episode reveals, that Anne is “begrudgingly” a part of the L.A. thai community. And yet, in connection to the shows story and as part of Anne’s characterization, her heritage is acknowledged and plays a part of who she is. Even if it simply means she knows how to cook certain thai dishes, loves her parents and their customs, helps out in their restaurant, can speak a few words thai and knows the basics of Muay Thai, a form of martial arts (and fighting sport) from Thailand.

Amadeus doesn’t even have Korean parents anymore, because they were killed as part of his tragic hero backstory. Nor has he ever visited an Asian country. Oppps.

To build further up on it, Amadeus becomes for the longest time simply a major supporting character in the Marvel universe for the likes of Hulk and Hercules, two white coded characters. Sure, he plays a major role in the defeat of some cosmic horror level villains (such as Mikaboshi in the Chaos God storyline most people forgot even existed) but it takes a long time for him to become a “A-lister” so to speak.

In fact, according to Wikipedia, it wasn’t till after “Secret Wars” in 2016 (eleven years after the character was created), that Amadeus thanks to a chain of events eventually got his chance to Hulk out. And then they still had to kill Bruce Banner to make Amadeus “stand out” initially (don’t worry, Bruce came back. I mean, characters actually staying dead in comics, so that heroes can learn there are consequences? Preposterous) In fact, Amadeus hasn’t really proven himself as a decent “solo” act. Instead he became a member of the Champions (among Miles Morales, Mrs. Marvel, Vision’s daughter Viv. Nova and Cyclops), essentially creating yet another superhero team for teenaged vigilantes. Despite the fact, Cho himself should be by now in his mid 20s.

Now look, I do not want to shit talk the character. Partly because I haven’t read everything he was in myself and partly because in the few things I did see him in (both pre- and post Hulk) he was okay. He is a decent hero and person, who tries to do good, even if he screws up here and there. That is something I can admire in a character in general. But he is not a good “representation” of another culture, because his complexion and minor physical features aside, he is NOT embodying even minor values or traditions of that foreign culture. He is simply a Korean-American (or technically Canadian), who falls more on the American side of things.

So essentially, Dobson who virtue signaled on multiple occasions how bad it is when companies he didn’t like tried to speak on behalf of other cultures, would have no problem at all to ask for Asian people to swallow this obviously “Made in American” product. The “Made in America” line actually working both on a metaphorical and a storytelling level, cause trying to google what “east Asian coded” heroes in the Marvel Universe actually come from an Asian country instead of being simply born on American soil, is pretty damn small.

After 20 minutes I only found Shang Chi, as he was born in China, and that character was created as part of kung-fu exploitation in the 70s by white dudes.

Yaiks

However, none of that tops the next two points that really sell Dobson to me as an American centralistic racist. Or at least a twat who doesn’t understand how through bad wording he comes of as ignorant of other people’s cultures.

The way he generalizes Asian people in his statement, while also ignoring the actual accomplishments in the creation of entertainment in multiple Asian countries.

If you’ve read closely what I typed, you may have seen that I used the term Asian at times in tandem with the term “east Asian” to e.g. describe Amadeus Cho.

And that had a very deliberate reason. While I was not a fan of geography in school, even I know that Asia as a continent is not “nationally” as homogenous as let’s say Australia or North America. In fact, Asia is the biggest continent on the planet, hosts more than half of earth’s population and consists of at least 47 internationally acknowledged states.

States such as Turkey, Russia, Afghanistan, Pakistan, India, China, Japan, Malaysia, Thailand, Vietnam, North- and South Korea, Egypt, Israel, Iraq, Iran and so on.

Now what all these states have in common, is that they have their own unique historical, social and “racial” culture and background. Heck, religiously speaking, Asia is the cradle of the world.

As such, Dobson stating that a “Korean coded” character such as Amadeus Cho (who is only Korean on the most surface level and would technically just be a legacy character of yet another white person) would be an immediate hulk smash hit with all these different people of different backgrounds…. Yeah, it sounds like condescending, colonization inspired shit, a smooth brain would come up with.

