#MHA fans come to One Piece

[d-does-art]

HE. IS. A. DAD.

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

"You haven't been here long but you've seen him, right? The batman. The batman. He lives in darkness, to find the helpless and bring them into the light. So I have to wonder...why couldn't he do it for me?" The Boy Wonder: Issue #2

This is the story of the boy who didn't get saved. The story of a boy who really ought to have been saved. Of course, every victim deserves to be saved, but this boy was the son of a superhero. Can a hero who saves everyone, but fails to save his own son really be called a hero? As for the son, how does it feel to watch his father save complete strangers but let him fall to the wayside?

Jason Todd and Dabi are two characters with similar backstories and motives (so similar it's possible Dabi is outright based on Jason Todd) which are worthy of comparison. These are two tragic arcs which explore the conflict between a hero's responsibility to act as a father, and their responsibility to save people. As I said they are tragic because in both cases the hero fails, as a father, and a hero. However, I'm comparing the two because Jason Todd's story is a well written tragedy, and Toya's story is not.

If you were to write a story of my life, it would surely be a tragedy.

Aristotle's Poetics is the first attempt to define what Tragedy is, not as a story where sad things happen but a specific story structure. He outlines not only what makes tragedy, tragedy, but also what makes a good tragedy.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

I use this quote because the painting metaphor is a great way of explaining what I'm getting at, you can have a painting with the most wonderful colors, you can have a story with really good ideas like the Todoroki family plotline but if you don't use those colors correctly all you're going to end up with is a bad painting.

In poetics Aristotle clearly defines a tight well-structured plot as the first priority for effective tragedy, character as second.

Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long

To make sure you understand, it's vital in tragedy for all the pieces to fit together. Tragedy is a specific story format. Good tragedy uses the parts of a story well, but bad tragedy is sloppy and poorly put together. In tragedy, the whole has to be greater than the sum of its parts. The Todoroki Family are all good characters out of context, but the story could have enhanced their characters but detracted from them due to how poorly it is told. The fact that a lot of MHA fans are in love with the Todoroki family out of the context of the story, but also have constant complaints for how Horikoshi handles their plotlines is, in my opinion, very telling.

What Aristotle goes on to posit is the best tragedies do not come about by accident, but rather by the direct actions of the characters.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design. 

Therefore Tragedies require consequentialism, like Newton's Third Law, every action will have an equal and opposite reaction. To simplify a good tragedy arises from the consequences of the character's actions (or inaction). The most basic form is that the hero of the story will have a tragic flaw that they fail to improve upon in time and then leads to their destruction. In essence, tragedy is where the hero fails. Not only does the hero fail, but the hero loses, and that irreversible loss is what defines tragedy. Medea slays her own children, Oedipus rips his own eyes off and deserts his kingdom, Creon Antigone is buried alive and Creon's son, her fiancee, commits suicide.

These events share two things in common, they are irreversible (hence why they feel like good endings), and two they evoke catharsis. Aristotle defines the goal of tragedy to evoke terror and pity. We feel alongside these heroes, Medea was abandoned by the husband Jason who she left her home and slaughtered her own brother for, Oedipus did all of his crimes unwittingly and is a victim of fate, Antigone was doing the right thing by burying her brother so his soul could pass on to the afterlife.

There's all different sorts of tragedies, Hamliet explores more here. I'd say UTRH and Hellish Todoroki Family are tragedies centered around grief.

Tragedy works on extreme emotions, and extreme hard-hitting consequences to the hero's failures. The worst thing a tragedy can be is boring.

The Tragic Hero

Now that I'm done lecturing you let's actually talk about both My Hero Academia and Batman like I promised. Both of these stories don't actually feature the central victim as their protagonist, and that is a feature not a flaw.

Rather, the story we are being told is that of a tragic hero, failing to save a tragic victim because of their own personal flaws.

These flaws are called (hamartia) or "error in judgement". A hero, being called a hero of a story is often unaware of his flaws which is central to what makes them unable to fix those flaws in time. That flaw can later lead to a moral failing, such as Othello's jealousy, initially jealousy is an understandable emotion, but then it leads to him trusting Iago over his own wife and killing his wife in a rage.

Most importantly, the hero’s suffering and its far-reaching reverberations are far out of proportion to his flaw.

Let's begin with talking of the heroes and their flaws, Batman and Endeavor. My main reason for comparing these two is in these specific stories they have the same flaw, inability to move past their personal guilt towards their son, and the same conflict the duty of a father versus the duty of a hero.

However, Batman functions as a tragic hero, and Enji does not. The summary of their conflict is right here in these two panels.

A parent is required to place their children above everything else, because they are the ones responsible for bringing that child into the world. