#‘oh youre just bad at it’ i am bad at it because its bad game design. i rest my case | Explore Tumblr posts and blogs

seiwas · 8 months ago

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omg i maxed the tags 😭

WHEN HE SAYS. sayin it is the hard but ive spent forever lovin ya—always been the easiest bit ☹️☹️☹️☹️ IM SOOOOOOOOOOOOOOOOO SAD BUT IN THE BEST WAY RN

&&&& when he asks u so directly too. when you say u love him but it’s not enough so he asks if ure IN love with him oh my guckdisn im such a sucker for that

AND HE ASKS PERMISSION TO TOUCH YA TOONAKANZJS OHHHH IM LOOOOOOSING IT

😭😭😭😭😭😭

WHEN HE HUGS YOU OHHHHH MY HEART. It reminds me so much of how he did when u fell of that tree 😭😭😭 and and and how despite not touching u for months he still knows u just the same aksndkjx

IF I KISS YA YA GNA CRY AGAIANKSNXKSNSKSJSJ STAWHP I AFNT TAKE THIS

MYYYYY GOOODOODKDKEJDJIEJD IM A BAWLING MESS

im sorry for this mess of a reaction op but. thank u for writing this 🥹🥹🥹🥲🥲🥲🥹🥹🥹🥲🥲🥲 crying so hard rn but i loved this so much its so good 🥹 thank uou thsnk you thNk uou i cant see what im thping rn

leave the light on - miya osamu/f!reader (haikyuu!) part 10 in the bff!osamu series tags: childhood friends to lovers, tw instant coffee mention, miscommunication, confessions, ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhh!!!!!

Onigiri Miya closes early on Sunday nights.

It’s not for lack of business—the shop would certainly take in enough revenue to justify staying open regular hours an extra day per week, especially on a weekend. But in the early days of Onigiri Miya, when it was just a one-man show, Osamu needed at least one night that he could count on having off. The workweek business—office workers and students going through their routine hustle and bustle—kept him going, enough so that Sunday nights weren’t a make or break for him, and he was able to start shuttering in the early afternoon once per week.

He remembers those early days. Sweet talking vendors to bring down the cost of produce and haggling with the grubby, bleary eyed men at fish market stalls at the crack of dawn for a deal on the catch of the day. Promising suppliers that he’d be able to get them their money in a couple of weeks if they’d just give him some more time. Standing on the road, because Onigiri Miya was just a street stall back then, trying to coax people in and try his food. To convince them to take a chance on him. He remembers burns on his hands and cuts on his fingers and an ache in his bones that ran so marrow-deep he forgot what it felt like to not be so sore. Sunday nights were the only night he had to relax. The only night he had to sit down, to take off his hat, and to have a beer—or, even more frequently, pass out on his couch in his uniform at 8pm and sleep right through to his alarm the next morning.

Closing early on Sundays had been your idea, way back when— suggested to him gently while he rested with his head in your lap in your tiny student apartment after another 16 hour workday. He still remembers the worry in your eyes as you brushed his hair back from his tired face.

Nowadays things aren’t so hectic. Osamu’s got a good team of people around him to help Onigiri Miya run smoothly—a team who he trusts and values. It doesn’t all fall onto his shoulders in the same way that it used to: he doesn’t have to be there for every open and every close, his bills are paid, he’s not fighting to lure people in off the street just in the hope that he can scrape by for another week.

Now when he closes early on Sunday, it’s more for the sake of his staff than anything else. Occasionally Osamu will take the night off, too; he’ll go home and catch up on housework, run an errand or two, or even grab dinner—usually with you, though evidently not so much lately. But most Sundays he stays behind after his last employee heads out for the night; locking up behind them, switching off the sign in the window to tell the world the shop is closed, and then holing himself up in his office to do some admin. He’ll grab a plate of whatever’s leftover from the day’s service and a cold can of beer from the fridge, put on a rerun of Atsumu’s game from the night before, and get to work shuffling through the paperwork that he’s left to pile up over the past seven days.

Osamu hates paperwork.

It’s not that it’s particularly challenging work—the really hard stuff is left to his bookkeeper after all. It’s just tedious, a mindless task in many ways, and he always finds his thoughts drifting as he sorts through invoices and inventory registers: catching himself being inattentive halfway through a spreadsheet, and having to force himself to go back to the beginning just to make sure he hasn’t missed anything in his carelessness.

You used to help him with this kind of work, or at least keep him company while he got through it—sitting on the lumpy couch crammed into one corner of his little office and pretending like you weren’t asleep each time Osamu caught you with your eyes closed. More often than not, he’d throw his jacket over you to keep you warm while you napped and then rush through the last of his work so that he could wake you up and get you home. But just having you there on those late nights was enough for him; your presence was the thing that helped.

Coffee is his only saving grace, these days.

Samu shuffles out to the front of the shop on one such Sunday evening, taking off his baseball cap and ruffling the hair underneath tiredly. He’d finally gotten a trim, and he’s glad that things feel a bit more normal again as he rakes his fingers through it—his mother had been right when she remarked that it was getting too long the week before. He tosses his hat down on the front counter of Onigiri Miya, rounding the end to grab a sachet of instant coffee from behind the bar where he keeps his emergency stash.

The overhead lights in the shop are off, but there’s enough brightness filtering out from the still-lit kitchen that he doesn’t need to struggle to see as he prepares himself some hot water to add to the mug in front of him. He tips the granulated contents of his instant coffee sachet into the bottom after ripping it open with his teeth, tapping the empty plastic packaging against the edge of the cup to make sure it all comes out. The kettle behind him hums quietly as it heats to boiling, and Osamu sighs, leaning back against the counter with his arms crossed over his chest.

He stares out at the restaurant—his restaurant, as hard as he still finds it to believe some days—his gaze sweeping over the tables with their corresponding chairs resting atop them. One of the staff had mopped the floors at the end of the night, which left them still slightly wet and glistening. There’s light filtering in through the front windows from the streetlights and the other shops that line the Osaka street outside, and their glow catches in the water that hasn’t yet dried from the tile.

Osamu’s eyes suddenly snap up to the glass that lines the front of the restaurant.

There’s a silhouetted figure—so familiar he could trace it even with his eyes closed, from memory alone—standing on the other side of the door.

Osamu blinks, thinking that the paperwork must have finally gotten the best of him, or maybe that the beer he’d had earlier is inexplicably hitting him too hard. But no matter how many times he squeezes his eyes shut, the familiar shape stays where it is on the other side of the glass each time he opens them again.

His heartbeat thumps, loud and wet, in his ears.

Like the shot of a gun, the man stumbles gracelessly into action: loping around the end of the bar and slipping slightly on the wet tile as he heads towards the door. He fiddles with the lock as he struggles to unlatch it, accidentally trying to force it the wrong way in his haste before eventually getting it right. When he finally throws open the door, a gust of cool night air flooding into the restaurant along with it, he takes in a deep, gasping breath.

“Hey.”

His voice is shaky when he greets you—mostly air and very little shape to the word.

You stare at him from a few paces away, your arms crossed firmly over your chest and a frown tugging down the corners of your mouth. Osamu thinks you look pretty when you’re mad. He always has. But it’s worse now because he knows all too well that he shouldn’t—because he knows you’re mad at him.

You seem to have something to say, he can tell as much from the almost spiteful glint in your eyes, but you stay tightlipped as you simply stare at him.

“D’ya… wanna come in?” Osamu asks, still holding the door open. He nods his head back into the shop. “Still got some stuff prepped, I could make ya—“

“You’re a jerk.”

Osamu blinks, taken aback.

“Yeah,” he agrees plainly after a moment, thinking it’s only fair of you to say given then circumstances.

His concurrence only seems to upset you more.

“Like, you’re a real asshole, y’know that?” You’re nearly spitting you’re so angry, your features twisted up in contempt. Your arms uncross and drop down to your sides, and Osamu watches as your hands ball into fists. He’s the one who taught you how to throw a punch, years and years ago now, and he’s wondering if he’s about to experience a practical demonstration of his teaching abilities firsthand.

“I don’t necessarily disagree.” He nods, agreeing with you once more, though this time his response is slower, more hesitant—not because he doesn’t mean it, but because he’s not sure that it’s what you want to hear.

“Ugh!” Your following exclamation is loud, and palpably frustrated, all but confirming his suspicions. “You…!”

Your tone is climbing with every passing second, and Osamu looks furtively up and down the road around the two of you. It’s late in the evening but there are still a few people out, and he sees heads turning in your direction at the commotion.

“Hey,” he says, his own voice dropping in volume but still pleading all the same. “My name’s on the door and we’re gettin’ some weird looks. I wanna hear everythin’ you have to say, but could you please just say it to me inside?”

You look at him blankly, your lips puckering into a petulant, unhappy pout. You seem like you want to say no, to keep causing a scene, and for a second Osamu really thinks you’re about to round in on him again. Instead you trudge forward, stomping past him over the threshold of Onigiri Miya.

Osamu hesitates for a moment after you pass, half in shock and half in relief, and then he lets the door swing closed and locks it behind him for good measure—he’s not sure he wants any unsuspecting people coming in search of onigiri and stumbling upon a brawl.

It’s dim in the restaurant when he turns to face you, but he can still see your fury burning in the dark.

Neither of you say anything.

“You can keep goin’ if you want,” Osamu is eventually the first to speak, and he means what he says. This is the least of the punishment he deserves, after all. And hearing you yell at him is markedly better than the silence.

“Martyrdom doesn’t suit you at all,” you mutter sullenly.

Osamu sighs, scrubbing his hand over his face. “I just wantcha to say whatcha came here to say.”

You begin to pace as you work through your thoughts, slowly walking back and forth in front of the counter, picking at your cuticles. You’d put a fair amount of distance between the two of you, and he’s sure it was intentional. Osamu keeps himself confined to the entryway near the door, while you walk a path back and forth along the length of the service counter. His eyes follow every step you take, like a captivated child watching fish at the aquarium.

“I had a terrible dream last night,—” you finally force the words out, your feet stilling against the shiny tile as your pacing comes to a sudden halt.