To Dobson “Asia”, at least based on that comic, is only defined as the “yellow skinned” people from the far east, who like rice, noodles, spicy food and give us anime, Godzilla, fireworks, buddhism and communism. It does not include anyone from the middle east or of more European ancestry. And if you are even remotely familiar about history, you would also know that Japanese, Koreans and Chinese all around do not e.g. like to be thrown into a pot with the others for a variety of reasons. Many of them political.

Or to sum it up even shorter: Dobson insinuated that a very shallow, “east Asian” coded American comic character would be an immediate hit with more than 47 different countries, ignoring that not all of them share the same background despite being part of the “same” landmass. And in doing so, he simultaneously generalized and denounced entire groups of people based on their racial and cultural background, which in as far as I am aware of, is considered racist.

But the “racism” is supposedly justified, because “representation” matters, it would be giving the middle finger to “traditional” comic fans and those nations and their culture are underrepresented globally.

Which is baloney.

Don’t get me wrong, I myself think that representation does matter. But the world does not necessarily rely on the good old US-Ayy only to give it to us.

Cause a lot of the Asian nations I brought up here? They have their own entertainment industry and stories, which again, get ignored by Dobson to make a dumb and false point.

I mean, manga is currently dominating the international comic market, all while Japan has also a booming animation industry and some of the most iconic heroes in modern popculture with the likes of Son Goku, Kamen Rider, Super Sentai etc.

China has a prominent -if propaganda driven- movie industry.

India has Bollywood and delivers some of the most ridiculous but awesome musical movies on the planet.

Russia had authors such as Tolstoy and movie directors, that redefined the “art” of filmmaking.

Korea had a few years ago one of the biggest streaming hits with Squid Game, while also earning an Oscar for a movie titled Dobs- I mean “Parasite”.

Egypt, Iran, Iraq, Turkey… even nations that have not entertainment living up to “western standards” still produce stuff in some way or form to entertain the masses and their people. Just google up the character Kara Murat aka the avenger of Anatolia.

And don’t get me even started on the sheer ton of mythology, stories and history each of their cultures have provided the world with. Journey to the West? Baba Yaga, the entirety of the Gilgamesh epos...

Now being from Europe, I myself didn’t even know of the “Elf on the Shelf” until I saw this comic. Though a quick google search made me realize, why that was: The entire idea of putting an elf doll on the shelf to “watch over the kid” wasn’t even a thing until a children book came out in 2004, that promoted the idea. The real take off of the Elf being around the first half of the 2010s and since then having managed to creep its way into the popcultural subconscious.

Yeah, if you can’t tell, I am not really a fan of that thing, based on the designs I saw. Also the idea of “surveilling” your children to see if they are naughty or nice feels rather creepy. And I grew up in a culture that accepts the idea of good old Saint Nicolas and his henchman Rudolph/Krampus putting the bad ones into their place via spanking or worse.

However, Dobson managed to make the concept even creepier by virtue of relating it to a masturbation punchline. Which in turn makes you just ponder, what the heck is wrong with Dobson?

So, let us just dissect this thing quick, before it sours any positive Christmas mood.

First, Dobson supposedly did the comic, because in his opinion the “Elf on the Shelf” sends a strange message to kids…

And to be fair, a lot of kids seemingly hate the creepy little doll and “experts” have called it out at being psychologically damaging. Going so far as to say the toy “normalizes” the concept of constant surveillance and that it would be okay. Which personally I think is a bit of a stretch, but not entirely inaccurate also. So making fun of the concept of the doll, totally okay with me. Heck, Teen Titans Go did an entire episode mocking the thing.

But Dobson’s attempt of making fun of it, just crosses into genuine creeper territory, for one simple reason: Sexualization of minors.

Look, I don’t believe Dobson is a pedophile -though his poor choice of wordings on twitter posts and certain aspects of art pieces can give the impression- and the situation Dobson shows in the comic is not explicitly pornographic. After all, we don’t see the kid like buttass naked pumping the bike pump while the elf stares. I now give you five minutes to hopefully delete that mental image with enough eggnog at your disposal.

But it still turns “sexual”…

An implication that is not very subtle for a couple of reasons.

First, the person asked and thinking back to the Christmas tradition is a male stripper. A job in the sex works. By the way, respect for people in that job (independent of the sex) for being able to work without feeling objectified (or too much) and managing to keep a decent body shape. Hope also for your safety out there.

Which I am not just saying because Dobson incidentally tries to mock male strippers in the comic in my opinion. After all, we all know Dobson hates men. And when men aren’t some MRA morons or fat misanthropic nerds, they can’t be anything but dumb male himbos or potentially depraved homosexuals who got kinky by perverting a Christmas children tradition.

Yeah, I am stretching here a bit, but we are talking about Dobson. The guy was always more than open to the idea of making gay men the butt of some joke in Alex ze Pirate.

Am I really supposed to believe he changed that attitude?

But back to the comic. The second reason why obvious the entire thing has sexual undertones as punchline… just look at that face

That is the face of someone masturbating under the blanket. The sultry eyes, the blush on his face, one hand under the cover while the other is above, bitting his lip… if that thing were animated, I bet the kid would be moaning and I could report Dobson to some authority.

And yeah, that is really what the entire creepiness of the comic boils down too. The face of the kid that leaves no other room for interpretation except “a sex pun, based on a “Christmas tradition” targeted at really small kids. With the final panel feeling like Dobson likely had a good laugh at his “joke”, thinking others would react the same.

Well, the reaction doesn’t seem to have been what Dobson hoped for, cause he would later release the following tweet.

Two things to that: First, I think the reason people were “confused” Dobson (confused likely means here, asked him if he is a pedo), was that they kinda didn’t want to think you were going into that “sexualized” territory because that would raise more red flags than you obsessing over KorraSami. And would have also felt rather out of character for you, cause of how prudish you become at the subject of sexualization.

Second, accusing others of lacking imagination and that therefore little things like that comic stump them. Dobbitch, I have read every major comic you ever made, if anyone lacks imagination, it is you. Your mental capacity for imagining stuff is lower than of a braindead person in a coma. And the fact that a self declared “child friendly” webartist focuses most of the time on the punchline “character X is thirsty”…

even if the character in question is underaged, makes me think you are enjoying Belgian porn on the sideline.

Overall, the comic is just creepy. But not in the way that it makes the doll itself creepy and therefore the butt of the joke. Rather it makes the artist behind the comic creepy, because he tries to imagine a scenario where that thing causes someone to spring their first boner.

The sad thing being, Dobson could have easily made the comic creepier and funnier at the same time, fi he just had put the focus of the comic on the puppet and not the kid. For example, of all the things in the world, I think Family Guy could make the joke of a creepy elf puppet work, if it played out like that: Lois puts an elf on the shelf for every kid in the house, including Chris.

Chris goes to bed, camera focuses on him, turning around, the puppet is cut off from you.

Chris says “good night”  to the elf.

Zoom out to show the shelf, now it is Herbert the creepy neighbour in an elf costume on the shelf saying “Night, Chris”

I unfortunately agree with Dobson partly, that fan theorizing can at times go WAY too far. I myself have no issues with theorizing a little or playing with ideas of how a certain story could play out in the end. But I think there is a difference between looking at some little things, trends and recurring themes in a story and making a throwaway assumption like “oh yeah, that could happen down the line” and making a 40+ minute rant video on perhaps one little background thing blown out of proportion.

I also genuinely despise “review” channels such as The Roundtable or Film Theory for making clickbait videos based on dumb fan theories that they try to exploit for views, while actually not contributing anything of substance or of their own to the debate or elaborate on the craft of animation and storytelling. Being more of trend chasers than anything else.

That said, I think fans theorizing about stuff is an integral part of fan culture and can be fun. It can e.g. inspire people to create their own stories/fanwork based on such theories. Such as this actually pretty decent piece of Miraculous Ladybug fanart, that Thomas Astruc even liked and shared on twitter and blows everything Dobson did for the show out of the water.

Plus, even as Dobson kinda admits, some shows and stories are deliberately made to “reward” fans for their theories.

However, already in the way Dobson formulates that, he is making a mistake.

See, these shows aren’t “rewarding” people per se for their theories. They simply confirm that the fans may have successfully cracked completely (or at least partly) an aspect of the story’s integral mystery/plot, at times left intentionally by the show creators themselves.

Just to give an example: Hunter’s nature as a Grimwalker in the Owl House.

Hunter aka “The golden Guard” was first introduced in the last episode of the first season of the Owl House, face still completely covered. Then later episodes not only revealed his face, but also his name and that he was supposedly Belos nephew. Something that already raised a few eyebrows for people, cause Belos was not only confirmed in the show to be at least over 50 years old, but some couldn’t image that a character falling into the classical evil overlord archetype, could really have a “nephew” as young as Hunter. And then in the episode Eclipse Lake, which starts off in Belos secret lab with a shot of some items on the ground, people saw this:

A page of a book, indicating to be an instruction on how to create an artificial human, with mentioning of a creature introduced and seen earlier in the season (in the proper debut episode of the Golden Guard nonetheless) and with the human creatures eyes in the book implied to have the same color as Hunters.

As such, the theory of Hunter being an artificial human was born and later on, got properly confirmed through dialogue and other visual revelations in the story.

Sometimes, storytellers (particularly once who want to craft a decent mystery or overarching narrative) will just leave little clues in their creation, for people to theorize about and to assure they are getting further invested in the story. The reason for that ranging from the author trying to tell a decent mystery without having to pull the revelations completely out of their ass (unlike Dobson in the story with Sam and his dead sister!) or revealing too much all at once, to just having fun with fans and sometimes also simply because they want to add something to the story, even if by that point in time they may not have yet entirely in mind what that something is going to be.

Such as Rebecca Sugar actually throwing the term “Cluster” around in Steven Universe, before even having an idea what it was supposed to mean in context of the story.

So in that regard, fan theories are just attempts to explain stuff the show runners may already have in mind to be important anyway and therefore different from lets say someone obsessing over background colours being symbolic of gay relationships for example

But now back to the two comics. The first one, showing us a weird expy of Bill Cipher with a card exclaiming “Adrien is a Sentimonster”, may be kinda confusing, so here is a bit of context: Dobson tries to poke fun at the “Adrien is a Sentimonster” theory of the Ladybug fandom, by having the “subject” of another, extremely niche fan theory claim it is baseless and wild. That “subject” is Tad Strange. Now if you are only familiar with the show Gravity Falls, you would know that Tad Strange is that guy…

the most average, boring person in all of Gravity Falls, part of an almost Family Guy level cutaway gag in one episode of Gravity Falls. But supposedly (I at least never saw it), when the name was first mentioned somewhere by Hirsch long before the episode introducing Tad properly aired, people came up with the theory that “Tad Strange” may be a secondary villain akin to Bill Cipher, if not even a relative to him. And that is what Dobson tries to mock here. I say “try” cause honestly, who would even get the idea of what sort of joke Dobson tries to tell, if they aren’t familiar with the theory. A theory that was so niche, Dobson would have to explain the intention of the comic somewhere down the line even.

And to quote the Joker…

Furthermore, while the theory of “Adrien is a sentimonster” was kinda wild after only introducing the fact that even humanoid, sentient creatures could be created by the power of the Peacock Miraculous (in the episode simply called “Ladybug”) recently to that comic being made, it wasn’t really that wild when people thought about it.

