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(2) the term "Agency" means the Federal Emergency
Management Agency; (3) the term "appropriate committees of Congress" means- (A) the Committee on Homeland Security and Governmental Affairs of the Senate; and (B) those committees of the House of Representatives that the Speaker of the House of Representatives determines appropriate;
(4) the term "catastrophic incident" means any natural disaster, act of terrorism, or other man-made disaster that results in extraordinary levels of casualties or damage or disruption severely affecting the population (including mass evacuations), infrastructure, environment, economy, national morale, or government functions in an area;
(5) the term "Department" means the Department of Homeland Security;
(6) the terms "emergency" and "major disaster" have the meanings given the terms in section 5122 of title 42;
(7) the term "emergency management" means the governmental function that coordinates and integrates all activities necessary to build, sustain, and improve the capability to prepare for, protect against, respond to, recover from, or mitigate against threatened or actual natural disasters, acts of terrorism, or other man-made disasters;
(8) the term "emergency response provider" has the meaning given the term in section 101 of this title;
(9) the term "Federal coordinating officer" means a Federal coordinating officer as described in section 5143 of title 42; (10) the term "individual with a disability" has the meaning given the term in section 12102 of title 42; (11) the terms "local government" and "State" have the meaning given the terms in section 101 of this title; (12) the term "National Incident Management System" means a system to enable effective, efficient, and collaborative incident management
; (13) the term "National Response Plan" means the National Response Plan or any successor plan prepared under section 314(a)(6) of this title; (14) the term "Secretary" means the Secretary of Homeland Security; (15) the term "surge capacity" means the ability to rapidly and substantially increase the provision of search and rescue capabilities, food, water, medicine, shelter and housing, medical care, evacuation capacity, staffing (including disaster assistance employees), and other resources necessary to save lives and protect property during a catastrophic incident; and
(16) the term "tribal government" means the government of an Indian tribe or authorized tribal organization, or in Alaska a Native village or Alaska Regional Native Corporation. ( Pub. L. 109–295, title VI, §602, Oct. 4, 2006, 120 Stat. 1394 .) REFERENCES IN TEXT This title, referred to in text, is title VI of Pub. L. 109–295, Oct. 4, 2006, 120 Stat. 1355 , known as the Post-Katrina Emergency Management Reform Act of 2006. For complete classification of title VI to the Code, see Short Title note set out below and Tables. Section 314(a)(6) of this title, referred to in par. (13), was in the original "section 502(a)(6) of the Homeland Security Act 2002" and was translated as meaning section 502 of Pub. L. 107–296 prior to its redesignation as section 504 by Pub. L. 109–295, §611(8), and not section 506 of Pub. L. 107–296 which was redesignated section 502 by Pub. L. 109–295,§611(9), and is classified to section 312 of this title, to reflect the probable intent of Congress. CHANGE OF NAME Any reference to the Administrator of the Federal Emergency
Management Agency in title VI of Pub. L. 109–295 or an amendment by title VI to be considered to refer and apply to the Director of the Federal Emergency Management Agency until Mar. 31, 2007, see section 612(f)(2) of Pub. L. 109–295, set out as a note under section 313 of this title. EFFECTIVE DATE Pub. L. 109–295, title VI, §614, Oct. 4, 2006, 120 Stat. 1411 , provided that: "(a) In General.-Except as provided in subsection (b), this title [see Tables for classification] and the amendments made by this title shall take effect on the date of enactment of this Act [Oct. 4, 2006]. "(b) Exceptions.-The following shall take effect on March 31, 2007: "(1) The amendments made by section 611(11) [enacting section 313 of this title]. "(2) The amendments made by section 611(12) [amending section 314 of this title]. "(3) Sections 505, 507, 508, and 514 of the Homeland Security Act of 2002 [sections 315, 317, 318, and 321c of this title], as amended by section 611(13) of this Act. "(4) The amendments made by subsection (a) [sic]. "(5) The amendments made by subsection (b)(1) [sic]." SHORT TITLE Pub. L. 109–295, title VI, §601, Oct. 4, 2006, 120 Stat. 1394 , provided that: "This title [see Tables for classification] may be cited as the 'Post-Katrina Emergency
Management Reform Act of 2006'." CLARIFICATION OF CONGRESSIONAL INTENT Pub. L. 110–53, title XXII, §2202, Aug. 3, 2007, 121 Stat. 541 , provided that: "The Federal departments and agencies (including independent agencies) identified under the provisions of this title [enacting provisions set out as notes under section 194 of this title and section 247d–3a of Title 42, The Public Health and Welfare, and amending provisions set out as a note under section 309 of Title 47, Telecommunications] and title III of this Act [enacting sections 579 and 580 of this title and amending sections 194 and 572 of this title] and title VI of Public Law 109–295 [see Short Title note set out above] shall carry out their respective duties and responsibilities in a manner that does not impede the implementation of requirements specified under this title and title III of this Act and title VI of Public Law 109–295. Notwithstanding the obligations under section 1806 of Public Law 109–
