|Reviews for Of Dorks and Blockheads|
| latashayoung216 chapter 2 . 7/17
Wait so Pig-pen didn't get kissed by those girls?! How did he avoided them
| latashayoung216 chapter 3 . 7/17
Awww poor baby Pigpen got picked on. I'm glad he didn't cry
| An old reviewer chapter 12 . 1/11
(WARNING! This reviewer cannot guarantee that the author will feel warm inside afterward, but he does know that the following is something that just needed to be said. This will not be repeated, so tread carefully.)
Okay, I'm just going to tell you straight up: I hate Lucy, Violet, and last but not least, Sally.
Your stories are just too depressing to get anywhere near, especially with the foreknowledge of every cruel twist and turn you put "that poor, poor kid" through in order to make your plots work. Now, it is said that one must destroy in order to rebuild. You've certainly destroyed plenty, but rebuilding is slow if not stagnant. I cringe every single time any one of those three girls opens her selfish, irritating little mouth. Seriously, how in the name of all that's holy and righteous did you manage to make your stories too depressing to get anywhere near?
Incredibly introverted? Low self-esteem? Just a beginner? Trying to recreate the spirit of the source material? Well, here’s something to look out for, especially in the cartoon you crossed Peanuts over with:
-It is often said that "conflict is the soul of drama"; without some form of conflict to fuel things, there's no engine to drive the story and thus little reason to engage with it. However, we...would like to propose an amendment to this phrase which includes something important but sadly all-too-often forgotten:
-Meaningful conflict is the soul of drama.
-Darkness-Induced Audience Apathy occurs when a conflict exists that simply lacks any reason for the audience to care about how it is resolved. This is often because the setting is extremely but meaninglessly Darker and Edgier, and/or all sides are abhorrently, equally evil—or at least, far enough gone that any difference between the two is splitting hairs. As such, consumers of media affected by Darkness-Induced Audience Apathy tend to approach conflict between parties or factions with remarkable indifference; because no matter who wins, the universe will still suck. (And while it would be really nice to see them all lose, that likely isn't going to happen.) In other words, there is nothing at stake. While there is a conflict happening, for all that the audience is concerned there might as well not be because they likely have little reason to care about who wins or loses. (And even when there are clear-cut good guys, they can be so smug, priggish, hypocritical, unpleasant, or just plain annoying that it's hard to feel too sad if the bad guys defeat them, especially if the bad guys actually have a good reason for hating them.)
-This is the emotional result of Black and Black Morality. Because the conflict between the equal evils is essentially meaningless, there is no dramatic tension. Maybe one Eldritch Abomination eats you in a slightly less painful manner than the other one, but either way, you're still screwed. You can't support any factions or hold on to any ideals after this effect has set in. All you can do is sit agape as the writers apparently attempt to outdo themselves at making the setting even worse and more unpleasant and more nihilistic to the point where the media is a bland miserable monotone. This trope is not just about a Crapsack World, but about Evil Versus Evil and too much cynicism producing this effect. A sure sign of audience apathy setting in is if they start rooting for the Omnicidal Maniac—the setting is so bleak that no part of it is worth saving. When total oblivion looks like your best option, something is wrong. If the show is successful as a comedy it can avoid this trope even if it has Evil Versus Evil and the viewer doesn't really care too much for the characters, by having entertaining villains and being a fun experience. Horror is one of the genres that is most likely to suffer from this trope, because giving up and not caring sucks a lot out of the fear factor. Dystopian fiction, particularly of the post-apocalyptic variety, is another genre that's quite vulnerable to this trope for largely the same reasons.
-A variant is when Yank the Dog's Chain meets True Art Is Too Angsty; a story is simply too bleak, hopeless, and...well, angsty for the audience to really care what happens. Leaving aside how obviously and overly depressing this is to read, if the characters are doomed to failure no matter what they do, and it is too obvious that they are doomed and their every action to avert this is pointless and hopeless, then the ending is inevitable and can be seen a mile off—so why bother continuing on with the story? (Especially if Developing Doomed Characters is done badly and you can't care about who's in it.) This, of course, does not mean that all stories have to end happily—but most of the time, a good Tragedy works because the characters involved are given a chance to escape their Downer Ending but, for whatever reason, fail to do so; take away this chance, and usually what will happen is that the story just ends up being a lengthy description of unremittingly unpleasant things happening to someone. It must be said that despite the presence of this trope, it can still be a story worth telling if it has a deep character study and complex issues, just not one that the audience will care about the plot.
-When applying to individuals, this is one of the reasons why the "Wangst" trope happens. Often results in readers saying the Eight Deadly Words, or concluding that the plot boils down to a Wangst-fest.
-Status quo is usually the result of the trope when the audience knows that all and any changes that could have made a positive impact in the setting won't stick.-
Sorry, but nothing changes the fact that your stories are just too painful to read. I'm really sorry, but that's just the truth. If you want a good idea of where I personally feel the characters are heading in your stories (particularly the It's Your Week and Future series), you need only look at the following:
The Last Word
Both were written by Crazy Rob. Not to spoil too much, but where I'm afraid you got me to hate Sally, he got me to like her again.
Maybe reboots are in order?
| catspats31 chapter 12 . 9/28/2016
I am thankful for this site's feature to follow stories because it allows me to maintain the hope of you updating the stories. I'd say the wait for this chapter is worth it because of how you ended a current story arc on a good note. Take your time to update the stories if necessary.
| Known Unknown chapter 12 . 9/27/2016
I have to admit I wasn't expecting to see this story update, least of all so soon, but I'm glad you did. Happy to see you're still working on it every once and a while, and that you at least gave an ending to the hanging plot.
Ah, Charlie Brown's willingness to suffer misery in order to spare others. Where would his friends be without it?
| Guest chapter 12 . 9/25/2016
Yay you brought it back
| When We Begin chapter 12 . 9/25/2016
Holy crap! You updated the story! And here I thought I discovered your profile too late!
| Known Unknown chapter 5 . 9/6/2016
I'm a bit surprised you didn't have Chuck find out (or to be precise, find out and be forced to believe it) that Peppermint Patty really did pay Eddy to sabotage his chances with Nazz. It's a good conflict set-up, but then maybe you were planning on bringing it back in a later chapter.
Either way, I hope you're still out there and return to these stories someday - Peanuts doesn't have a lot of fics in general, and yours are some of the better ones out there. The more you wrote stories, the better you got at it, and I for one would love to see your series concluded someday - even if you decide vignettes serve the idea better.
| Guest chapter 11 . 6/14/2016
We may as well face it, people. If Sean were to update any of these stories, he would've done so a long time ago. But it's been years, and any care he held for his work seems to have pretty much dried up. Time to move on, everyone. I notice the Bobby's World section of this site could use a little more meat on its bones, if you get my drift.
| W.G. Fenter chapter 4 . 6/5/2016
Stop! Stop! He's already dead!
| Guest chapter 11 . 11/24/2013
the eds can use their scams against the lemon brookers
| Guest chapter 11 . 11/24/2013
let the good guys win man
| Guest chapter 11 . 4/11/2013
I just realized that even though you chose not to include shermy in this story that he and kevin almost wear the same clothes (minus the hat)
imagine how awkward that encounter would be!
| supersexyghotmew95 chapter 11 . 2/19/2013
| Ballz Mahoney chapter 2 . 2/17/2013
In response to the question about their ages, the Peanuts characters have been aged up to the age of the Ed Edd n Eddy characters so they are ambiguously young to mid teenagers. Violet and Patty are still virgins, given their attitudes etc, some of the other characters may say things assuming otherwise.