After all, Ladybug at its core was still a magical girl show. And them doing twists like that (such as Chibiusa being Sailor Moon’s daughter from the future, Galaxia being the original first Sailor Senshi, Witches being corrupted Magical Girls etc) was not necessarily unheard off.

Though Dobson, when told it could still be a possibility, not only would act rather condescending, but furthermore went on to also piss against Ladybug’s leg, by stating “the show’s writing is not good enough to pull that off”. Which okay, he is right, the show is one of the dumbest written magical girl shows I have ever seen, the man behind it is essentially Dobson with a career.

But, two seasons and a few years later….

YOU ARE A SENTIMONSTER

YOU ARE SENTIMONSTERS

WE ALL ARE SENTIMONSTERS!!!!!

At least Adrien is not alone?

Yeah, Dobson can eat a dick in that regard. I mean, I think the reveal and how they played out the mystery wasn’t all that good (in my opinion, Astruc and his team winged it in) but not only was his dismissive behavior insulting to begin with, it also shows that he has very little understanding of how to utilize common tropes in fiction and cartoons in particular, despite consuming them en masse. Plus you know, kinda insulting to Thomas Astruc, who by that token proved to still be at least more succesful than Dobby-dumb-dumb bear

Also, as much as I like Gravity Falls, neither it or Steven Universe had in my opinion quite from the get go an idea where to head with their mysteries. Alex Hirsch having confirmed, that Bill Cipher becoming a character and not just a symbol, was something he came up with only halfway working through the concept phase of season 1. And the Rose is Pink reveal? My memories regarding that show are a bit rusty, but when was that actually hinted on in the show? There were massive hints that Pink Diamond didn’t get killed by the rebellion or that things were more complicated. Not that Pink pulled essentially a Darth Sidious on everyone just to live on earth and have sex with humans. Especially in season 1 to 3.

But really, the picture is just something that to me has just aged poorly.

The comic on the other hand I genuinely want to smack Dobson over the head for.

Again, I myself think that yes, people can go too far at times with looking for clues or making up their theories. But personally, I think there is a difference between making a general statement about it and giving a specific example, like Dobson does here. Sure, he may not show the username of the person who made the video or the comment, but it is still pretty condescending and a dick move, made by a guy who may be 10+ years older than whoever made the video referenced here.

Dobson essentially punches down, instead of punching up. A at the time at least 35/36 year old man acting like a mean school girl online to mock some random person, who just made a dumb theory and then moved on with its life.

Though it isn’t just that one user specifically he is essentially punching down. Here is the text by the author coming with the comic

“You guys should all take a chill pill for getting angry and upset at the creator”

No. No they kinda don’t. I mean, yeah some people can take it way too far with how invested they are in the stuff, but people have every right to also call certain plot twists hack writing, if it is so. Like how the reveal of Rose having been Pink had essentially ruined Rose Quartz and as such also put in question any of the “morals” she supposedly lived by. And considering she was something of the “moral center” for the show and many characters as well as fans, that just immediately made fans feel betrayed about having believed in her in the first place. Don’t get me even started how it essentially confirmed that Pearl is the worst gem of them all, for having always been in love with a version of Space Hitler. Furthermore, Dobson is not really someone to talk about that sort of shit like he has a higher ground, considering how he at times demands of other creators to fall in line with his ideas

If anything, it just feels similar to other comcis he made in his last years about cartoons: Him trying to defend the shitty writing and work put into stuff he likes, because a) how dare people insult something he likes and b) he thinks he and Rebecca Sugar, Thomas Astruc and Alex Hirsch are kinda brothers in arms. Meaning if you insult them, you insult him and the great art he has created and is an expression of his “talents”.

But most importantly about the comic, it is just not funny.

It is simply Dobson “lecturing” in the green void and with emerging shit in the background for which he could be copyright striked into oblivion, how he thinks “x is bad”. And you know, personally I prefer being entertained over being lectured. Or try to do both, which you know, certain people can, cause they have one thing Dobson does not: Talent.