295[probably means Pub. L. 107–296; 6 U.S.C. 576], the provisions of this title and title III of this Act and title VI of Public Law 109–295 shall not preclude or obstruct any such department or agency from exercising its other authorities related to emergency communications matters." NATIONAL WEATHER SERVICE Pub. L. 109–295, title VI, §613, Oct. 4, 2006, 120 Stat. 1411 , provided that: "Nothing in this title [see Tables for classification] shall alter or otherwise affect the authorities and activities of the National Weather Service to protect life and property, including under the Act of October 1, 1890 (26 Stat. 653-55) [15 U.S.C. 312 et seq.]." REFERENCES IN PUB. L. 109–295 Pub. L. 109–295, title VI, §699A, Oct. 4, 2006, 120 Stat. 1463 , provided that:
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https://daveola.com/CosmicEncounter/Rules/Fantasy-Flight.pdf "If the creator wants to bring back a dead character, then that character will come back." It doesn't matter how Deader Than Dead or Killed Off for Real that character is, they'll find a way to return. Much handwaving may be required to explain it (if they don't leave it unexplained), but anything is possible with a bit of Foreshadowing thrown in. Also known as "Comic book death" because comic books are especially known for taking place in long-spanning continuities where Death Is Cheap, important characters almost never come back wrong, Applied Phlebotinum is everywhere and iconic villains always come back from
whatever fate that no carbon-based lifeform could have survived. In addition, the turnover of writers means that even if one writer says, "No really, they're dead this time," with no intention of bringing them back, odds are some future writer will disagree and bring them back a few years down the road. The First Law Of Resurrection almost always trumps the Sorting Algorithm of Deadness, with only a few exceptions (like Death by Origin Story). May lead to Opening a Can of Clones. See also Reports of My Death Were Greatly Exaggeratedand Disney Death Deader Than Dead "We've got to verify it legally to see if she is morally, ethically, spiritually, physically, positively, absolutely, undeniably, and reliably dead." What is are The Munchkins, The Wizard of Oz? FAQ-if Death is permanent, as we all know. Because people die when they are killed. In Real Life. In fictional
works, however, this need not necessarily apply. In fiction, people regularly do come Back from the Dead. This is fine if they're on the side of the heroes, but once a villain has pulled this a couple of times it gets really old. The solution? Death is not enough, time to kill them Deader Than Dead. The actual implementation of a Deader Than Dead varies: Sometimes it requires killing more than one component of the target (often its soul and its body at the same time). Sometimes it requires following the dead to the afterlife and killing them there. Sometimes it involves tons and tons of Maximum Overkill that reduces the villain to a fine paste. Sometimes it involves having to kill them in a special way, or with a particular weapon. Sometimes it involves a sworn affidavit declaring they will never return. And sometimes some alternative to death (sometimes a "Fate Worse than Death") has to be found. For demons and the like, the latter often means "sealing" them somewhere, though more often than not, this is just a surefire way to end up with Sealed Evil in a Can. Your Soul Is Mine is an uncommon way of ensuring total death as well—pulling someone's literal life force out
of their body and eating or smashing it is a good way to ensure that they're never coming back. On the other hand, if it's a story where resurrection requires a (mostly) intact body, it's simply a matter of making sure the body isn't intact. Characters who come back from the dead while staying dead (i.e., the Undead) are a special case, but of course, being "dead" also has a very special meaning in this case. If you have to rely on this trope often, it tells you that you have cheapened the meaning of "death" to the point of uselessness. Relying on it after you have already pulled it for the same character tells you that maybe you're lacking in imagination to come up with good characters. Or it might be that the character is too popular or iconic (to the fans or the writer) to stay permanently dead. So, it's not really that surprising when they pull something out of left field and let someone use Time Travel to... Ow! Ouch! Stop kicking me! Common for important bosses in video games (see
Non-Lethal K.O.), but not rare outside them either. Compare with Final Death and Rasputinian Death. Common ingredient in a Death by Origin Story. Often related to Cessation of Existence. This may be the function of an Immortal Breaker - it causes any being to completely obviated from existence (especially important if the immortal in question has Resurrective Immortality). Older Than They Think — a Fairy Tale may outline the villain's death in graphic detail to ensure that,
unlike the hero, they cannot come Back from the Dead. (Often, the Family-Unfriendly Death is proposed by the villain as a suitable punishment for his crimes, as a general principle.) Despite the similar sounding name, not related to Harder Than Hard, although the attempt to kill someone Deader Than Dead is by no means easy. Related to Killed Off for Real, which results when the audience would have expected the Deader Than Dead character to come back. Do not confuse with Deader Than Disco.
Deposition Perjury Form
I, the undersigned, being duly sworn, do hereby swear on my oath and under the penalty of perjury that I have read and understood the foregoing deposition. I further swear that I am knowledgeable of the deposition’s contents and that all of the information contained therein is factual, correct and true to the best of my knowledge and belief.
