incarnation-of-victory

[incarnation-of-victory]

all right, fine

let's play ball

that bkdk car conversation is really fucking gay

I made this blog to talk about language because I find it fun and fascinating, so while I'm not thrilled to acknowledge 431 any more than I have to, there's really hilarious shit happening in this scene and the people need to know.

So, the first fucking thing we hear outta Katsuki's mouth is this:

"Jeez, why the hell do I gotta be Deku's private little chauffeur!"

There are a few ways you could translate this. It's an indignant complaint with some rudeness, but comparatively mild for Katsuki. Some people might rephrase this to something more like "why do I gotta drive Deku's ass around" but I'm keeping the original, possessive grammar of デクのアッシー (Deku no asshii) because I think it highlights an important implication.

Sooooo... the word Katsuki uses here アッシー (asshii) is uniquely loaded slang.

Jisho.org

This term originates from Japan's bubble economy era of the late 80s and saw continued use through the 90s. During the economic bubble, the unemployment rate was very low; the related increased presence of women in the workplace led to a cultural perspective that women were gaining social power and financial independence.

From this new social dynamic emerged several terms:

Asshii-kun, Messhii-kun, and Mitsugu-kun.

English Journal, written by University of Kitakyuushuu linguistics professor Anne Crescini

There's also the lesser known Tsunagu-kun, who hooks up electronics for a woman, and Keep-kun, a "backup boyfriend" for when a woman's preferred partner dumps her.

A couple Japanese websites I looked at talked about luxury vehicles gaining in popularity during this time, so Asshii-kun are associated with expensive sports cars, something Katsuki is probably referencing since his car is fancy as fuck!

It's not a well known term anymore, to the point that I saw a number of jpn fans joking about having to look up what it means, haha. Katsuki's dialogue often has interesting, unusual word choices, and of course, reigning queen of up-to-date slang Camie teased him about his delinquent shtick being "out of fashion"!

In that journal article, Crescini explores English terms which roughly convey the same meaning as asshii. I've used google translate here to show you what is written, so let's take a look!

O--oh.

Oh.

fdkjslhsmh;lkshm;

LISTEN I WAS TRYING TO BE FUCKING EMPIRICAL AND SHIT

oh. is that right.

yeah

yeah he is

FYI shiri ni shikarareru of course carries the implication of a man being dominated or bossed around by his wife.

Now, on social media, I saw people (likely in their 40s and 50s) using the term jokingly to describe having to chauffeur someone around for errands. It was mostly men talking about their wives, but there were a couple instances of it being used for friends and family members. It definitely has the energy of "being forced to drive someone around without getting anything in return."

But notice that Katsuki voices this complaint about Izuku specifically, even though Kirishima is also in the car. Like yeah, he yells about Kirishima threatening to scratch his car, but he doesn't fucking call himself Kirishima's asshii!

He could have used a plural "you" pronoun or even pluralized Izuku's name with Deku-tachi to make it "Deku and the people with him," but no, it's "Deku's asshii."

Tell me, Kacchan, when it comes to Izuku, are you hoping to get something in return?

"If somebody'd just said the words 'I wanna surpass Dynamight,' I'd have taken 'em." "You ain't gonna give up teaching?"

date me date me date me fucking do hero work with ME Izuku be a hero with ME

[sigh...]

"Man, you got dumped, huh, Bakugou!!"

Listen. My jaw dropped when I saw Kirishima say this.

Weblio (google translated)

This definition specifies "amorous feelings of being in love" (恋愛感情). I'm not joking when I say I've almost exclusively heard this word used for rejected confessions or couples breaking up.

Japanese Stack Exchange question, "Can フラれて be used in any non-romantic sense?"

The Japanese example sentence describes a business proposal being immediately rejected. The comedy here is inherently tied to the verb being used for romantic rejection, like someone saying "I applied for a promotion, but those fickle hiring managers went and broke my heart."