The sad thing about it being, Dobson could have actually managed to make the subject of “overanalyzing via fan theory” funny quite easily. All he had to do was just tell a small “story” about “fan theories” as a plot element, rather than a subject for a lecture.

Here is my idea for a small comic, and if you have input to give or want to adapt it, I would be glad:

Dobson watches some show only to pause when he sees something in the background.

Next thing we know, we have Pam visit Dobson one week later to see if he is doing okay, only to find him unhinged and covering over a bill board with strings regarding his fan theory why these characters are a couple. Insert him either going completely or partly into a “Pepe Silvia” like rant

And yeha, I know the “Charlie’s string board” thing is an overused meme by now in itself, but hot dang is it still funny…

Only for Pam to say “Andy, the next episode dropped yesterday and they are not a couple” Ending the comic with her showing him the episode and Dobson be like “oh… well, at least the resolution was decent”

A comic of that kind would also have the advantage of Dobson actually doing one thing, he certainly haven’t done in years by that point: Make fun of himself too.

See, that is likely another problem with Dobson: He was so preoccupied in using SYAC as a soap box for his opinion, he was completely blind to the fact that he could avoid being conceived as one of the internets biggest douchebags, if he poked genuine fun at himself via his work once in a while. Make the Dobbear the one living by example about what Dobson talks, instead of just ranting about it, you know?

But hey, I am not Dobson.

A guy who tells people to not overanalyze everything via fantheories…

But has absolutely no problem to fawn over some dumb Zelda theory -as long as it is by him- or whine about people not liking HIS theories on Steven Universe, without actually bothering to even explain what his theory is about.

Then again, I take Dobson making dumb theories about shitty cartoons and calart lesbians over him genuinely falling for real world related conspiracy theories, like how 9/11 was staged.

So we got Link from the first Zelda being somewhere between light blond and blond, Zelda 2 Link being dark blond and SNES and Gameboy era Link (who are the same and as such the favorite incarnation of Link gamewise according to Dobson) at Light Blond.

Where could dark brown haired Link come from?

Oh, right! The Douchebag of Time.

It is just weird to me, that the hair color is something Dobson has taken such a grief with when it comes to Link. Cause in all honesty, I am not certain how such a minor design detail can affect ones enjoyment of the Zelda games that much. Anyway, to the last point

?????

Yeah okay, I admit I am not quite certain what the last panel is even supposed to be about. I think Dobson wants to criticize the fact that now multiple Links exist, instead of the Legend of Zelda series being kinda like Mario. You know, one character all the time fighting the same villain over and over, instead of there being different incarnation of the character (and others such as Zelda and Ganondorf). I should admit, that aside of the OoT/Majora’s Mask Link, I kinda assumed actually till the release of Four Swords/Wind Waker, that the Game Boy and the SNES games followed only one Link. Which even nowadays in the branched timeline continuity they still do

Which btw proves my point from earlier, that it was only post OoT the execs kinda screwed the timeline up in such a manner, we would need the TVA to fix it. Anyway, till Four Swords came out, I thought Link was really just going to be the same hero in all games, just with a different design each depending on whatever console’s technical abilities. Then the multiple incarnatins and timeline thing became the norm and… well, I don’t get what is bad about multiple Links or making it that the games are kinda their own thing/continuity in a certain manner.

For example, I can still play Wind Waker also as something of a solo game if I take the backstory of how Hyrule ended up under the sea just as a backstory on its own, instead of thinking about its context in a bigger narrative. Plus it allows programmers and people in the story development department to kinda go crazy/creative with designs for characters and locations, because they aren’t “bond” to capture the style of a previous game to the point that even slight variations would feel out of place. Like imagine doing Breath of the Wild style Ritos in Wind Waker or adapting the 2D Zelda environment of A Link to the Past without much variety into 3D. Plus I think that if we only followed one Link time and time again, his adventures would pretty much become less special over time, because him fighting Ganon then becomes more of an average Tuesday chore.