Signature
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— Evil Overlord List #153 A character receives a prophecy or curse of the form "X cannot happen until Y," where Y is seemingly impossible. X is frequently (but not always) the character's death or defeat. Of course, Y ends up happening somehow, usually through some trick of wording or a loophole, with X promptly following. Over-reliance on this phrase by the baddie usually leads to a delicious Oh, Crap! moment. It often involves a Eureka Moment, followed by the newly minted Magnificent Bastard drawing his sword and Cutting the Knot. Macbeth met his end at the hands of a man "born" via C-section, for example. When the clause includes an exhaustive list — neither by
night nor by day, or neither by man nor by beast — a Liminal Being such as a werewolf or a Liminal Time such as twilight may slip through because being half of each, it's neither fully. As can clearly be seen from the Mythology section, this trope is definitely Older Than Dirt. A subtrope of Prophecy Twist and Double Meaning; compare Prophetic Fallacy. Can be a form of False Reassurance. For some other instances of impossible conditions being met, see Impossible Task and Engagement Challenge. For when condition Y isn't really fulfilled but a half-assed excuse is used to justify X happening anyway, see Metaphorically True. Its more comic Sister Trope is Cue the Flying Pig Back from the Dead • A major character, possibly even a popularly nasty Big Bad, has been killed,
pronounced dead and buried. However, the established laws of the universe allow for Functional Magic, a Sufficiently Advanced Alien, Applied Phlebotinum, Deus ex Machina or similar agency to intervene and subvert what naturally follows dying. Namely, staying dead. (In some cases, an explanation isn't even bothered with.) Maybe the writers were running short of new ideas and decided to recycle some old characters. Maybe the actor has recently acquired some indecent photographs of the producers. Maybe the new writer was devastated his predecessor killed the character. Who knows? He is now Back From The Dead! The form of afterlife can vary pretty widely. They may "simply" be resurrected or reincarnated (usually as a sentient pet animal), physical or mental alterations (good or bad) optional; or we may now have a ghost, or vampire... zombie, angel, godling, demon... haunted car... okay, that last one will be hard to top (except with a Love-
matic Grandpa!). Bringing someone back from the dead by supernatural means is generally treated as being a negative thing because of how unnatural it is. If a character cannot come back from the dead entirely, they may show up as a Spirit Advisor or Mentor Archetype, letting them be literally dead, but allowing them to interact with the living. In the Star Trek: Voyager episode "Mortal Coil", Neelix actually dies for real but is (some would argue unfortunately) brought back to life some 18 hours later. This is an example of Contractual Immortality. In order to qualify for being brought Back From The Dead, a character in a TV show would have to be still dead at the end of one episode and resurrected, by whatever means, in a later episode (2-parters don't count). This is exceedingly common in American superhero comic books, to the point that whenever a popular
character dies, it's a given that they'll be back on within no more than five years. At one time, it was said that "Nobody ever stays dead in comics, except Bucky, Uncle Ben, and Jason Todd." Naturally, since that phrase was coined, Bucky and Jason Todd have both been recalled to life. See Death Is Cheap for when this becomes a regular feature of a 'verse, Sorting Algorithm of Deadness for the odds a particular death will stick, and the accompanying betting pool for which modern Lazarus is due back next. See also Resurrective Immortality for where this is an everyday part of a character's life. A general rule of thumb is that if you Never Found the Body, the character is Not Quite Dead in the first place (and therefore not a candidate for this trope). One of the most common examples of this is that if a character falls off of a cliff or other high structure, especially into water, he or she is almost guaranteed to still be alive; see Disney Death. An explosion gives more reasonable odds. Of course, even if you've see the body and you've atomized it so finely that each individual molecule is a galaxy apart... there's always Time Travel. Removing the entire thing from existence can be done, and equally undone by a similar Deus ex Machina. Faking the Dead has its own trope. See also First Episode Resurrection when this happens at the start of the series. The character's resurrection from the dead could result in a situation of Unwanted Revival. Man of Woman Born "...when it is
prophesied that no man can defeat me, I will keep in mind the increasing number of non-traditional gender roles." — Evil Overlord List #153 A character receives a prophecy or curse of the form "X cannot happen until Y," where Y is seemingly impossible. X is frequently (but not always) the character's death or defeat. Of course, Y ends up happening somehow, usually through some trick of wording or a loophole, with X promptly following. Over-reliance on this phrase by the baddie usually leads to a delicious Oh, Crap! moment. It often involves a Eureka Moment, followed by the newly minted Magnificent Bastard drawing his sword and Cutting the Knot. Macbeth met his end at the hands of a man "born" via C-section, for example. When the clause includes an exhaustive list — neither by night nor by day, or neither by man nor by beast — a Liminal Being such as a