Osamu decides to just do the right thing and shut the hell up for once, giving you the floor.

“—I was going to buy 30 kilos of rice from Kita-san’s farm—”

That’s a lot of rice, Osamu wants to note, but his lips part to let the words through and then he decides better of it.

“—and I was there, at the farm, and then Kita-san started telling me that you got married and had a baby. A baby, Samu! Kita-san standing there telling me all these terrible things with that big bag of rice in my hands, and I couldn’t even get mad at him because he’s Kita! So I just had to listen to him go on and on and on about the venue and the flowers and the baby name that you picked out. And the more he’d tell me the worse it was, and the bag of rice just kept getting heavier.” Your teeth bite down so hard into your lip as you suck in a breath that Osamu's amazed he doesn’t see blood. “I was hearing all of these things—terrible things—and all I could think was that I should have been there to see all of that for myself. I shouldn’t have been hearing about it from someone else. And I realized that you were living a whole life apart from me, a life that I didn’t know about or get to be a part of, and it just kept getting worse and worse and I woke up and I felt like I was going to scream.”

You’re out of breath by the time you finish your rambling thought, your chest heaving and your eyes wild and your mouth faintly wet. You look to him, and Osamu doesn’t see that same indignation in your eyes anymore, only hurt. He watches as the expression hardens again, whets itself like a blade—sharpened not in anger, but rather in resolve. In resignation.

“That day. I looked for you first.”

Osamu feels lost now. Are you still talking about that dream?

You understand without him saying it, and explain yourself further. “In high school. The day that I kissed Suna.”

Osamu’s stomach drops, all of the blood rushing to his head so quickly that the shop begins to spin a little around him. He can hear his pulse in his ears. He can feel it in his throat. He can’t help the twist of jealousy in the pit of his stomach, writhing and ugly though it may be, at the mere mention of his friend’s name. He doesn’t have the right to feel the way he feels, but it happens all the same.

“I looked for you,” you keep going, like you’ve broken a seal and have to let it all out. Osamu doesn’t dare try to stop you. He couldn’t even if he wanted to. He watches on like it’s a conversation that’s happening not with him but rather to him. “You were eating lunch with Tsumu in your classroom. I realized he would have had a fit if he knew that I was asking you and not him. I thought about asking him but…”

Osamu can’t feel his fingers from how tightly his hands are balled into fists at his side. His lungs burn in his chest—the breath he’s holding having long since lost the oxygen his body needs, though he can’t seem to draw in another.

“If it wasn’t you, I didn’t care who it was. So I asked Suna.”

The young man processes your words slowly. Incompletely. Like only every third word seems to register.

“Ya wanted me to be yer first kiss?” It’s not the question he ought to ask you but it’s the one his brain chooses to spit out.

Your reply is frustrated, but with an unmistakably melancholic rasp running through it. “Yeah. I did.”

Somewhere distantly, Osamu recognizes a sharp, stinging pain. An ache as part of him realizes that it could have been him. All along. All this time. Him. But the pain is muted, because part of him—most of him—still doesn’t quite understand.

“I think that was the first time I realized it.”

Osamu watches your face, maps the achingly familiar lines and dips and curves of your features as he tries to read meaning in the space between your words. But he still finds nothing.

“I liked you, Samu. More than I should have. Differently than I liked Tsumu, or Suna, or any other guy.” You laugh, but it’s a hollow, watery sound. “I realized it and it was awful.”

You’re waiting for him to say something, but Osamu is at a loss for words. No, that’s not quite it either. It’s not that he has nothing to say, but that he has everything he wants to say to you. To ask you. But he doesn’t know where to start, or how to sort through them, or even how to will his lips, teeth, and tongue to shape any of them.

“You… Y’know ya don’t have to say this,” his voice is tight, like a rope drawn to secure a knot not unlike the one in his throat, when he finally manages to speak. “Ya don’t have to pretend or convince yourself that you… felt the same as me. I care about ya too much to ever ask that.”

You laugh—a single, sharp, distinctly mirthless ha!—as you throw your hands up in exasperation. “There you go again not letting me have any say, Samu!” You punctuate your exclamation with a frustrated little sound. “Stop deciding things all on your own and just listen to me.”

That shuts him up again.

“I thought I was over it,”—you begin to pace once more, your steps slow and measured—“I really did. I told myself it would never happen and moved on because I never ever wanted to fuck things up between us. Between any of us.

“You told me that you’ve loved me your whole life, but you don’t know if or when something changed. I do. I had a singular moment that I could point to where I realized that if I did or said the wrong thing after that, I could fuck up something that meant more to me than anything else in the world. Even if you felt the same way I did, there’s no guarantee that something like that would work out. But if we tried and it didn’t work, we wouldn’t be able to just go back to how things were. So I told myself that no matter what I wouldn’t. No matter how hard it was or how awful it felt. I could get over it if it meant I never had to lose you. And it was fine. For years it was fine. We were fine. Everything was fine. And then I lost you anyway.”

You suddenly stop pacing and crouch down, your arms winding themselves around your knees as if to comfort yourself.

“That night, when you…” You swallow, and risk a glance up at him. “I don’t think I’m over it.”

Osamu feels like he might die. Maybe he did already. Maybe this is his life passing before his eyes, because it’s always been you anyway.

“But it’s scary, Samu,” your voice is so small, so vulnerable, when you speak to him again. You’re trembling as you hold yourself. “Aren’t you scared?”

Osamu is suddenly reminded of that fall day in the woods, so many years ago now. Reminded of two kids who didn’t know what they were doing. Who didn’t know anything. But who knew each other.

Slowly, Osamu crouches too—his joints cracking in protestation as he drops his body down to your level. Your eyes never leave his.

“Yeah,” he says, after a moment. Soft but sure. “‘Course I am.”

You let out a soggy, incredulous laugh, but it somehow doesn’t feel out of place. He watches as you reach up and scrub at your eyes.

“I love you,” Osamu says, because it’s true. Because there’s no other words he can possibly think to say in this situation. Because it’s the only thing that he has in his mind.

You look over at him, sniffling a little, wiping at your running nose with the back of your hand in a way that Osamu absolutely should not find as endearing as he does. “How can you just say it like that? Like it’s so easy?”

Osamu wants to laugh too, like you did earlier, but he worries that the sound might come off as almost hysterical thanks to the misplaced hope he can feel simmering in the pit of his stomach. “Sayin’ it’s the hard part, that’s why it took me so long. But I’ve spent forever lovin’ ya. S’always been the easiest bit.”

You choke back a sob, your head hanging defeatedly as your body slackens. You’re a ghost of the angry little thing that was outside of his door only a few minutes earlier, but more yourself now than Osamu has seen you in weeks.

“What about you?” he poses the question so quietly he might worry you didn’t hear him if not for how silent the dark shop is around you both.

“What do you mean?” You know what he means. He knows you know what he means. You’re stalling, trying to buy yourself time that’s run out now.

“Do you love me?” he asks, praying to anyone who’s listening that he’s been a good enough man up until this point to deserve the answer that he wants to hear more than anything else in the world.

“Of course I do,” you say evasively, refusing to meet his gaze. But it’s not the same. It’s not enough.

“But are you in love with me?” Osamu finally dares to ask.

There’s a stretch of the most painful, profound silence that either of you have ever experienced. It goes on for an eternity, though the clock hands in the corner say differently.

You still refuse to look at him, your gaze fixed instead to a point on the wall on the other side of the restaurant. Osamu watches how the light from the windows catches in the tears that cling to your bottom lashes.

“Yeah, I am,” you say, barely a whisper. You speak the confession like it’s the most terrifying thing imaginable. Like it's wretched.

And it is maybe, but Osamu’s never felt happier to hear anything in all his life—he feels a rush of something so visceral and elated flowing through him, he thinks he might pass out.

“Can I touch ya?” he asks hesitantly, his voice thick and unlike its normal tone. He hardly recognizes it as his own.

You peek over at him for the first time, and Osamu revels in the feeling of having your eyes on him. Delights in watching you watch him and knowing that behind the gaze is the same feeling as the one he holds inside of himself. You consider it for a moment, and he doesn’t dare rush you, but eventually—mercifully—you nod.

Osamu inches forward slowly and wraps you in his arms. Your body relaxes into his hold instantly, and he pulls you into his lap on the tiled floor. He holds you so tightly that he’s scared he might break you, but he still can’t find it in himself to be more delicate. You cling to him anyway.

It’s the first time he’s touched you in months, but every inch of you is still known to him. Still familiar in every way that matters. You smell the same. You feel the same. You’re soft and warm just like always. Osamu buries his face into the crook of your neck, and your fingers eventually lift to play with the hair at his nape. He holds you, and holds you, and holds you more—sating a thirst that’s been building for longer than the time the two of you have been apart.

And you let him.

You hold him too, in the same way.

“If I kiss ya, you gonna cry again?” Osamu asks you quietly after a while, his lips brushing against your throat as he murmurs the words.

You snort, your fingers twisting into the material of his t-shirt at his shoulders. Osamu peels himself away from you and looks up, and finds that your faces are so close. Too close, in any other circumstance.

His palm lifts, cupping your cheek in his hand, running his thumb against the smooth skin underneath.

“Shut up, Samu,” you say, a little smile twisting up the corner of your mouth.

And Osamu happily obliges by pressing his lips to yours.