Even if you aren't literally suggesting romantic love, the association makes it sound over the top and dramatic.

Kirishima is drawing attention to how serious and emotionally invested Katsuki is in making this offer and affectionately teasing him for it. Note that he doesn't just use the simple past tense for this verb (フラれた), which would have sounded direct and not particularly sympathetic. He's using a [verb] + shimau construction (further contracted as slang to "-chimatta") which makes it a "regrettable" outcome, like an "aww man!"

You can add that construction to any verb and it would sound funny/sympathetic, so he could have phrased it differently:

断られちまった ("You got turned down," common word used for all kinds of rejection)

拒められちまった ("You got denied," used for romantic, platonic, and familial relationships)

撥ね付けられちまった ("You got totally rejected," used for when someone coldly or flatly rejects an offer or request)

撃沈しちまった ("You got shot down," uses battleship sinking imagery for failure in daily life, business ventures, romance, hopes and dreams, etc.)

轟沈しちまった ("You got crushed," similar to above, but more severe and instantaneous sinking: instant kill, KO, torpedoed, etc.)

The last few in particular are very dramatic and humorous, so they would work well if Kirishima wanted to joke about the speed or bluntness of Izuku's refusal.

BUT NO.

DUDE USED THE VERB SPECIFICALLY ASSOCIATED WITH ROMANTIC REJECTION, which centers the feelings of heartbreak and disappointment.

He is commiserating with Katsuki for "putting his heart on the line" and getting the cold shoulder, and then he fucking wingmans for Katsuki by spelling it all out to Izuku!!

You can say all you want "it's just lighthearted banter, they're joking!" Sure. You're right, this is a funny scene.

But the joke is that Izuku is a cute girl Katsuki keeps trying (and failing) to woo. That he's taking advantage of Katsuki's feelings for him and stringing him along.

The joke is that Katsuki wants Izuku at his hero agency so bad, the rejection is essentially on the level of getting dumped or having your love confession rejected.

The joke is that Izuku is completely oblivious when it comes to love.

oh interesting doesn't that sound familiar

LITERALLY EVERYBODY KNOWS THIS NERD WOULDN'T NOTICE LOVE IF IT PUNCHED HIM IN THE FACE

'cause Katsuki already tried that one

But I will say, for all Katsuki's complaints, the problem is obviously not a lack of reciprocation. The problem is that Izuku doesn't recognize what Katsuki feels for him. He doesn't get what Katsuki is trying to express to him. He can't answer honestly if he doesn't even understand the question.

The comedic parts of MHA are often wrapped up in important plot points and messages. Sure, it's funny, but why does that mean we're supposed to dismiss it?

Also, Kirishima says this:

"Midoriya sure is dense when it comes to these things."

その辺 (sono hen) is a perfectly ordinary phrase for "that area," "that topic," "in that regard," or "around there," and I wouldn't think anything of it if not for this next bit:

"On that note, what about you guys?"

They are talking about the Class B students who started dating, and Sero uses the same phrase to ask whether Jirou and Kaminari are a couple. Again, this isn't unusual, and if these moments were separated by whole chapters, it would not read as notable in any way. その辺 is a common enough phrase that it's not something you could pin down as a "thematic phrase" or anything like that.

But the repetition struck me. Sero could have said, そういえば (speaking of which, now that you mention it, on that subject), this is a very common sentence starter, but he also could have said things like 付き合ってといえば (speaking of dating) to be more specific.

In this conversation, その辺 is framed as the topic of dating or romance by the preceding remarks. Meanwhile, the "topic" Kirishima suggests Izuku is thickheaded about is only really defined by his own previous comment...

which framed Katsuki's rejection as romantic heartbreak.

anyway

here's the funniest translation of Katsuki's asshii comment I could think of:

"Jeez, why do I gotta be Deku's vehicular bitch boy!"