werewolf or a Liminal Time such as twilight may slip through because being half of each, it's neither fully. As can clearly be seen from the Mythology section, this trope is definitely Older Than Dirt. A subtrope of Prophecy Twist and Double Meaning; compare Prophetic Fallacy. Can be a form of False Reassurance. For some other instances of impossible conditions being met, see Impossible Task and Engagement Challenge. For when condition Y isn't really fulfilled but a half-assed excuse is used to justify X happening anyway, see Metaphorically True. Its more comic Sister Trope is Cue the Flying Pigs. Since this trope is frequently used as a surprise twist, major spoilers abound below! _____
__ Share Weapon of X-Slaying An extra +10 against anything that starts with the letter J. Don't ask why. Don't ask what Vorpal means, either. — Vorpal Sword, Munchkin A weapon which gets extra bonuses against a specific enemy type. Sometimes they may outright kill them in one hit. Ways this can happen: • Anti-Air: Either weapons that deal bonuses against airborne enemies, or the only weapons that can hit them at all. • Anti-Armor: The weapon may do more damage against armored enemies. Or, it may strip them of their armor altogether. • Anti-Cavalry: The weapon is more effective against cavalry units. • Anti-Infantry: The weapon works better against infantry than against vehicles or cavalry. • Anti-Magic: The weapon ignores magical defense or disables magical abilities. • Anti-Structure: The weapon is more effective at destroying or shutting down structures. • Anti-Vehicle: The weapon works better against vehicles, or it's the only weapon that can damage vehicles at all. • Depleted Phlebotinum Shells: Whether silver bullets against werewolves or Kryptonite spear against Superman, the weapon relies on being made of, having a component of, or shooting, something that the thing is weak against. • Elemental Rock–Paper–Scissors: Elemental
weapon does more damage to enemies with an inferior element. • Immortal Breaker: The weapon capable of killing the otherwise-immortal. • Villain-Beating Artifact: This is the only thing capable of harming an otherwise invulnerable villain. It is a subtrope of Situational Sword, and a form of Situational Damage Attack. Related is Achilles' Heel, which this weapon can be. Unique-named weapons with this kind of property often come with Exactly What It Says on the Tin naming. Compare Hunter of Monsters, who is a person dedicated to slaying a specific enemy type. The
brainchild of independent cartoonist Matt Groening (author of Life in Hell), The Simpsons first aired from 1987 to 1989 as a series of animated shorts on The Tracey Ullman Show. Unofficially known as "Season 0," the original 48 ad-bumpers kicked off what is now well established as one of television's all-time classic series (which premiered on the then-fledgling FOX network in December 1989). It is currently in its twenty-eighthseason, making it the longest-running prime-time sitcom in American TV history (worldwide, that honor belongs to Last of the Summer Wine, although the latter has fewer episodes, with 297 while The Simpsons has made 600 episodes so far). It has also been renewed for two more seasons, which will take it up to 669 episodes in total, which will make it surpass Gunsmoke as the the longest running scripted television program by episode count ever. Depicting the animated adventures of the upper-lower-middle class Simpson family, the
show started as a parody of Dom Com conventions, but quickly incorporated elements of social satire, pop culture references, and a mix of highbrow and lowbrow humor that has kept it popular year after year. When it was first adapted into television, it set a new trend in animation - much of the voice acting had been rather industrial, with voice actors simply reciting a list of their character's linesnote , in whatever emotion the script called for. The Simpsons, however, recorded its lines like a live-action movie, the voice actors for a given scene recording together, allowing for more organic interaction between the characters. One reason for the show's longevity is the massive cast of over 100 recurring characters it has built up over time, allowing the writers to work with a rich variety of
relationships and milieus. Another thing that has established The Simpsons as being unique is an absolute refusal to acknowledge the passing of time. Bart has remained 10 years old and in general the show employs an active Negative Continuity, sometimes even acknowledged in the show. For roughly the first 10 seasons, The Simpsons was widely considered to be one of the most consistently funny TV shows ever produced. However, it is generally considered that at some point after (or near the end of) that, the series declined in quality. Exactly when it declined, and by how much, is difficult to find a consensus on, but viewership has decreased over the years. Its numbers remain strong though, and the merchandising juggernaut shows no signs of stopping. Fox at one point
considered setting up a separate Simpsons/spin-off network ; though that didn't happen, Simpsons re-runs became a cornerstone of the comedy-oriented FXX cable network when that was spun off from the FX network. Though, despite claims that it's not as good as it once was, there's something to be said about a show that debuted (as a series of shorts) whenRonald Reagan was U.S. President, debuted in prime-time and referenced by name when George H.W. Bush was in office, had its best years when Bill Clinton was in office, was more-or-less still going strong during the George W. Bushadministration, saw Barack Obama get elected twice and was around to repeatedly mock the incumbent presidentthroughout his entire campaign and ongoing tenure. A feature film (creatively titled The Simpsons Movie) was released in summer 2007. Perhaps not surprisingly, reactions from fans were mixed, with some fans claiming it to be on the level of the Golden Age episodes, and some considering it just an extra long Tarnished Age episode. Nevertheless, the film was a huge