#oh i am being hit with so much soft i could cry 🥺 sundays had been your idea 🥺 how youd been so worried in your tiny apartment 🥺 UGH #hq!!#osamu #i love that he watches reruns of atsumus games :((((#your presence was the only thing that helped ☹️☹️☹️ how much he gates paperwork but does his best to get thru it so he can bring u home #IM CRYING SO HARDBWLSKWKNZKSJS #HOW HE STUMBLED TO YOU OH I ALSKSNS I AM SOOOO #oh my god ih my gdo oH MY GOD. HOW HE FUMBLES WITH THE LOCK TOO 😭😭😭 HES SO PRECIOUS MY HEART IS ACHIDNFKSHS #osamu thinks youre pretty when youre mad :(( always has :(( IM SOOO SAD #he’s soooo… just sooooo. despite everything. he goes to you in a heartbeat. listens to everything you say. mY GOD #PLS THE WAY HE THINKS THIS IS GNA END IN A BRAWL 😭💀#you can keep going if you want <- WHERE CAN I GET A HIM. WHERE. ph my GOOOOOOD im clecnhing my chest #i looooove that he always gives you space. gives you time to say what you want to say. IMS O #JWKDNKENDJD WHEN U TELL HIM OF UR DREAM. OF HIM GETTIGN MARRIED AND HAVING A BABY AND IT BEING SUCH BAD THINGS. AND U COULDNT EVEN GET MAD #COS ITS KITA 😭😭😭😭😭😭#JAKXNSKNZJD IM CRYING SO HRD #oh my god. you looked for him first. im gonna cry BAWLING RN ACTUALLY #abf the emotions osamu goes thru oh i am just &/@.!:& this is making me feel a BAJILLION things #you looked for him and if it wasnt him u didnt care who it was anymore :(( IM CRYING 😭😭😭#iT COULD HAVE BEEN HIM AISNSKSNSJJSJS IMC RUIFN THE FIRST TIME U REALISED IT #oh god ih god ih god how u realised u liked him differently and way more than any other guy and it was awful <- SO REAL SO FELT IM CRYING #oh goooooood u know when it changed oh dosnxisnsksns #that reference to his confession IM SOBBING #HEKDNEJXJD IF IT MEANT I NEVER HAD TO LOSE YOUSSNJZJSJS IM CRYING CUEKDKDK IM CRYING!!!!!#im crying sooo hard rn #because its always been you anyway GOOOOOD IF DODNKDNXJDJD #oh my god when he crouches down :(( tells you ofc he is :(( oh my fod im shjsjzjs ACTUALLY SHAKING FROM CRYING #SOFT BUT SURE. COURSE I AM. COURSE HE FUCKING IS :(((#AND HWRB HE TELLS YOU HE LOVES WHEN HE FUCKING TELLS YOU OHHHB IM A MESS RN SUCH A MESS #he loves everything abt u even the way u rub ur snotty nose 😭😭😭😭😭😭😭😭 im sobbingisnxjd

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linkspooky · 6 months ago

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SHIGARAKI VS. YUBEL: HOW TO SAVE YOUR VILLAIN

The failure of Deku to save Shigaraki isn’t just a tragic conclusion for Shigaraki’s arc, it’s also My Hero Academia failing as a story. When I say the story failed, I mean the story has failed to answer any of the questions it asked its audience. It’s themes, character arcs, everything that communicates the meaning of the story to the audience is no longer clear.

Saving Shigaraki was the central goal of not only the story itself, but the main character Deku. By failing in its goal you can’t call this a good ending. In order to illustrate why this goal of saving the villain is so important to both Deku’s character and the central idea of MHA, I’m going to provide a positive example in Yu-Gi-Oh GX were the main character Judai successfully saves their villain. One of these stories fails, and the other succeeds. I will illustrate why under the cut.

BROKEN THEMES = BROKEN STORY

When artists draw they have to consider things like perspective, anatomy, shading, light, coloring. Drawing has rules, and it’s hard to produce good art without knowing these rules beforehand. If I draw something that has bad anatomy, you can criticize me for that.

Writing has rules, just like drawing. The rules of storytelling are important because writing is an act of communication. You can write whatever you want, just like how you can draw whatever you want, but if you break the rules the audience won’t understand what you are trying to communicate.

When I refer to MHA as a broken story, I am referring to the fact that it has broken the rules of storytelling. As this youtuber explains.

“I guess we should first define what broke and broken even means in this context. Has the story turned into an unintelligible mess? Not really. Value judgements aside, the narrative is still functional and fulfills the criteria of being a story. So how can a story that still functions be broken? Maybe to you it cannot. But to me a story that is still functional isn’t enough. What I mean when I say MHA is broken is that it’s lost something crucial. A codifying style of structure, pacing and payoff that until a certain point was the core of its identity.”

I could launch into a long-winded explanation of what themes are, but for the sake of simplicity I like to define themes in terms of “Ask, and answer.” The author asks a question to the audience, and then by the end of the story provides an answer. The audience is also invited to come up with their own answer which prompts them to think about the story on a deeper level. The question both MHA and GX are asking both its main characters and the audience is “Can you save the villain?” with the additional complicated question of “Should you save the villain?” This post will detail how both stories go about answering those two questions, and more importantly why those answers matter for the story.

With Great Power… You know the rest.

My Hero Academia and Yu-Gi-Oh Gx are actually similar stories once you get past their superficial differences. MHA is a story with way better worldbuilding, compared to a society where everything revolves around the trading card game, and people go to school to be better at a trading card game.

However, if you get past that. They are both bildungsroman, stories about the main characters growing up into adults. They both have an academy setting where the goal is for the main character to graduate and enter the adult world. They are both shonen manga. GX is the sequel of Yu-Gi-Oh a manga that ran in Shonen Jump the exact same magazine as MHA. The biggest point of comparison is their main characters, who both start out as young and naive who are driven by their admiration of heroes. Deku is a fan of All Might who wants to become a hero despite not having a quirk, because he loves All might who saves everyone with a smile. Judai’s entire deck archetype revolves around “Elemental Heroes’ and later “Neo-Spacians” who are all based on popular sentai heroes like ultraman.

The central arc for both characters is to grow up. Growing up for both of them not only requires figuring out what kind of adult they want to be, but also what kind of hero they want to be.

Now I’m going to drastically oversimplify what a character arc is.

A character arc first starts out with the character being wrong. Being wrong is essential because if the character is right from the beginning, then there’s no point in telling the story. A character often holds the wrong idea about the world, or has some sort of flaw that hinders their growth. The narrative then needs to challenge them on that flaw. It usually sets up some kind of goal or win condition. That flaw gets in the way of a character “winning” or achieving their goal, so they need to fix that flaw first. If their ideals are wrong, then they need to think about what the right ideals are. If they’re too childish, they need to grow up. If they have unhealthy behaviors or coping mechanisms, they need to unlearn it and require better ones. Otherwise, that flaw will keep sabotaging them until the end.

I’m borrowing the word “win condition” from class1akids here because it’s an incredibly appropriate terminology. Midoriya needs to do “x” in order to win, otherwise this victory doesn’t feel earned. The “x” in this case is usually character development. As I said before, a story where the main character hasn’t changed from beginning to end feels pointless. Especially in Deku’s case, he was already a brave, strong hero who would charge right into battle and defeat the bad guys in chapter one, so him defeating Shigaraki in a fist fight doesn’t represent a change.

The story sets up not only “What does the hero need to do to win?” but also “How does the hero need to change in order to win?” A character either meets these requirements before the end of the story, or they don’t and usually this results in a negative ending.

MHA in its first half quite clearly set up both the final conflict of saving the villains, and also that saving the villains is its “win conditions.” The hero shouldn't be allowed to win without first fixing this flaw.

From this panel onward the central question Deku is forced to answer shifts from “Am I strong enough to defeat ShigarakI” to “Can I save Shigaraki?” However, much earlier than that All Might goes on to basically set up the win conditions of what makes the ultimate hero as someone who “Saves by winning, and wins by saving.”

All might: You can become the ultimate heroes. Ones who save by winning, and win by saving.

Therefore the story has set it’s criteria for what kind of hero Deku needs to become. If he wins without saving, then he’s failed to become what the series has set up as the Ultimate Hero.

Shigaraki and Yubel aren’t just narrative obstacles, or boss monsters to be killed like in a video game. They are narrative challenges, which means that the character can’t grow in any way if they don’t answer the challenge presented by the characters. They are villains who actively resist being saved, to provide a challenge for two heroes who define their heroism by saving others. The challenge they pose adds a third question to the story and the main characters.

"Can I save the villain?"

"Should I save the villain?"

"If I don't save the villain, then can I really call myself a hero?"

In other words the decision they make in saving, or not saving their final antagonist defines what kind of hero they are. In Deku’s case it’s even more critical he defines what hero he wants to be because the MHA is also a generational story, and several of the kids are asked to prove how exactly this generation of heroes is going to surpass the last one. The kids growing physically stronger than the last generation isn’t a satisfactory answer, Deku getting strong enough to punch Shigaraki hard is not a satisfactory answer, because we are reading a story and not watching a boxing match.

I’m going to focus on the last two questions though for a moment. Many people who argue against saving villains like Shigaraki argue he is a mass murderer and therefore isn’t worthy of salvation. However, the act of saving Shigaraki isn’t a reflection of Shigaraki himself, but rather the kind of hero Deku wants to be. It all boils down to Spiderman. In the opening issue of Spiderman, teenage Peter Parker is bitten by a radioactive spider and suddenly gains super strength, the ability to stick to walls along with other powers. However, being a teenager he uses these powers selfishly at first. He doesn’t feel the obligation to use his powers for other people, and therefore when he sees a robbery happening right in front of him he lets the robber go. However, because he lets the robber go, the robber then attempts to hijack a car and kills his Uncle Ben in the process. If Spiderman had stopped the robber then he might have prevented that from happening. He had the power to stop the robber, but he didn’t feel responsible or obligated to save other people. As a result Uncle Ben dies. It’s not enough to have power, ti’s how you use that power that reflects who you are, therefore: “with great power comes great responsibility.”

The choice to save Shigaraki actually has little to do with whether or not Shigaraki is redeemable, but rather how Deku chooses to use his power, and what he thinks he is responsible for reflects who Deku is as a person. Deku himself also clearly outlines how he wants to use his power, that One for All is a power for saving, and not killing.

How he uses his power reflects Deku’s ideal in saving others, and therefore if he doesnt use his power to save, then he’s failed to live up to his ideals. It's not whether it's morally right to save a murderer like Shigaraki, but rather the way Deku wants to choose to use his power. It's about whether he feels the responsibility to save others.