[incarnation-of-victory]

Oh? Please, Madam

What Izuku rejects is the opportunity to be Katsuki's SIDEKICK. He doesn't reject being a hero or competing with Katsuki. He rejects working FOR/UNDER Katsuki. Which is hilarious because Katsuki accepts (apparently multiple times) showing up as a guest lecturer to help out Izuku's class. Katsuki tells Izuku that "If everyone is special, no one is special," which has the potential for SO MUCH DOUBLE MEANING. But what there is no ambiguity about to me is he's basically telling Izuku "Hey, notice this. I'm treating you special. You're special to me. NOTICE."

It's also implied that Izuku sees Katsuki more regularly than he sees most others from their class, which is emphasized by the previous chapter when Aizawa complains to him about Katsuki's behavior in public affecting his ranking. Katsuki basically tells Izuku he needs to start thinking about himself more, and he also ends their final interaction with a "See ya [later]." Katsuki is NOT talking about Ochako, but Izuku takes some of his advice as the impetus for going to talk to Ochako (specifically they just wanna talk more after the dinner since the dinner is now over and they didn't get to talk). So what was Katsuki thinking of? I personally read his "See ya later" as "You'll figure it out, just go handle what you gotta right now and you can catch up to me later."

Hilariously, Izuku calls Katsuki out for being the one to say "If you don't start thinking a little more highly of yourself, you won't notice the things you should." Izuku's response is basically, "Look who's talking." Again, the potential for double meaning here is painfully obvious. He could be referring to SO MANY THINGS and we're meant to infer what that is. WE GET TO GUESS. Izuku could be saying "You did stuff just as bad as what you're saying," or "You're STILL not noticing something, Kacchan."

And Izuku taking inspiration from Katsuki's words to go talk to Ochako is meaningful in another way--IT MEANS IZUKU LISTENED TO HIM. Katsuki is having an influence on Izuku in a way to improve who he is just like Izuku did for him in high school. Izuku takes Katsuki's advice seriously. NO ONE HAS EVER GOTTEN HIM TO UNDERSTAND THIS LESSON BEFORE NOW. It ends with Izuku and Ochako deciding to talk more, but what it shows us is the beginning of Izuku considering himself more. If Izuku follows Katsuki's advice long enough, he'll end up back in the competition with Katsuki just like Katsuki expects him to. That is just as easy of a conclusion to make from the theme of "inevitability" that Shouto gives us (and that Izuku also takes to heart).

This ending implies that inevitably Izuku's gonna catch up again, basically. Things will continue to change. So yeah, we get a beginning where he and Ochako meet up to talk, but it's just a beginning. It's one night of chatting. They're seeing if something's there now (which kind of implies that there wasn't much there before), but it's left open-ended. And I think it's left open-ended what happens with Ochako on purpose because anyone can read how that ends up however they like. You just have to decide as a reader what's "inevitable" for Izuku Midoriya from this point on. Me? I've decided Izuku is taking Katsuki's advice to treat people who mean more to him better. Ochako is just the beginning. Izuku has other people in his life he needs to show love to as well (because that's what this is, Izuku is learning to show people that they're important to him, that he loves them, because saving people doesn't do that--he saves EVERYONE). And then maybe he'll start to see how the people who love him treat him special too, like guest SPECIAL (same kanji) LECTURER KATSUKI BAKUGOU.

tl;dr there is a lot left open to interpretation and it's probably on purpose, read the chapter however you like, just like we did with the last chapter.

...and my interpretation which is the correct one is that Katsuki tells Izuku, "Here let me show you how to love people, damnit!" to give him the character development everyone has been begging for him to have for years, to realize that saving people doesn't mean they're special to him if he's known for saving everyone ever, so like, maybe go show them you care in OTHER ways, Izuku, and also I'll be waiting right here for you to come show you love me you jackass (and he does, he does come show him that)

[incarnation-of-victory]

Hope you’re well. Do you know how much extra content volumes usually have compared to the number of weekly pages? Apparently we’re getting 60 extra pages. Is that a lot more than normal?