financial success and received a positive response from critics, earning a 89% Fresh Rating on Rotten Tomatoes and getting a 80 on Metacritic. Many of the people behind the show are also responsible for Futurama (and while Futurama certainly takes some comedic cues from this show, it is a far cry from a Simpsons clone). Matt Groening has said he created the core family members in The Tracey Ullman Show's production office waiting room after realizing he didn't want to sign the rights to his Life in Hell characters over to Rupert Murdoch. In 2009, the show began its 21st season, officially dethroning Gunsmoke as the longest running primetime American television series of all time, before surpassing Gunsmoke's episode total in 2018 (although Sesame Street, among other daytime programs, still retains an even longer run with 40 seasons). Check out this character
sheet for more info on Fox's "first family" of animation. Also has a work-in-progress recap page here. See the Franchise page for all related works. • Fate Worse than Death "A fate WORSE than a fate worse than death? That's pretty bad." — Edmund Blackadder, Blackadder Goes Forth Think death is the cruelest fate? Think again. There are several things much worse: torture, taxes, and tofu, to name but a few. And more often than not, some unfortunate soul will experience it. Originally, this phrase meant rape, but now there'seven worse than that. This phrase is usually used in a Just Between You and Me moment by the Evil Overlord as they boast about the agony-inducing Death Trap that awaits the hero for delaying their plans. It's also fairly commonly used as a warning to the hero against seeking forbidden power or knowledge, and consequently to foreshadow the particular Karmic Death the villain will suffer because of meddling with the universe's Cosmic Keystone. If
the victim is immortal, this fate may even replace death, which might suck royally. Mercy Killings are common when heroes find anyone in this state. If the character can beg for help, I Cannot Self-Terminateoccurs; if they can act on their own, they are often Driven to Suicide. Indeed, since all involve choosing death over a given fate, the characters often conclude that that fate is worse than death. Contrast Cruel and Unusual Death, for when the victim instead gets a gruesome death that sucks beyond telling. See also: Cruel Mercy, Empty Shell, To the Pain, The Punishment, Room 101, And I Must Scream, and occasionally Cool and Unusual Punishment. Tailor Made Prisons may be this by nature or design in order to torture its prisoner. Not to be confused with A Fête Worse Than Death, though the two can occasionally overlap. Sealed Evil in a Can "Old folk saying: 'You can catch the devil, but you can't hold him long.'" — Rod Serling, from The Twilight Zone (1959)
episode "The Howling Man" Long ago, An Ancient People faced a terrible evil. Using various methods, they bound the evil into a prison from which they thought it could never escape. It did. Sealed Evil In A Can, as the title suggests, is a way to introduce a villain suddenly, especially one that is legendary and powerful. It also explains why the villain hasn't done anything up to that point: it just now escaped. A sealed evil is often introduced as a Greater-Scope Villain: the direct Big Bad's plan will be to unseal the can of some ancient God of Evil, hoping they'll get some of that great power as a reward. Of course, Evil Is Not a Toy: if they succeed, it usually turns out that the Sealed Evil does not care for them (or may have even been manipulating them into freeing them) and
disposes of them, making the Sealed Evil the true Final Boss. Sealed Evil™ almost never rewards those who release it. It may even act like the malevolent flavor of a Jackass Genie, twisting their releasers' wishes back on them. (Of course, occasionally the Big Bad actually succeeds in controlling the sealed evil.) The hero occasionally breaks the seal himself due to lack of information or active manipulation by the villain. Or perhaps it was awoken by unsuspecting miners or archaeologists who Dug Too Deep and found something better left buried and undisturbed — often
ignoring every single warning they found before releasing it. Oddly enough, no matter what the cause of the seal being broken, it seems to always happen 1,000 years after the evil was first sealed. Yet nobody ever seems to know that the evil is about to reemerge in that time frame. The primary question is usually "Why did they just seal it, as opposed to KILL it?" Well, the answer tends to vary; but usually it's a variant of The Punishment (for both the sealed and everyone else), Thou Shalt Not Kill (heroes can take pity and/or show mercy towards the oddest things), and/or As Long as
There is Evil. Maybe it couldn't be killed for good (or more commonly, the conditions weren't right to deal the final blow), so sealing it was the next best thing. Another common excuse is the Balance Between Good and Evil; if they'd killed the ancient evil, then a bigger, badder evil would've taken its place, thus sealing it away neutralizes the threat but also keeps it in the world and maintains the balance. For some reason, only on a very few occasions was the evil sealed simply because the good guys didn't have the power at the time to kill it outright. Or maybe it was killed and the method of breaking the seal was resurrecting it. Expect the mere release of the SEIAC to cause a World-Wrecking Wave, Walking Wasteland, and sundry other disasters. That said, being cooped up for centuries is likely to have weakened the SEIAC, meaning it needs some time to recover its lost
strength. This could mean that the hero(es) has a chance to seal it back up, or even destroy it once and for all. Since this trope can be traced back to Greek mythology, it's Older Than Feudalism. Note that, minus your standard speculative fiction elements, it's functionally identical to a plot where a horrible criminal escapes from or is released from prison. Not to be confused with Exactly What It Says on the Tin — although your Evil-in-a-Can may be clearly labeled as such. But no one will ever read or believe the label. This is an extremely common plot and backstory in video games, especially Role-Playing Games, because it's such ancient hero, has escaped. You (the player) must put them back in. Or, as mentioned above, the current Big Bad wishes to release the Greater-Scope Villain to use it’s power, and the hero must stop them. Related Tropes • Banishing Ritual: May resul