Judai explores an incredibly similar arc to Deku. They are basically both asked what kind of responsibilities a hero is supposed to have, which is also a metaphor for growing up to handle the responsibilities of adulthood. As both characters start out with incredibly naive and childish ideas about what a hero is. Therefore realizing what a hero is responsible for is key to them growing as a character. However, Judai is different from Deku. In some ways he’s more like Bakugo. Judai is a prodigy who’s naturally good at dueling. He doesn’t duel to save others, but rather because duels are fun and he’s good at it. He’s very much like Bakugo, who admired All Might as a hero just as much as Deku did, but admired the fact that he was strong and always won rather than he saved others.

However, I would say both Deku and Judai are questioning what a hero is responsible for. They are both asking if they have the responsibility to use their power to save others. If they have to fight for other people, just because they have power. His first big challenge as a character comes from Edo Phoenix, who calls out Judai for not thinking through what it means to be a hero, and what responsibilities heroes carry. Judai duels because he thinks it’s fun. He will show up to duel to help his friends, but that’s because he’s the most powerful person in the group. Even then it’s because he finds fighting strong opponents to be enjoyable. Bakugo will beat up a villain, but for him it’s more about winning then if the action will save someone or not.

Judai is more often than not pushed into the role of being a hero, he doesn’t play the hero because he’s a particularly selfless person, and he’ll often avoid responsibility if not forced. He has power but no sense of responsibility and the narrative calls them out as a problem.

Edo: Can you even fathom that, Judai?

For Judai, he can’t understand the responsibility of being a hero. For Deku, he idealizes heroes so much he can’t understand that there are people out there the heroes have failed to save. These two callouts towards Deku and Judai are discussing similar because they’re both discussing where a hero’s responsibilities lie. Is a hero responsible for saving everyone? Is someone strong like Judai responsible for using their strength to help other people?

Judai’s arc continues into the third season where he’s not shown to just be naive but ignorant. He’s not just childish, he actively resists growing up because he doesn’t want to take on adult responsibilities.

THe same way that Deku just decides not to think about whether or not All Might failed to save people in the panels above. However, in Judai's case he's actively called out for his choice to remain ignorant.

Satou: Now, which one is at fault? Judai: Isn’t it the guy who saw it, but didn’t pick it up. Satou: Not quite. If one is aware of the trash that fell, it may be picked up someday. But there is no possibility fo the unaware one ever picking it up. Judai-kun you are the foolish one unaware of the trash that has fallen. Judai: Are you calling me out for how I am? Satou: Your behavior towards me was atrocious. The worst was attending class only for credit, even if you were there you only slept. Judai: Yeah, I know. I was all bad, but it wasn’t that big a- Satou: It is important. You see, one by one, the students inspired by your attitude were losing their motivation. Now if you were a mediocre duelist, then this would not be an issue. Satou: However, you are the same hero who defeated the three mythic demons. Every single student in the academy admires you. You should have been a model for this academy. Judai: Me, a role model? Are you kidding? I just do whatever I feel like doing. Satou: Great power comes with great responsibility. Yet, as you remain unaware of that, you’ve spread your lethargy and self-indulgence.

seems like a minor issue, but look how Judai responds to the accusations. “I just do whatever I feel like doing.” Satou is arguing that Judai should pay attention to the influence he has on others because of his power, because how he chooses to use that power affects others. However, Judai chooses to actively not look at the consequences of his actions because he doesn’t want to take on that level of responsibility, and therefore he’s looking away from the trash.

While it seems like it doesn’t matter in Satou’s specific example, not thinking of the consequences, or how you use your power can have unexpected consequences. Spiderman doesn’t feel like it’s his responsibility to stop a bank robber, and that bank robber shoots his uncle. You could still argue it’s not Spiderman’s responsibility to stop every crime in the world, and I guess no one owes anyone anything from that point of view - but Spiderman failing to act responsibility had the consequence of directly hurting someone else.

Spiderman has to live with that consequence because it was his own Uncle that was hurt. This is where we really reach the duality of Judai.

In GX, Judai is, symbolically speaking, The Fool of the Tarot Deck, the Novice Alchemist — a person brimming with infinite potential, yet one who is also supremely ignorant, who walks forward with his eyes closed and often unknowingly causes harm in his great ignorance. In this, he is very much the embodiment of the faults we most commonly associate with teenagers — selfishness, recklessness, shallowness, a lack of dedication or empathy when it’s most needed. Like most people, he has good traits that work to balance out some of the above, but his narrative path through GX ends up being that of the flawed hero undone by his faults — and then that of the atoner, the repentant sinner. In his case, the mistakes of his teenage years are the catalyst for his growth from a boy into a man burdened with duty and purpose. Judai is someone with infinite potential, with great power, but also ignorant on how he should use that power, and that makes him an incredibly flawed hero who needs to learn how that power should be used.

Deku similarly exists in a society where heroes deliberately turn a blind eye to the suffering of a certain type of victim. Shigaraki’s speech heavily resmebles Satou’s speech about garbage on the side of the road.

Shigarali: "For generations you pretended not to see those you coudln't protect and swept their pain under the rug. It's tainted everything you've built."

Deku shares Judai’s ignorance, because he’s not only a part of a system that doesn’t even see trash on the side of the road, but he also worships heroes so much that he’s incapable of criticizing them. If Deku saw the flaws of heroes, but at first didn’t have the courage to speak out, but eventually gained the courage that would be one thing. However, if he doesn’t see the flaws of heroes, then the problem will never be fixed.

There are also consequences for both Judai and Deku failing to use their powers responsibly. These consequences take the form of the villains who came about because of all of society’s ignorance to the suffering of victims (Shigaraki) and because of the main character’s ignorance to their suffering (Yubel). Shigaraki and Yubel are also explicitly victims that the heroes failed to save, turned into villains who are active threats to the heroes.

Should I save the villain?

The answer is yes, because the decision to save is reflective of the kind of hero each character wants to be. Each story clearly sets up that Deku and Judai aren’t punisher style heroes who shoot their villains, they are being set up as heroes who save. Deku needs to “save by winning.” As for Judai, a big deal is made of Judai’s admiration for another character Johan who represents a more idealistic kind of hero. Johan unlike Judai is someone who duels with a purpose, something Judai outright says he admires because he’s empty in comparison.

Judai: Johan what have you been dueling for? See, it’s about fun for me… Well, for the surprise and happiness too. I guess I do do it for the fun. Sorry, I guess I put you on the spot by asking out of nowhere. Johan: What’s this about Judai? Judai: It’s nothing. Johan: I suppose there is one goal I have. Johan: Even if someone doesn’t have the power to see spirits, they can still form a bond with a spirit. That’s why I do it for people like him. [...] Johan: I'll fight for everyone who believes in me, and I'll do it with my Duel Monsters. Judai: I'm jealous you've got feelings like those in you.

Becoming a hero who uses their power to help others isn’t just a goal the story sets for Judai, it’s a goal that Judai sets for himself because of his admiration for Johan. Johan represents the idealistic hero Judai wants to be, but is also held back from because of his personality flaws. Johan represents the kind of heroic ideal that Deku is aspiring to be.

Johan’s ultimate goal isn’t punishing the wicked, but to use his power to save others.

Johan: Judai, it was my dream to save everyone through my dueling!

The story sets up the idea that it’s not enough for Judai to simply be strong, he’s also challenged to become a savior who uses his power to help others like Johan. Deku needs to “save by winning” and Judai needs to “Save everyone through his dueling.” However, Johan also adds another condition to what saving means. His idea of saving isn’t to defeat a villain, but rather his dream is to help connect spirits and humans together, even if there are humans who can’t see spirits. Johan doesn’t save people with the power of physical force, but rather the power of human connection.

Should I save the villain?

Here the answer is "Yes", because wants to become more like Johan someone who uses their power to help others not just for themselves. Then we reach the third question

If I don't save the villain, can I really call myself a hero?

It once again comes to power and responsibility. Heroes have great power, and they are responsible in how they use that power, if they use it irresponsibly then there are consequences. Shigaraki wants to destroy hero society, because the heroes irresponsibly use their power to turn a blind eye to everyone’s suffering.

People suffer when heroes fail to live up to their responsibilities. The entire conflict of season 3 is created by Judai failing to save Yubel. If Judai had helped Yubel when they most needed it, instead of abandoning them, then Yubel would never have been twisted by the light of destruction, would never have attempted to teleport the school to another dimension, would never have attacked all of JUdai’s friends.

These consequences matter. Deku can turn his eyes away from Shigaraki’s suffering, but let’s say a hero failed to stop a robbery, or rather he didn’t even try, and because of that his mom was shot and died in the street. Would Deku consider the man who failed to stop a bank robbery a hero? When Spiderman let a bank robber go instead of trying to stop him, was he being a hero in that moment? Both the stories and the characters themselves have defined heroes as people who use their powers to save others, therefore if Judai and Yubel fail to save their villains then they can’t be called heroes by the story’s own definition. Now let’s finally return to the question of "Can I save the villain?"

Was there ever someone you couldn’t save?

m going to start with Yu-Gi-Oh Gx as a positive example of how to save your villain. Gx works for two reasons. One, it’s established from the start that Yubel isn’t beyond salvation, and two, it makes it so Judai can’t win without saving Yubel. The conflict of the story does not end until Judai makes the decision to save Yubel. In some ways the writing is even stronger because Judai is directly responsible for the pain and suffering that Yubel went through that turned them into a villain in the first place. Yubel isn’t just a victim, they’re specifically Judai’s victim.

Yubel is a duel spirit who is also essentially Judai’s childhood friend. A duel spirit just like the kind that Johan wants to save. During their childhood Yubel got too overprotective of Judai, and started to curse his friends for making him cry or upsetting him in any way. Until everyone Judai’s age started avoiding him and Judai became all alone with only Yubel for company. Judai’s decision was to abandon Yubel at that time. He took the yubel card and shot them into space, hoping that being bathed in space rays will somehow “fix” what was wrong with them. I know that’s silly but just go with it. Judai abandoning Yubel had the unintended consequence of Yubel being subjected to the light of destruction, a corrupting light that subjected Yubel to years of pain. This pain literally takes the form of Yubel burning alive.