Hello! Thanks for the well wishes.

You've come to the right person, because I'm a weirdo who has done a ridiculous amount of research on Shueisha's tankōban releases and how they differ from WSJ serialization, so I have a good idea about how some of those pages are going to be used. I'm also gonna compare what we know about this final volume to those of other series.

Strap in for the spreadsheets and data party, pal!

First, here's a look at a selection of MHA volumes.

EDIT: These numbers come from Shueisha's official listings of the volumes and their table of contents, cross-verified with the MHA fanwiki's chapter page counts, some of my own physical copies, and online fan scans.

As you can see, roughly 20 pages is typical. 58 seems wild in comparison. I wanted to know what those 20 pages were usually used for.

So, I went through my copy of volume 37 and did a breakdown of its contents.

Now lemme explain some things:

Every tankōban will have between 4-6 pages for legal disclaimers ("this is a work of fiction", etc.), table of contents, and copyright information.

A "door" is a printing term for what one might call the volume title page or chapter title page (example in link). Not all chapters have "doors," most have their titles integrated into the first page, like so:

The vast majority of tankōban have page counts that are divisible by four. This is related to the physical mechanics of printing and binding books, so it is unusual to find ones outside this format. Volume 11 is an outlier in this regard with 210 pages; in fact, the English language release cut those two surplus pages.

Tankōban may have dust jackets. MHA tankōban with dust jackets often have a second, internal "sketch cover" and a final page promoting the next volume. These are not included in page counts, and are thus not included in my breakdown.

Manga is of course read right-to-left; this means if you hold a tankōban open, odd-numbered pages will be on the left side and even-numbered pages will be on the right.

In professional publishing, chapters are structured so their first page of actual story content is on the left. Page planning, which is taught to new artists and enforced by editors, involves the odd-numbered page ending on some sort of "pull." Basically, page 2 might be drawn to lead your eye across the book, but page 3 has to make you want to turn the page and find out what happens next.

Basically everything published in Weekly Shonen Jump has chapters with an odd-number of pages, so it'll have 15, 17, 19, or 21 pages, instead of 16, 18, 20, or 22. This allows the chapter to both begin and end on the lefthand side; even-numbered pages before and after the chapters separate the different series with promotional ads.

What we think of as bonus material is mostly what I personally call adjustment pages: in order for every chapter to still begin and end on the odd-numbered page in the tankōban, they must be separated by at least one page that fills the even-numbered gap.

Sketches, quotes, doors, all that extra stuff is really just there to make the structure of the tankōban a little more appealing to the reader. In my breakdown, "adjust" refers to an even-numbered page that is totally blank except for a MHA logo in the bottom corner.

So, 4-6 pages for legal stuff and at least 1 page separating each chapter (typically 8-12), plus a few pages of extra art like character pages or chapter doors, you can see why we end up with roughly 20 pages more than the total of the chapter pages combined.

With this information, let's imagine what Volume 42 might look like.

In this estimate, I just guessed it would have the same pattern of extras as Volume 37, since we know the final volume will have the results of the last WSJ popularity poll. This totals 146 pages, so basically, even accounting for the inter-chapter sketches, that's 38 pages of new, unknown content!

I've seen people guessing that the final volume will include the 2008 one-shot Horikoshi used as the basis for My Hero Academia, but I can basically guarantee you that won't happen, because when it was published in Akamaru Jump (which is now called Jump GIGA), it was 47 pages long. Yes, I went and found a Japanese blog post from January 2008 to verify this page count.

126 chapter pages + 4 legal pages + 8 adjustment pages between chapters + 4 pages for popularity poll + 47 one-shot pages = 189 pages, 5 pages too many. They would have to remove the adjustment pages to make it work, which totally fucks the flow of the manga.

Furthermore, the word used in the WSJ ad to describe the bonus material for the final volume (描き下ろし) specifically refers to drawings newly made for a special purpose. They simply would not use this to refer to a previously published manga being included.