t in a sealed evil, especially the "sealing" variation. • Sealed Good in a Can: The good version. • Sealed Badass in a Can: A neutral version of this trope. • Girl in a Box: A neutral version specifically used for females. • Leaking Can of Evil: An evil being is sealed away as per this trope, but in a way that allows it to still affect the world. • Sealed Inside a Person-Shaped Can: The evil is imprisoned inside a living being. o Sealed Evil In A Teddybear: The person-shaped can is The Team Pet. • Sealed Army in a Can: One can is used for multiple evils (or goods). • Sealed Evil in a Six Pack: One evil is sealed within multiple cans. • Sealed Evil in a Duel: The evil is sealed away with an equally powerful good which will keep it occupied so it can't try to escape. • Tailor-Made Prison: When the current generation makes its own can to (usually temporarily) imprison evildoers. •
Greater-Scope Villain: A particularly powerful Sealed Evil overshadows a setting but never manages to affect the plot directly enough to be a Big Bad. Deader Than Dead • Main • Laconic • Quotes • Create New Guess what happens next... "We've got to verify it legally to see if she is morally, ethically, spiritually, physically, positively, absolutely, undeniably, and reliably dead." — The Munchkins, The Wizard of Oz Death is permanent, as we all know. Because people die when they are killed. In Real Life. In fictional works, however, this need not necessarily apply. In fiction, people regularly do come Back from the Dead. This is fine if they're on the side of the heroes, but once a villain has pulled this a couple of times it gets really old. The solution? Death is not enough, time to kill them Deader Than Dead. The actual implementation of a Deader Than Dead varies:
Sometimes it requires killing more than one component of the target (often its soul and its body at the same time). Sometimes it requires following the dead to the afterlife and killing them there. Sometimes it involves tons and tons of Maximum Overkill that reduces the villain to a fine paste. Sometimes it involves having to kill them in a special way, or with a particular weapon. Sometimes it involves a sworn affidavit declaring they will never return. And sometimes some alternative to death (sometimes a "Fate Worse than Death") has to be found. For demons and the like, the latter often means "sealing" them somewhere, though more often than not, this is just a surefire way to end up with Sealed Evil in a Can. Your Soul Is Mine is an uncommon way of ensuring total death as well—pulling someone's literal life force out of their body and eating or smashing it is a good way to ensure that they're never coming back. On the other hand, if it's a story where resurrection
requires a (mostly) intact body, it's simply a matter of making sure the body isn't intact. Characters who come back from the dead while staying dead (i.e., the Undead) are a special case, but of course, being "dead" also has a very special meaning in this case. If you have to rely on this trope often, it tells you that you have cheapened the meaning of "death" to the point of uselessness. Relying on it after you have already pulled it for the same character tells you that maybe you're lacking in imagination to come up with good characters. Or it might be that the character is too popular or iconic (to the fans or the writer) to stay permanently dead. So, it's not really that surprising when
they pull something out of left field and let someone use Time Travel to... Ow! Ouch! Stop kicking me! Common for important bosses in video games (see Non-Lethal K.O.), but not rare outside them either. Compare with Final Death and Rasputinian Death. Common ingredient in a Death by Origin Story. Often related to Cessation of Existence. This may be the function of an Immortal Breaker - it causes any being to completely obviated from existence (especially important if the immortal in question has Resurrective Immortality). Older Than They Think — a Fairy Tale may outline the villain's death in graphic detail to ensure that, unlike the hero, they cannot come Back from the Dead. (Often, the Family-Unfriendly Death is proposed by the villain as a suitable punishment for his crimes, as a general principle.) Despite the similar sounding name, not related to Harder Than Hard, although the attempt to kill someone Deader Than Dead is by no means easy. Related to
Killed Off for Real, which results when the audience would have expected the Deader Than Dead character to come back. Do not confuse with Deader Than Disco. • Random Tropes • Random Media • Random Tropes > Algorithm of Deadness • Main • WMG • Create New On a scale of one to four, how dead is this guy? It's a sad state of affairs when a beloved character dies; some fans won't even accept it as real, a predicament made all the more confusing because characters rarely stay dead. Because of this, fans love to speculate (morbidly) on the odds of a character coming Back from the Dead. The result is a kind of "Sorting Algorithm Of Deadness", where the circumstances, cause, genre, and reaction caused by a death are tallied up to see just how dead a character really is and the chances of their return. To use the Algorithm, take each column's "Death Value", multiply i