Yubel connected to his dreams called out for Judai every night, only for Judai’s parents to give him surgery that repressed his memories of Yubel causing him to forget them entirely. Yubel then spent the next ten years alone in space, continuously subjected to painful torture, with their cries for help being ignored.

"I was suffering even as you came to forget about me..."

Yubel is then met with the question of how can Judai treat them this way if they loved him so much? As from Yubel’s perspective, they’ve only ever tried to protect Judai, only for Judai to not only throw them away, but subject them to painful torture and ignore their cries for help. Judai effectively moves on with his life, goes to duel academy, makes friends while Yubel is left to suffer in silence all but forgotten. This is where Judai’s ignorance has serious plot consequences.

It’s not just the pain that Yubel endured that made them snap. It’s that their pain went ignored.

Yubel holds out the faint hope that Judai will answer their calls fro help until they finally burn up upon re-entry into earth’s orbit. At which point they’re left as nothing more than a single hand crawling on the ground. Yubel who cannot fathom why Judai would cause them so much pain, and then forget about them, convinces themselves that Judai must be causing them pain, BECAUSE he loves them.

But you see, I couldn't possibly forget about you in the time that I've suffered...

Judai is allowed to move on with his life, to make friends, to spend the next ten years doing so while Yubel is subjected to ten years of agony. When they finally escape their painful torment, they see all the friends Judai has made while they’re left alone and forgotten. However, Yubel’s goal isn’t revenge. Rather, it’s to make Judai share and recognize their pain. WHich is why I said it’s not the fact that they were made to suffer, but their suffering is ignored. Yubel’s entire philosophy revolves around the idea that sharing pain is an expression of love, and that they and Judai share their love for each other by hurting each other.

"That's why I sought to fill all those linked to you, your world, with both sadness and anguish..."

For Yubel, making all of Judai’s friends suffer and Judai themselves suffer is a way of making them and Judai equals again. They want to show “their love” for Judai, but it’s more about forcing Judai to recognize the pain he’s caused them by forcing him through the same pain. Yubel’s philosophy of sharing pain is actually a twisted form of empathy.

They’re not entirely wrong either, that even people who love each other can cause each other pain, and that if one person is suffering alone in a relationship or the suffering is one-sided then there’s something wrong with that relationship.

Yubel: I get it now… You weren’t in love, with Echo. Yubel: No.. you may have loved her just enough to clear the conditions in palace for you to control Exodia, but the you didn’t truly love each other. Yubel: You were only unfairly hurting her, while you stayed unharmed. You wouldn’t suffer. You wouldn’t suffer. You wouldn’t be in pain. Amon: What are you getting at? Yubel: I’ve been hurt! I’ve suffered! I’ve been in pain. That’s why I’m making JUdai feel the same things I did!

Yubel’s twisted theory of love, is a pretty thinly veiled cry for empathy.

They break out into tears when talking to Amon about the way they’ve hurt and suffered. They clearly state upfront that their goal is for Judai to recognize their love. One of the first things they say to Judai is a plea for Judai to remember them.

Yubel is presented as a very human character suffering through a lot of pain throughout their entire villai arc, they break down into tears multiple times, they cry out in agony, they're visibly suffering and you see their mental walls begin to break down when Judai denies them any empathy.

Yubel is actually incredibly clear and straightforward about their desire to be saved by Judai. However, Judai doesn’t lift a single finger to help Yubel the entire arc, even though they themselves admit they are directly responsible for Yubel’s suffering but they helped create who they are today.

Judai plunges into a different dimension and gives up everything to save someone, but it’s Johan, not Yubel they try to save. You have Johan, the perfect friend, and perfect victim that Judai gets obsessed over and will not stop at anything to save, and then you have Yubel, the imperfect victim that is actively harming Judai and all of his friends that Judai chooses to ignore. The whole season Judai only focuses on saving the perfect victim Johan, and this is clearly shown to be a flaw. Judai doesn’t just ignore Yubel to save Johan, he also ignores every single one of his friends.

Judai only caring about saving Johan, and deliberately ignoring and abandoning the friends who came with him to help, essentially abandoning them the way he did Yubel leads to another consequence. After he abandons them they get captured, rounded up, and actually die and become human sacrifices.

Losing his friends, causes Judai to snap. Judai becomes the supreme king and decides power is all that matters; he starts killing duel spirits en masse in order to forge the super polymerization card. Which means being left alone, suffering alone, being abandoned by everyone causes Judai to snap the exact same way that Yubel did.

In fact Judai is only saved from his darkest moment, because two of his friends sacrifice their lives, trying to get through to him and appeal to his humanity. At that point Judai’s friends could have just chosen to put him down like a mad dog, to punish him for the amount of people he’s killed, but instead they try to save him because of their friendship.

I just want to save my friend. That is all.

By the time Judai is facing Yubel in their final fight, Judai doesn’t have the moral highground against Yubel in any way whatsoever. They’ve both lashed out because of the pain they endured and killed countless people in the process of lashing out. The only real difference between them is that Judai is lucky. He had friends to support him at his lowest point, while Yubel didn’t. Does Judai learn from Jim’s example, and go out of their way to save Yubel the same way they were saved because Yubel is still a friend? Nope, Judai tries to kill Yubel at this point.

I made a lot of friends... And they all taught me something… real love is wide enough, large enough and deep enough to fill the universe. Your so-called love is only a conceited delusion.

Like, Judai, sweetie baby honey darling. How was Yubel supposed to make friends when they were floating in the empty void of space?

Judai hasn’t learned, they are still ignorant, and still turn a blind eye to Yubel’s suffering. After all if his love is wide enough, large enough,and deep enough to fill the universe then why don’t thy have any room in their heart whatsoever for empathizing with Yubel?

Judai making friends while Yubel was trapped in space doesn’t make Judai a better person than Yubel, it makes Judai lucky. Judai doesn’t even appreciate that luck, because he treats his friends like garbage. It’s not about whether Yubel is worthy of salvation, because Judai is a mass murderer and his friends still went to great lengths to save them anyway. It’s that Judai doesn’t want to empathize with Yubel, because they still want to remain ignorant and irresponsible. Judai wants to continue playing hero, with a very black and white definition of what a hero is. By this point Judai’s killed lots of people, but if he makes Yubel the villain in the situation, he can keep playing hero. He doesn’t have to look at himself and what he’s done, because blaming everything that happened on Yubel and then putting Yubel down like a mad dog allows Judai to absolve his own guilt. Judai practically ignores Yubel’s cries for help, even when Yubel spells it out for them.

I couldn't have lived with the heartache unless I felt that I was being loved...

At this point Yubel themselves acknowledges that their love was just a delusion. That it was a coping mechanism, because they couldn’t live with all the pain otherwise. WIthout it they would have just died, which makes Judai unmoved. The implication here is that Judai thinks yes, Yubel should have just died in that crater. It would have been easier for Yubel to die a perfect victim, then for Yubel to crawl out of that crater and go on to hurt other people. While that may be true the same can be said for Judai - it would have been better if Judai died rather than become the Supreme King. His friends could have put him down like a mad dog, you could have even called that justice - but they didn’t. Judai making no attempt to save Yubel isn’t because he thinks it’s morally wrong to save someone who’s killed as many people as Yubel has, or because he thinks he can’t forgive Yubel, it’s because Judai is taking the easy way out. Johan is a nice, easy victim to save, because he’s Judai’s perfect boyfriend, while Yubel is a complex victim that requires Judai to understand their suffering. Even the act of saving Johan isn’t about Johan himself, it’s about the fact that Judai feels guilt over Johan’s disappearance. What Judai wants isn’t really to save a friend, but to stop feeling guilty over that friend. Judai isn’t just disgusted by Yubel’s actions towards his friend, he also wants to avoid the guilt he feels over causing all of Yubel’s suffering, because it requires acknowledging the complex reality that he is both victim and perpretrator in this case, just as Yubel is both victim and perpetrator.

So how can an arc where Judai doesn’t try to save Yubel until the last possible minute, be better than an arc where Deku makes it his goal for the final act of the manga to save the crying boy in Shigaraki?

It’s because the story does not let Judai get away with his continual refusal to empathize with Yubel. Yubel’s entire character revolves around empathy, in the form of sharing pain. As a duel monster, Yubel’s effect is that they are a 0/0 attack monster who is immune to all damage, but when you attack them they deal all the damage back to you. Which means that Yubel will respond to all the pain they feel, by causing you just as much pain in return. Yubel is not a character who can be defeated in a fight, or a duel. In fact they’re the only Yu-Gi-Oh villain who never loses a duel once. The most Judai can do is duel them to a draw, and they draw three times. Yubel wins against everyone else who challenges them. In a way Yubel is like Shigaraki, the ultimate, unkillable enemy that can’t be done away with violence. Judai’s refusal to empathize with Yubel or attempt communication also makes them worse, every time Yubel is hurt they escalate. THe more Judai hurts them, the more they will hurt in return, it’s a cycle that will never be broken simply by killing Yubel, because Yubel is unkillable.

Not only that but the story has gone to great lengths to show that saving Yubel is the correct course of action. If Judai doesn’t save Yubel, he’s basically spitting on the selflessness Jim showed in saving him. In fact if he doesn’t save Yubel, Judai is contradicting his own words on what makes a good friend. Sho once asks Judai after witnessing his brother change, what he should do if a person you lov ehas changed into an entirely different person. What if they're a person you don't even recognize any more? A person you don’t even necessarily like anymore?

That's why if it were me. I'd probably just be looking after him until the very end, even if I didn't like him. I'd do it cause I think it'd prove that I care about him.

Judai doesn't even say that Sho is obligated to save his brother or morally redeem him, just that he has to keep looking at him instead of turning away or ignoring him.

Judai is being a bad friend, by his own definition. By choosing to deliberately look away from Yubel, Judai’s not living up to his advice for Sho for how you treat people you care about.

Which is why the resolution for Judai and Yubel’s arc is so important, because it’s done by Judai finally acknowledging Yubel’s pain, and promising to watch over them from now on, words that are followed by the action of physically fusing their souls together so they’ll never be alone again. Judai doesn’t just say pretty words about how they won’t ignore the crying child inside of Yubel, but instead he makes a sacrifice to save Yubel at risk to themselves to show their words are backed up by actions. Judai says Yubel will never be alone again, and then he commits.