For comparison, I researched the tankōban releases for a number of other WSJ series.

Dr. Stone and Mashle's final volumes were basically identical to their regular volumes in terms of extras and content. I also researched The Prince of Tennis and Naruto as older comparisons, but I couldn't find information exact enough to warrant inclusion, but what I saw more or less matched Dr. Stone and Mashle.

As you can see, Demon Slayer is the weird one here, and it's obvious why. The series ended during the first few months of the COVID-19 pandemic, and Gotouge mentioned having a family member they needed to care for; a lot of people felt these issues contributed to Gotouge not being able to end the series as they had originally intended.

Demon Slayer chapters were typically 19 pages, but the last two chapters were 26 pages and 24 pages, uncommonly even-numbered. If you look at the final chapters and the epilogue in the tankōban, just numbers-wise, the ending could have been four 19-page chapters. But for whatever reason, that wasn't how it went down during serialization.

It's worth noting that the pages added to the tankōban do not change the ending, they merely provided greater emotional closure.

Side note but if anyone's gonna try and bring up Attack on Titan, I'm just gonna point out that AOT was a monthly manga published by Kodansha, a different company entirely. I imagine they have their own approach to marketing tankōban or special releases. You also have to consider the tastes and intentions of the creator, and hot take but I have absolutely no fucking positive opinions on that dude or his work, so it was no surprise to me that anything he added just made the ending worse.

TL;DR: Yes, it's a lot more than regular volumes! Content-wise, we'll probably get beautiful new illustrations and some revised page art that add details which improve pacing or themes. We might get a few extra chapter pages where a single serialized page gets turned into a big double-page spread, like we saw for Katsuki's fight with AFO.

There could be a couple new panels that bring more closure to things that were hinted at in the final chapters, who knows.

The only thing I personally want is a true bkdk handhold.

I'd love a double-page spread of Izuku taking Katsuki's hand and beaming up at him. Just insert it right there at the end before we see them all scampering off to make the world a better place. That would do my heart good.

[incarnation-of-victory]

chat what if your gay lover left you to become a depressed vigilante

[incarnation-of-victory]

i finished mha and been brainrotting a bit evidently

[incarnation-of-victory]

It’s okay

[incarnation-of-victory]

sth sth roomates... sth sth rest of our lives...

[incarnation-of-victory]

Why be serious when you can just laugh it out

[incarnation-of-victory]

i was just doodling a bakugo and then it turned into this

[incarnation-of-victory]

Training to hold Izuku’s hand

[incarnation-of-victory]

It’s a shame we never got this handhold

[incarnation-of-victory]

oh, to fly with you again

[incarnation-of-victory]

Blush

[incarnation-of-victory]

[incarnation-of-victory]

Pro hero Katsuki be putting in that work and putting in that hours so his pookie can have a hero suit

[incarnation-of-victory]

I’d love to interpret bkdk as romantic but I will be honest, it is difficult to do when a het ship is being hinted at more explicitly. I’m still glad Horikoshi did not include a full-on confession though. We can do what we want in fics without having to rework canon.

Love your posts, thank you for your wonderful insights into bkdk. Your meta is always well-done.

I know this ask was originally meant for someone else, and you’re absolutely right that bakuhatsufallinlove does fantastic meta. You’re very wise to see how great of a job they do and it’s kind of you to say so. It’s also very kind of you to read my posts.

I’m about to not be quite so kind.

I hate Izuocha. And I’m annoyed by the insinuation that Ochako breaking down in tears over Himiko to Izuku - her big moment of bearing her emotions out in the open to him - is seen as an endgame romance, especially since the only other detail we have to go off of is Ochako smiling at Izuku in their hero suits when Todoroki is kinda doing the same thing, AND when I should DAMN WELL hope Ochako and Izuku are still friends and looking out for each other, especially since they bonded over the traumatic deaths of those they failed to save.