t by the number of ticks in that column, add it all up and divide by the number of applicable rows. Relative deadness factor Deader Than Dead Maybe Back Later Be Back Soon Death? What's That? Death Value 4 3 2 1 Cause of death Irony, Bridge Drop, Overkill, Stuffed in the Fridge, Ret Gone Redemption, Sacrifice, Bus Crash, Mortal Wound Reveal No One Could Survive That!, just plain killed in battle Jumping Audience Expectation Anyone Can Die, Kill 'em All Killed Off for Real, Tonight, Someone Dies Disney Death Back from the Dead, Death Is Cheap, Nobody Can Die, Status Quo Is God Body Found? Dead and Buried Only Bits And Pieces At The Morgue, death witnessed and confirmed onscreen Never Found, Frozen, Petrified Left for Dead Reaction Montage, Bond
One-Liner, Meaningful Funeral He's Dead, Jim It's Personal Faux Death Last Words Crap, Killed Mid-Sentence, Carry on men, His Name Is... Catch-Phrase, Famous Last Words, Final Speech, Obi-Wan Moment "Fly, you fools!""Piece of cake" "My Death Is Just the Beginning" Characterization Red Shirt, Loved One, Mauve Shirt Recurring Character, C-List Fodder Regular Character Protagonist, Archvillain, Ensemble Darkhorse, The Kenny When did they die? 10+ years ago, Series Finale 5-10 years ago Same year Same arc "Died" and come back? Not yet Died once, but got better Twice I've lost count To see calculations-of-permanence-of-death in action, see the Wild Mass
Guess Sorting Algorithm of Deadness, where this table has been copied for clarity's sake. Also remember that the author may choose to subvert this trope and bring back a character no matter how 'dead' he should be, sometimes horrifically as an Undead or Reforged into a Minion. Of course, sometimes a low score on the algorithm is no guarantee that the character hasn't been Killed Off for Real. See the Sorting Algorithm of Mortality to determine whether a character is likely to die in the first place. __Applied Phlebotinum
— David Langford, "A Gadget Too Far," as a corollary to Arthur C. Clarke's Third Law Phlebotinumnote is the versatile substance that may be rubbed on anything to cause an effect needed by a plot. Examples include but are not limited to: nanotechnology, magic crystal emanations, pixie dust, and Green Rocks. In essence, it is plot fuel. Without it, the story would grind to an abrupt halt. It's the science that powers the FTL drive on the starship so the characters can get somewhere, it's the magic that hatches the Egg MacGuffin so the protagonist can save an endangered species, it's the strange things unknown to science or magic that do basically anything except those limits and dangers required by the plot. The reader does not know how Phlebotinum would work and the creators hope nobody cares. According to Joss Whedon, during the DVD commentary for the pilot episode of Buffy the Vampire Slayer, the term "phlebotinum" originates from Buffy writer (and Angel co-creator) David Greenwalt's sudden outburst: "Don't touch the phlebotinum!" apropos of nothing.Fun Fact If the phlebotinum in question is simply a physical substance with unusual/extreme properties you are almost certainly dealing with the element Unobtainium. A.K.A. Handwavium. Compare Author Powers, Hand Wave, MacGuffin, Deus ex Machina, and A Wizard Did It. Contrast Misapplied Phlebotinum. Not to be confused with Phlebotomy . rbreaker Almost universally uttered after a character (usually a hero but sometimes a villain) takes a wild leap into the unknown as a way to escape pursuit and otherwise-inevitable capture — jumping off a high cliff or across a wide chasm, for instance. The pursuers then give up the chase, confident that their quarry has effectively committed suicide, and never go look for the body to make sure. Of course, the moment someone says this, they've guaranteed that the person in question not only has survived, but will be coming back to spoil someone's day. If it happens towards the end of a story, expect a Finger-Twitching Revival... after they've been buried under a ton of bricks. If the villain's hand reaches up and grabs your ankle from below the ton of bricks / edge of the cliff, that's... a trope of its own. A frequent variation is "Nothing human could have survived that," which usually heralds or underscores the discovery that the "victim" is either non- or super-human. Also may be a result of The Worf Barrage or an attempt at Try and Follow. (This also frequently occurs with explosions and collapsing structures. When it's the hero caught in the explosion, it's possible that no one DID survive that if they weren't stalled by a Disney Death.) Along with Nothing Can Stop Us Now! and What Could Possibly Go Wrong?, this is one of the things a Genre Savvycharacter should never ever ever say. In fact, they should Dope Slap anyone who does.... If the trope is overused with one character, it's a case of Why Won't You Die?. See also Left for Dead, Never Found the Body, Soft Water, Not Quite Dead, and Million-to-One Chance. Not to be confused with Playing Possum, He's Just Hiding!, and No One Should Survive That. Share Opening a Can of Clones • Main • Laconic • Create New "There's always a moment in an action star's career where they start doing movies starring more than one of themselves. I feel like it happens to everybody. It's like, 'What do we do, how do we keep this guy fresh? MORE of him!'" — "Arnold Schwarzeneggar Kill Count," discussing The 6th Day In Speculative Fiction, Shape Shifters, robot duplicates and clones are exciting and can add a layer of ambiguity and suspense to a story. It will fill characters and viewers with paranoia and make for great shocking revelations. However, they can also completely derail said story and kill all drama when fans get lost in the forest of Epileptic Trees. The problem stems from the possibility that if clones, shape shifters, time travelers or body-hopping aliens can make and unmake plot points at whim, how can viewers be sure that a given story element is canon? The reasoning here is similar to how a setting where Death Is Cheap takes away dramatic punch from future character deaths. By allowing for the existence of these duplicates the author basically has a huge Reset Button with giant neon lettering spelling out "Wanna bet this dramatic revelation, death or plot twist is here to stay?" These fears can be confirmed