"And even if that means I won't exist anymore... I don't care."

Judai has resolved his character arc by this action, because Judai is finally taking on responsibility and that responsibility is watching over Yubel, so the two of them can atone together. Judai even says himself this isn’t an act of sacrifice on his part, but rather him finally accepting adult responsibilities.

Judai: I wouldn't sacrifice myself for you guys. I'm just going on a journey to grow from a kid into a man.

Judai needed to save Yubel to complete his character arc and grow as a person. If Judai hadn’t saved Yubel, he would have still remained an ignorant child. By learning not to turn a blind eye to Yubel’s pain, and also smacking sacrifices and physically doing something to atone for the way they ignored Yubel up until this point they’ve not only saved Yubel they’ve also done something to address their wrongs. This also continues into the fourth season where Judai’s personal growth results in him learning what kind of hero he wants to be as in Season 4 in order to atone for the spirits that Judai slaughtered, he decides to leave his friends behind and walk the earth with Yubel helping spirits and humans get along with each other. In fact Judai’s final speech as a character isn’t even about how strong he is as a hero, but how weak he is as a person.

And I put my friends through some rough times. Form that, I figured a few things out... all I can do is believe in them.

The lesson Judai learned is because he’s weak, he needs to empathize and believe in other people the same way that his friends once believed in him when he was at his lowest point. Judai’s not the strongest hero, he’s the weakest one, but that gives him the ability to empathize with people who were lost just like he was, and guide them back from the darkness.

The story of how Deku became the worst hero.

I’m going to say this right now it might turn out next week that Shigaraki is just fine, and he’ll use the overhaul quirk to reconstruct his body. However, even if that happens Deku has completely failed at his goal of saving Shigaraki for the reasons I’ll illustrate below. In theory, Deku’s arc of saving Shigaraki, and therefore winning by saving should be much easier for the story to accomplish and also much less frustrating to watch. After all, Shigaraki has been around since the beginning of the manga, he’s literally the first villain that Deku faces. He’s also the first villain that Deku talks to, where he brings up the idea that there were some people All Might failed to save. There’s also many intentional parallels between the two characters, the entire manga is about their parallel journeys of becoming the next generation hero and the next generation villain. Shigaraki even directly quotes the line at one point that all he wanted was for someone in his house to tell him he could still be a hero, the same line Deku said in the first chapter was that he wanted his mom to tell him to be a hero instead of apoalogizing to him for being quirkless.

Not only is the setup for Shigaraki and Deku made obvious (Deku can redeem Shigaraki by telling him that he can still be a hero too), but Deku himself states out loud that he wants to save the crying child inside of Shigaraki.

Judai runs away from Yubel the whole time, whereas Deku is running towards Shigaraki and actively makes it his goal to understand Shigaraki and continue to see him as a human being rather than a villain. The story also makes it clear that saving Shigaraki is necessary to saving hero society as a whole. After all Yubel is just Judai’s victim. Whereas Shigaraki is the victim of all of society. He’s the crying child who was ignored. The cycle won’t be broken if heroes continue choosing to ignore people like Shigaraki, because more victims will grow up to replace him.

Shigaraki: Everything I've witnessed, this whole system you've built has always rejected me. Now I'm ready to reject it. That's why I destroy. That's why I took this power formyself? Simple enough, yeah? I don't care if you don't understand. That's what makes us heroes and villains.

Shigaraki rejects the world because the world continues to reject him. THe solution to this problem is not rejecting Shigaraki, because Shigaraki won’t go away, the system will just continue to reject people like Shigaraki. As long as heroes and villains don’t understand each other, they’ll keep being forced to fight and the conflict won’t end, because hero society is what engineers it’s own villains.

clear as day by the story itself. If the objective of saving Shigaraki is clear, then how exactly did the story fail in this objective? What went wrong? In this case it’s a failure of framing, and breaking the rules of “show don’t tell.” Stories are all about actions and consequences. When a character makes a certain action in a story, the way other characters around them, the world, and whatever consequences that action frames that action in a certain light. It provides context for how we are supposed to interpret that character in that moment.

For example, when a character does something wrong and another character directly confronts them over what they did wrong, that frames them as in the wrong. The story is criticizing the character for what they did wrong. Context is everything in a story. Stories are just ideas, so they require framing and context to communicate those ideas for the audience. Certain character attributes can be strengths or flaws depending on the context. My go to example is that if you put Othello in Hamlet, the conflict would be resolved in five seconds because Othello’s straightforward personality and determination would have him kill Hamlet’s uncle without questioning things. Whereas, Hamlet constantly questioning and second guessing himself would lead to the worst ending possible. However, if you put Hamlet in Othello, then Hamlet wouldn’t fall prey to Iago’s manipulations, because Othello doubts and questions everything so he wouldn’t believe Iago the way Othello did.

Hamlet’s contemplative and introverted nature can be a strength in one situation, and a flaw in another. Othello’s tendency to act without thinking things through can be a strength in one situation, and a flaw in another. Context matters, because context tells you how you’re supposed to interpret a certain characters actions, and therefore tells you more about that character. This is why people repeat “Show don’t tell” as the golden rule of storytelling, it’s one thing to say something about a character, it’s another to us the characters actions in the story itself to show them something about the character.

What’s even worse then breaking the rules of show don’t tell however, is telling the audience one thing, and then going onto show in the narrative something completely different. In that case the narrative becomes muddled and confusing to read. If I the narrator say “Hamlet is someone who overthinks everything” and then in the story Hamlet walks up to his uncle and kills him with no hesitation, then the narrator is straight up unreliable. It becomes impossible to tell as an author what message I’m trying to get across about these characters, because I’m telling you one thing and showing another.

This is why the writing fails in the second half of My Hero Academia because we are constantly told one thing, but then the story shows something entirely different and sometimes even contradictory to the thing we are being told.

Judai is a much worse hero than Deku, he always runs away from Yubel, and we’re never directly told that he’s supposed to save Yubel either. However, the narrative is incredibly consistent. Judai’s behavior of running away is consistent with his character. All the other character call Judai selfish for abandoning his friends (and they’re not even talking about Yubel). Judai is never painted in any positive light for his actions, therefore we as the audience understand Judai’s behavior is wrong and he needs to fix it. The narrative makes it clear that Judai needs to grow up, and Judai is never rewarded for his refusal to grow up, he’s ruthlessly chewed out, not by his enemies but also by his own friends. However, the narrative isn’t merciless on him either. Season 3 of GX is dark, but it’s not grimdark. Even when Judai loses his way, he’s still shown love and compassion by those same friends who go to great lengths for his sake. The narrative criticize Judai but it never insists that he’s beyond redemption and needs to be put down like a mad dog.

The message is very clear, that not only does Judai need to grow up, but he also deserves the chance to grow and change, which is why he should give Yubel a similar chance. In comparison the story sets out this clear narrative arc for Deku of understanding Shigaraki, but it never challenges him for failing to understand Shigaraki. If you listen to what the narrative says, how other characters describe Deku, and what Deku himself says and only read it on a surface level then yes, Deku’s goal is to save Shigaraki. If you analyze actions however, he is in effect just like Judai he never takes any meaningful action or steps towards Shigaraki, nor does he think of what saving Shigaraki might look like or entail.

The story describes Deku as someone who is possessed by a drive to save others that eclipses all common understanding, but does the story give us any examples of that behavior?

Judai is characterized as a selfish, irresponsible child, and the story gives us countless examples of his immaturity and how it hurts others. Does the story of MHA do the same for Deku's purported virtues? Let’s run through Deku’s actions, step by step, the actions themselves and how they are framed in order to find any evidence that Deku possesses this drive to save others. Does Deku reflect at all on the question of:

Can Shigaraki be Saved?

Deku leaves on a journey to try to understand villains. When he makes a perfunctory attempt to understand and empathize with Muscle, and Muscle replies that some people are just evil does Deku keep trying to reach his heart? Nope, he just punches him.

Well, if he’s failed in his goal of understanding a villain then does the story call him out on his failure? Does Deku face any sort of narrative consequence for that failure? Is he framed negatively for failing to understand Muscle, the same way that Judai is framed for abandoning Yubel? Nope. Deku doesn’t express any frustration at all over is inability to reason with Muscle. There’s also no negative consequence for Deku just choosing to punch muscle, it turns out that there was no reasoning with Muscle and some people are just bad eggs so Deku was right. It’s okay for characters to fail, but if a character fails and it’s not framed by the story as a failure then the writing itself as failed. Why even bother to include this scene in the first place if it doesn’t advance Deku’s character in any way? This scene in spite of showing Deku failing to understand someone actively paints Deku in a positive light, because of how much stronger he is ow that he can OHKO a guy that gave him trouble all the way back in the camp arc.

This scene doesn’t tell anything about Deku as a character, it just makes him look cool. In fact that’s precisely the problem, Deku isn’t adequately challenged as a character, because he’s never allowed to fail. Even when he does obviously fail at the things the narrative set out for him to do, he’s never challenged on those failures, because the priority isn’t to make Deku grow, it’s to make Deku look good. As I said before, Judai is the hero because he’s the weakest. Deku is the hero because he’s the strongest. Well, next a big flaw on Deku’s part is that he worshippd the same heroes that were making the world corrupt. Heroes like Endeavor who created people like Dabi. So, does Deku take action to either criticize the older generation of heroes, or separate himself from them in order to try to be better than them? Nope, he teams up with them. Not only that, Deku can’t do something as simple as tell Gran Torino out loud about his plans to save Shigaraki. If Deku feels that Shigaraki is worthy of salvation then he should at least try to make an argument here about his ideal of saving others.