I’m insulted that Ochako’s confessions to Himiko are disregarded like that, or the tumultuous chaos she grapples with in her heart is brushed aside. I’m insulted by the insinuation that Ochako’s known love of seeing happy, smiling people is not acknowledged and instead her expressing joy over seeing that on Izuku’s face is painted over as being implied, for-sure romantic endgame. Maybe it is, sure. Anything is possible. I’m sure Himiko wants the best for Ochako and for her to be happy, and would probably think it was romantic that her feelings also reached Izuku by way of Ochako as being someone they mutually loved.

But Himiko is dead and it ripped Ochako apart, and her reaction to that is the last in-depth look we get at her feelings. Izuku recognizing that Ochako is a hero in her own right (not a heroine, aka a damsel for the hero to save and then end up with romantically per Japanese storytelling roles, not just “a female hero” like we think of it in English) is gratifying and wonderful. And I’m insulted by the insinuation that just because Izuku acknowledges that Ochako is and has been his hero and always saved him that this must mean that they are implied to be the romantic endgame. God forbid they mutually admire each other and respect each other and the story just ends there, and god forbid Izuku calling her his hero sends a totally different message.

Now, as for Katsuki. You cannot tell me that he doesn’t have some kind of deep feelings for Izuku. @bakuhatsufallinlove has posted extensively about unspoken feelings with a likewise unspoken understanding are common for Japanese romances, but I’ll admit I’m not here to talk about that.

Do you really want to tell me that Horikoshi-sensei allowing Katsuki and Izuku to keep their arms and have an implied handhold at the end doesn’t mean as much as whatever the fuck Ochako is doing in the final panel?

In Naruto, which BNHA takes many cues from, Sasuke and Naruto had their arms ripped off because the editor didn’t approve of the two of them holding hands in panel. Apparently, that’s too romantic and inappropriate for the male leads of a shonen. Given that, how interesting that the doctor recommended that Katsuki’s hand-holding arm be amputated. How interesting that Katsuki refuses. How interesting that Katsuki refuses while thinking not just of All Might, probably not really of All Might, but Izuku. How interesting that Izuku also keeps both arms, and we as readers are very certain they held hands even if it is not shown.

How interesting that Katsuki is not just the heart of Izuku’s mech suit project (and, in some respects, of the class,) but of Izuku’s image of victory, Izuku’s “Pro Hero with a quirk” origin, the heart of what he believes a real hero is like, and the literal actual heart of what he wanted to defend from ShigAFO multiple times over. How interesting that Katsuki’s story is in part him learning how to not be a burden to Izuku or used against him like, say, a heroine-damsel-in-distress might be used, AND it is also in part him learning to come to terms with his feelings for Izuku. In fact, we spend basically the whole manga dwelling on this with him. It’s that important that he reconciled Izuku with his heart and desires.

Izuku, who is so tearfully happy that Katsuki wants to be with him for the rest of their lives in whatever form that takes, even when they weren’t sure he was going to have a quirk and be able to be Katsuki’s superhero rival. Izuku, who is so happy to be with Kacchan and the class as a hero again, in part BECAUSE it is with Kacchan………….and everyone else on the next page.

Nothing is for sure. Nobody kissed or got married or whatever, sure. But you really want to tell me Izuocha is more heavily implied based on the ending?

Thanks for the ask. I’m sorry you feel that way. Get off my lawn.

[incarnation-of-victory]

"I guess I thought... we'd be competing... and I'd be on your heels... for the rest... of our... lives..." - Kacchan of the Bakugou's

a different version and then close ups if y'all wanted that

But anyways, I'm gonna be sappy and say how grateful I am to have been here watching and reading this story for years. It means so much to me, it was one of the first anime's I ever got into, and has helped push me to improve my art. It's made such a big impact on my life and I am thankful that I got to witness these characters grow and develop as I grew up with them.

Thank you, Horikoshi, for this work.