So…That was Dobson’s comic venting about what he hates about OoT. And I have to say, a lot of these complains (as I tried to explain here) are arbitrary as hell to me. Dobson essentially complaind about aesthetical choices the game made, that all things considered were kinda necessary for this franchise to make the jump not only into the 3D era of gaming, but also in the storydriven era of gaming itself.

See, I like the Zelda series, but as a fantasy series up to this point, I wouldn’t really call it the most “challenging” game storywise. Defeat an evil pig demon, save the princess, explore dungeons. That was it and kinda is still the base line appeal of those games. But even just compared to some stories we got by comparison for example on the SNES (Breath of the Wild 2, Chrono Trigger, Final Fantasy 6) Zelda was not really that deep. This game may not have even been the first Zelda game with a bit more “depth” to it (Link’s Awakening was that for me with the island being revealed to cease exisisting once the Widfish awoke), but it certainly was one that fleshed the world of Hyrule out a lot and in doing so introduced multiple technical, story relevant and aesthetical aspects to the franchise, that went beyond what A Link to the Past already had done in 1991. And that game in my opinion, while great, mostly just improved on the aesthetical aspects by assuring the game looked better in 16-bits than anything on the 8-bit NES.  

To be fair though, I may also just be a bit biased here, because Ocarina of Time was an important game in my childhood I have very fond memories of. Both in context of the game, but also outside of it. But considering I am not the only one who likes it, I think it is safe to say that it is a good game. Is it the best Zelda game ever? Well, we have Breath of the Wild/Tears of the Kingdom now, so likely no. But it is certainly within the top four Zelda games and will likely stay there even the next few decades. And acting like it is total shit and its fans are “lesser” being for enjoying it, is not just contrarian, it is outright insulting. So in that regard: Fuck you Andy. May Octorocks ejaculate upon you, while the rest of the world finds enjoyment in that game.

And on that note... Happy anniversary to the Ocarina of Time. The best wishes from me for Impa, Ruto, Darunia, the Twinorvas, Ganondorf, Epona, Sheik, Zelda, Link, Navi, Sarina and all the other characters and the people behind Ocarina of Time for giving us one of the best games on the N64 and within one of the most beloved Nintendo game series ever.

May your melody be heard for 25 more years at least.

For starters, this cartoon was published as part of SYAC. A comic series that Dobson himself described as a webcomic meant to poke fun at things webcomic artists (or rather him) experience, or something to talk about geek culture. How exactly does a comic criticizing the nature of signal boosting and poverty of the homeless correlate with those themes?

Second, obviously the guy who wrote the blogpost and feels like he made a difference, is meant to be seen as “in the wrong”, because he ignores the homeless people next to him on the street. But, if Dobson tries to make himself look in any way or form good in this one, he fails, because he is ignoring them too in a manner.

Oh sure, he is raising an eyebrow at the other guy, likely because he is aware of the situation they are in and how it is in contrast to what the guy says. But Dobson’s author avatar isn’t doing anything positive either. Absurdely enough, I think that if Dobson wanted to actually have a positive “spin” on the comic, he would have just simply had to draw his avatar actually handing the homeless guys some money. Instead he passes them buy, holding in his hand what seems to be a an expensive soda or squishy.

Lastly, if the comic is meant to be a criticism at online “slacktivism”, then Dobson is in my opinion one of the last people on the planet to take jabs at it.

Look, my personal opinion on “online activism” and youtubers making videos to spread “awareness” is… complicated to say the least. I do believe there are some people out there who genuinely do something that makes at least a bit of a difference in the world, by e.g. volunteering in social programs to help or raise money/food and giving it to those who really need it. But others… there is a reason a “clip” like this from South Park exists and works.

And Dobson, based on everything I know, is just among those “other” people.

A failed webcomic artist, who has never done anything for others than to angrily demand things change, but not doing any actual “fighting” or protesting for someones rights. And yet believes that his shitty cartoons he occasionally released have a genuine positive impact on the world.