Now here’s the thing, if Deku hadn’t directly looked at the camera and told us he wanted to save Shgiaraki, would we be able to deduce his intentions from his actions? If you took away all of Deku’s internal monologue, and just showed him punching Muscular and saying nothing when Gran Torino says he may have no choice but to kill Shigaraki would anything about Deku’s actions indicate that he wants to save Shigaraki? Let me use avatar the last airbender as a positive example for a moment. People say that Aang’s desire to spare Ozai’s life comes out of left field, but like if you analyze Aang as a character down to their bending, and the way they react in situations they always prefer de-escalation, or taking a third option as opposed to confronting things head on. It’s literally why Toph says Aang has trouble learning earth bending, because as an airbender, he always tries to look for some other way to solve the problem, instead of a direct confrontation with force. As early as season one, Aang tells Zuko someone who has tried to kill him several times that he was friends with someone from the fire nation one hundred years ago and in a different situation they could be friends. Aang’s desire to save the Firelord may not have been told to us until the last possible minute, but Aang’s aversion to violence has always been a part of his character from the beginning. However, Deku never shows any similar aversion to violence. There’s basically no example where he ever tries to de-escalate a situation, or he avoids a conflict by seeking a third option.

Anyway, let’s move onto the next example. In the confrontation where Lady Nagant fights Deku, when Deku learns the fact that the heroes were employing government hitmen to attack people for uhh… exercising free speech does Deku give any reaction to this information? When Lady Nagant says that Deku is only going to bring back the status quo, does he show her any meaningful evidence that he won’t do that.

Deku’s response is because the world is so grey, he needs to extend a helping hand to others. Which you know what thay could be a response. Deku saying that his response to the corruption of the hero world is that he now understands that society led some people down the wrong path, so his way of addressing the wrongs of that society is lending a helping hand to as many people as possible even people he used to think was irredeemable.

I will give Deku the benefit of the doubt, I think this is an acceptable answer. I can’t save everyone, but that’s not going to stop me from trying to save as many people as possible and maybe I can save people who were this society’s victims on the way too. However, does Deku demonstrate his resolve to extend a helping hand in any meaningful way.

Deku is met with an armless, insane Overhaul who’s begging for someone to help heal his father figure in the Yakuza from his coma. This isn’t like Muscular who insists that there’s no helping him, Deku is met face by face with someone asking him for help. Deku’s gotta extend a helping arm whenever he can, because he knows some people were abandoned and led astray by this society… Unless that person is someone he doesn’t like personally. At which point he only helps them on a conditional basis. We are told Deku will save anyone and everyone, but Deku is met face to face with an armless man who is begging for help and Deku’s does nothing to help him. Deku’s not criticized for refusing to help overhaul either, it’s never brought up again. When Deku begins to experience a mental breakdown because of all the people he’s trying to help in the Dark Deku arc, we are told this is the result of Deku trying to save everyone, but we do not see Deku attempting to save a single villain after Muscular and Nagant.

He exhausts himself beating up villains that AFO sends after him, and only helping innocent civilians. Which would be fine if this arc were about how Deku is running away from his real responsibilities the same way that Judai was running, but that’s not what we’re being told. We are told that this is all part of an arc of Deku learning to understand villains and be a hero.

Deku is asked “Can you save Shigaraki?” by the story, but Deku never at any point has to deliberate on that question. Judai doesn’t deliberate on that question either, but him choosing not to think about things and stay ignorant is the point.

It’s actually fine to make Deku stagnate as a character. It’s fine to have him take the easy way out by just punching villains and giving up on them after one conversation. It’s fine for him to be empathetic to other people’s suffering, or even self-righteous. It’s fine for him to be ignorant.

He could be all of those things if it was a part of a narrative teaching him to unlearn his behavior. In fact the narrative might have been better if Deku started out by saying he didn’t want to save Shigaraki, that there was no choice but to kill him, because then at least his actions would be consistent with his words. Then his lack of empathy and his tendency to resort to violently beating up villains instead of avoiding violence would be character flaws he could work on. Deku however, is presented to us as this empathic hero who is always willing to give others a second chance though he never actually sticks his neck out in order to do so. Continuing on with our slow crawl through MHA, one of Deku’s friends is revealed as the traitor. Deku has a heartwarming scene fo saying that Aoyama can still be a hero, but look at his actions. He lets the adults in the room physically tie Aoyama in a straightjacket and imprison him, for the crime of… doing bad things while he was in a hostage situation. Apparently, if a bank teller helps the bank robber by giving them money when the robber has a gun to his head, the swat team should just snipe the bank teller. Not only does he not defend Aoyama against the adults, or stand up for him, or tell the adults they’re wrong to treat Aoyama a clear cut victim who had a gun to his head and was bing held hostage like he’s a villain - he also lets the adults use Aoyama an innocent victim as bait in order to lure out AFO. Deku tells Aoyama he can still be a hero, but he doesn’t defend Aoyama as a victim of being taken hostage, nor does he stop the adults from further taking advantage of him and throwing him right into danger. Some people are just led the wrong way that’s why they need to be extended a helping hand, but fuck Aoyama I guess. He needs to earn the right to be sympathized with by physically putting his life in danger.

Deku can’t even go out of his way to save a friend who he’s known for the better part of a year, when that friend is a complex victim forced to do bad things.

Then Deku and Uraraka have a conversation where they both, kind of ruminate on the idea that maybe the villains are human beings who are worthy of sympathy.

In fact Uraraka is actively trying to dehumanize Toga by looking at the destroyed city, so she won't have to think of Togaas a person.

The language here is also a major fault of this arc. It focuses far too hard on “forgiveness” over and over again. As I said before, saving Shigaraki isn’t about Shigaraki at all, it’s about Deku, and how he wants to use his power as a hero. Deku has even stated himself that he doesn’t believe that OFA is a power that should be used for killing people. So why does whether Toga or Shigaraki are forgivable or not even matter? It’s the same with Deku refusing Overhaul any sympathy. If he’s so morally opposed to abusers, then why does he work with Endeavor and defend him at every visible opportunity, even in front of his victims? Whether or not Deku can forgive Shigaraki doesn’t matter, because Deku is not the moral arbitrator or right and wrong. In fact Deku doesn’t even have any morals, so how is this a moral debate? Is there any point where Deku gives a clear definition of what he thinks right and wrong is? Does he quot Immanuel Kant to the audience?

Batman doesn’t kill people, not because he thinks that every last person on earth can be saved, but because Bruce Wayne an incredibly rich white man thinks that maybe he shouldn’t have the authority to decide who lives and who dies. When Bruce doesn’t kill the joker, it doesn’t mean he thinks the Jokers actions are forgivable, it’s because Bruce thinks it’s not his place to determine whether someone has the right to live.

The whole conflict that MHA presents us is that heroes pick and choose who to save, and only save the ones they deem as innocent. So, how does Deku saying repeatedly they can’t forgive Shigaraki contribute to that theme in any way? In fact by focusing on forgiveness, rather than whether or not he personally has the right to pick and choose who lives and who dies Deku is ignoring the elephant in the room. The question isn’t about whether Shigaraki’s redeemable or if his deeds should ever be forgiven. The question is whether Deku has the right to decide who gets saved and who doesn’t.

We are told that Deku as a character is someone who wants to save everyone no matter what, so Deku shouldn’t be focusing on whether or not Shigaraki is worthy of forgiveness, he should be making an idealistic argument like Xavier does in this panel. Why doesn’t Deku talk out loud with Uraraka on how he believes his power is for saving others, and not killing? If he’s meant to represent some idealistic hero, then why doesn’t he even talk about his ideals? Why don’t I as the reader know what those ideals are?

I think Xavier’s ideals of forcing the X-men to provide a good example to the mutant community, in order to try to earn the respect of other human beings is wrong, but at least he has ideals. He tries to inspire the other people around him to live up to those ideals. The story can criticize him for his ideals and point out how they’re wrong, while it can also uplift parts of his idelogy like where he believes there are no evil mutants. Deku has a chance to do the same to Uraraka, to tell her clearly, “I don’t think we as heroes have the right to pick and choose who we help…?” but he waffles. Not only does he waffle, but this moment is meant to be read as an indication that both Deku and Uraraka are sympathetic individuals who want to save their villains. They are supposed to look good and idealistic here and they don’t. For Deku it just seems like a repeat of his behavior with Overhaul. The only villains that are worthy of sympathy, are the ones that he personally decides are forgivable.

The story isn’t about whether or not it’s moral to save someone who’s killed as many as Shigaraki has. The story never seriously discusses any sort of complex morality or moral philosophy. Once again to bring up avatar, yes you can argue Aang sparing the life of a war crimminal is bad, but Aang mentions on multiple occasions that he wants to retain the cultural values of the airbending people. Aang has a morality, a consistent morality, it might not be a morality you personally agree with but at least he has one. Deku hates abusers, unless he’s next to Endeavor then he thinks abusers should be given the chance to atone. Deku doesn’t believe that One for All is a power for killing, but he never stands up to any of the adults who are blatantly trying to kill Shigaraki, he doesn’t even express out loud to Uraraka that he doesn’t think heroes have the right to decide who lives and who dies. In fact he’s given the perfect opportunity to, when Hawks kills a villain and it’s broadcast live on the news in font of everyone, but Deku never has anything to say about that. The reason Deku and Uraraka both put such an emphasis on “forgiving” their villains has nothing to do with the story itself. It’s because the author Horikoshi, is afraid that some people will misinterpret his story as saying that he actually thinks that saving a villain like Shigaraki means that he condones mass murder, so he has to have the characters talk about not forgiving Shigaraki.

Judai doesn’t have any consistent morals either, but once again that’s the point and something the story relentlessly calls him out on.

Cobra: Fortune would never smile on a fool like you who fights while prattling on about enjoying duels. Cobra: You are certainly a talented duelist. But you have one fatal flaw. Judai: A fatal flaw? Cobra: Yes, your duels are superficial. Someone who fights with nothing on his shoulders, cannot recover once he loses his enjoyment. What a duelist carries on his shoulders will become the power that supports him when he's up against the wall! Cobra: But you have nothing like that! Those who go through life without anything like that cannot possibly seize victory. Cobra: But I know that nothing I say will resonate with you... because you have nothing to lose but the match. Judai: I... Cobra: Afraid aren't you? Right now, you have nothing to support you.