if an author starts Ret Conning events or casually undoing changes using these tropes. The ur-trope of the Nineties, not just a popular gimmick in mainstream films (see Alien: Resurrection and The 6th Day), but in comic books (The Death of Superman), television (The X-Files) and video games (Metal Gear Solid) as well. Because clones and their usage were so obligatory (and over-saturated) for over a decade, they are regarded as something of a cop-out by the mainstream public. It's not that clones in themselves are bad, but stories involving them are so formulaic that any suspense grinds to a halt: there's never just one clone but several, and a story with clones can never fully dispel rumors that the lead survivor is, in fact, a clone. A few things that may cause this reaction: • Death Is Cheap via Expendable Clones. • Overuse of the First Law of Resurrection inevitably makes any death suspect. • Poor use of the Cloning Gambit. • Revelation that what you killed was Actually a Doombot A few ways to avoid this reaction: • Ambiguous Clone Ending — Here the intention is to keep the audience guessing, rather than a side effect. • Glamour Failure — Clones can't blend in due to give-away features. • Imposter Forgot One Detail — The clone/shape shifter can't copy the personality of the original person. • This Was His True Form — If the shape shifter reverts to their default form, then reviving a dead character this way is impossible. Also related to The Multiverse and the Second Law of Metafictional Thermodynamics. Second Law of Metafictional Thermodynamics • Main • Laconic • Create New The entropy of a fictional system whose writer is not in emotional equilibrium will tend to increase over time, approaching a maximum value at the writer's emotional equilibrium. There's no other way to say it: writers like killing and destroying. Nothing makes them happier than having people die or Stuff Blowing Up. (In their writing, not in their real-world behavior. We're sure about this. Mostly .) It's the quickest way to get drama, too. Unfortunately, writers cannot destroy all their fictional creations without ruining the story. Some of those creations have Contractual Immortality. Even when they don't, killing characters off or nuking cities can change the flow of a story in rather unfortunate ways. And destroying everything means there's no more story, and thus no more paychecks for the writer. As a result, when there is anything expendable, writers will expend it. If the writer can bring people back to life by pushing the Reset Button, then people will die as long as the button is there. If a city has been evacuated, that city will go down in flames. Atomic flames, preferably. If it hasn't been evacuated, the writers can blow it up anyway if no named characters are there. It's not like readers will be upset, right? After all, A Million Is a Statistic. And a character in a Prequel that wasn’t in the original work? Don’t get too attached to them. The less often the writers get to do this, the more pyrotechnics they pack in. When everything is expendable (like in a show with Negative Continuity), the writers will increase their system's entropy at a leisurely pace. One death an episode or so will do. If almost everything has Contractual Immortality, then killable characters and inflammable places are rare treats, and the writers will spring on them like the proverbial hungry wolves on a sheep. At times, some writers seem to be working out their stress by destroying fictional people and places. The carnage is always greatest at the moment the writer gets better, since they will increase the entropy until their self-therapy finally works. Needless to say, Creator Breakdown and Darker and Edgier almost inevitably leads to higher entropy. This is the reason for the following tropes: • Anyone Can Die • Climactic Battle Resurrection • C-List Fodder • Cloning Blues • Conveniently Empty Building • Expendable Alternate Universe • Good Thing You Can Heal • It's Going Down • Kill 'em All • Opening a Can of Clones • Reset Button • Stuffed into the Fridge • Tonight, Someone Dies • Throw-Away Country The Trope Name is a reference to the Second Law of Thermodynamics, which states that everything in nature increasingly trends towards disorder (or entropy, to be more accurate.) A similar naming convention was used for the First Law of Metafictional Thermodynamics. This article deals with the reasons that have led to an increasing abandonment of the concept of ‘ideology’ and with the basis of its possible reemergence. The abandonment of the concept is explained on the one hand by its increasing inflation accompanying the crisis of a holistic and naturalistic conception of the social, and on the other hand by the erosion of those metalinguistic positions which provided a neutral viewpoint from which to expose the various forms of a distorted consciousness. Consequently, the ‘ideological’ invaded the totality of the social field and lost all analytic value. It is argued that the notion of ‘distortion’ cannot be abandoned, as far as a post‐ ‘critique of ideology’ approach asserts that the illusion of closure is the main source of a distorted consciousness. The conditions of possibility of a constitutive distortion are then explored in connection with the logic of equivalence in the production of social meaning. The results of this analysis are illustrated through three examples: the distinction between ‘thick’ and ‘thin’ morality in Michael Walzer, the construction of a ‘beyond all differences’ in mystical discourse, and the structure of myth in Georges Sorel. Some general conclusions follow on the working of the ideological and the (impossible) conditions of its extinction. 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VAN DIJK Journal of Political Ideologies Volume 11, 2006 - Issue 2 Published online: 23 Jan 2007 https://www.tandfonline.com/doi/abs/10.1080/13569319908420796?src
Executed before me this day, the day of , 20 .