Judai’s regularly called out for his superficiality. Judai is only a hero because he’s strong and wins fight, he doesn’t feel any responsibility towards other people, and in fact he loathes having to feel responsible for others. Judai isn’t just naive, he deliberately chooses to remain ignorant. Since he’s ignorant of his own faults, he makes awful decisions when it comes time for him to lead, and his friends die because of choices he made. We are told that Deku doesn’t want to remain ignorant, that he wants to understand villains, but Deku’s actual actions are him continuing to ignore society’s ills and the suffering of victims. In fact if you take away Deku’s internal monologue and the narration, Deku’s actions almost exactly mirror Judai’s.

Deku is just as superficial as Judai, and he also doesn't want to spend any time thinking about what kind of hero he wants to be, but the narrative never punishes him for it.

Judai is asked what burdens he has to bear and he has to meaningfull answer that question, Deku is allowed to get away with not having to think about anything. Deku remains superficial. Both Judai and Deku spend the entire arc running away from their villain rather than confronting them in any meaningful way. They both never express out loud any sympathy for their villain, or try to empathize. THey both never step down from the role of hero, and only confront their villain as a hero, because they don’t want to think about themselves as complicit or in the wrong. Shigaraki and Deku’s final confrontation mirrors Judai and Yubel’s but without the same clear framing. THe entire time Yubel is trying to get Judai to empathize with them, and Judai only responds with physical violence, because they don’t want to stop being the hero and because they can’t see Yubel as anything other than the villain. As soon as Deku arrives on the battlefield (by the way everyone else and their mom pointed this out, but Deku who doesn’t think OFA is a power for killing, is completely okay with a plan called the “Sky coffin plan” where every other hero was clearly trying to murder Shigaraki).

When Deku arrives he asks if Shigaraki is still in there, but he doesn’t do anything to try to reach Shigaraki, he jumps right to punching him. In fact he never tries anything besides punching him as hard as possible. How is punching Shigaraki with the force of a thousand suns saving him exactly? How is that different from how he tried to defeat Shigaraki the last war arc, before he saw the image of the crying child that made him want to try a different approach in saving Shigaraki? In Judai’s final fight with Yubel, it’s made explicitly clear that Judai is not trying to save Yubel, and that’s a fault on his part. In fact Judai gives the traditional “I have friends, and you don’t” speech to Yubel but it’s a subversion of how that speech is usually used. Usually that speech is used to show that the protagonist won because of they valued friendship,while the villain treated their friends poorly and only cared about power. However, it’s ironic in this case because Judai got all of his friends killed. Judai treats his friends like garbage. This speech isn’t used to show that Judai is winning because he values his friends more than Yubel does, it shows that Judai is a hypocrite, playing the hero in this situation where they are just as bad as Yubel. Judai’s not morally superior, he’s just lucky that he has good friends. Friends that were willing to save him. The only connection Yubel has to anyone else, Yubel’s only friend is Judai and Judai is a shit friend.

In fact, Mirio tries to give a version of the “You don’t have any friends” speech to Shigarkai, only for Shigaraki to get mad and tell Mirio that he does have friends and people he wants to protect.

This fact is also something that is blatantly ignored by Deku, even though Mirio tells him about it… even though we are told that Deku is trying his best to see the humanity in Shigaraki.

Judai blatantly admits they’re trying to kill Yubel. Which makes them a worse person, but a better character than Deku, because their actions are clearly framed by the narrative and consistent.

On the other hand we are told that Deku doesn’t want to kill Shigaraki, and yet everything Deku does makes it look like he’s just trying to kill Shigaraki and put him out of its misery. If we didn’t have Deku stating out loud that he wants to save Shigaraki and wants to see him as a human, there’d be nothing in his actions to indicate that he’s trying to avoid killing Shigaraki. Deku says he can’t pretend he didn’t see Shigaraki crying, but like, does he ever hesitate to punch Shigaraki, does he ever think that causing Shigaraki more harm is wrong when he’s already suffered so much? Deku says that Shigaraki is a person but does he treat him like a person? Does he try to talk to him like a person? To use avatar again, Aang does talk to Zuko pretty early on. Deku doesn’t even give the classic “We could have been friends under different circumstances” speech. When Shigaraki resists Deku’s attempts to see him as a person or emapthize with him, Deku’s response is to just resort to punching harder.

Which is in effect the same thing Judai does to Yubel, just kill them as a villain so they don’t hurt anybody else, but framed in an entirely different light. Judai is shown to be ruthless, and cold in his attempt to only settle the conflict with Yubel by violently putting them down. On the other hand we’re being told that Deku is compassionate and empathic while he punches Shigaraki with the force of a thousand suns.

There’s another eerie similarity between both of these final confrontations. At the climax of the confrontation, both Judai and Deku have a psychic vision where they see events from Yubel and Shigaraki’s childhood. This vision is supposed to help both characters understand the good in the villain they’re facing.

Let’s see the contents of this vision and how the visions change each character. Judai is shown a vision of his past life where Yubel sacrifices their entire body, and even their humanity to go through painful surgery to turn into an ugly dragon, all for the sake of protecting Judai in a previous life.

Judai is then forced to witness the good side of Yubel they’ve been ignoring all along to paint them as a villain. Yubel is simultaneously extremely selfish and willing to hurt people Judai cares about, but they’re also extremely selfless and will do anything to protect Judai and have made great sacrifices in the past for Judai’s sake. Deku gives lip service to not ignoring the humanity in Shigaraki, but Judai is literally forced to acknowledge the humanity in Yubel. Not only that, but Judai changes his behavior immediately after learning this new information. After seing the sacrifice that Yubel made for him in the past, Judai responds with a sacrifice of his own. A sacrifice that perfectly mirrors the sacrifice that Yubel once made for him. Yubel gave up their humanity for Judai, so Judai fuses his spirit to Yubel’s, becoming a human / spirit hybrid so Yubel no longer has to be alone.

Judai also doesn’t just fuse their soul with Yubel’s in order to stop Yubel from destroying everything, it’s because both of them at this point need to atone together, and Judai is fulfilling his responsibility of watching over his friend until the end to prove that you care about them - as he said to Sho. Judai’s also fulfilling Johan’s dream of helping repair the bonds between spirits and humans, by reconciling with Yubel and repairing their bond. It’s also Judai atoning for his previous behavior of abandoning Yubel, by choosing to stay alongside them as they both atone together. Deku does sacrifice OFA during the fight against Shigaraki, but their sacrifice isn’t to help Shigaraki, but rather doing psychic damage to Shigaraki by using OFA is the only way to defeat them. He transfers OFA in order to break Shigaraki’s brain so he’ll stop reissting and Deku can beat him down. Judai fuses their soul together with Yubel out of empathy and a responsibility they feel to help their friend fater abandoning them, Deku transfers One for All to Shigaraki in order to hurt him and make him easier to punch. It's funny that Deku doesn't travel to Shigaraki's mind to learn more about him, but instead with the specific intent of harming him.

Once he's inside Shigaraki's mind, he doesn't take time to reflect on how Shigaraki used to stand up for bullied kids, or how he wants to be a hero to villains because no one else will stick up for the outcasts in society. No, he only care about Shigaraki when he takes the form of a child crying for help.

In the aftermath of the psychic vision Deku’s behavior doesn’t change towards Shigaraki in any way either. You could say he sacrificed his own arms in order to try to comfort Shigaraki within the depths of his own mind - but that’s not a real sacrifice either because his arms immediately come back. When Judai learns about the sacrifice that Yubel made in a previous life towards him, he stops seeing Yubel as an enemy and finds a way to resolve things peacefully between them. When Deku lanterns that Shigaraki’s a victim of All for One, and that his entire life was a lie, when he sees Shigaraki’s suffering first hand does his beavior twoards Shigaraki change in any way?

When he sees Afo has taken over Shigaraki’s body again, does he try to shout for Shigaraki, to tell Shigaraki to fight from the inside, to reassure Shigaraki that he’s still in there that there’s still good in him? Nope. He just punches Shigaraki some more.

What Deku needed to tell Shigaraki is so obviously set up by the narrative too. Shigaraki wanted just one person in that house to tell him he could be a hero. Deku wanted his mother to tell him he could be a hero if he was quirkless. Deku sees that Shigaraki started out as a boy who wanted to be a hero, and who was manipulated into being a villain but does he try to appeal to the boy inside of Shigaraki by telling him he can still be a hero? Does he now see the good in Shigaraki? Nope, he just tries to kill him by punching him really hard.

I purposefully chose the images for the banner of this post, because it shows how differently MHA and GX treated its villains in the end. Yubel is embraced by Judai in the end, Shigaraki evaporates into dust.

"Judai, now that our souls have become one we will never be separated again. I have now been filled with your love and power. Let us fight together, against the wave of light leading this universe to destruction!"

Shigaraki could so easily have been given the love and empathy that Yubel was shown, but instead their life ends with no show of empathy from Deku, and with them dying believing that their long life of tragedy meant nothing in the end. Shigaraki realizes he's a crying kid, but he's never comforted.

Shigaraki: I only stole my body back from Master, and I didn't destroy anything. "In the end, I was just as you said... A crying kid, huh?"

Yubel is embraced and comforted, Shigaraki disintegrates into nothing.

One of these stories is apparently an optimistic story about heroes saving people, but it ends with the lifelong victim being killed in the most nihilistic manner possible, never receiving comfort, and never achieving anything with his long life.

The other story is a silly anime about card games, shows that when people are alone and suffering they can lash out and do terrible things. That all people are weak especially when they're alone, but the solution isn't to abandon them, or condemn them for their faults, but to believe in them and help uplift them the same way that Judai decides to uplift Yubel so they can atone together.

Which is why Deku gets an F in being a hero. Go directly to summer school. Do not pass Go. Do not collect $100.

#mha meta #ygo meta #mha 423 #bnha 423 #mha 423 spoilers #bnha 423 spoilers #izuku midoriya #deku #shigaraki tomura #tenko shimura #judai yuki #yubel #soulshipping #yu gi oh gx #yu gi oh

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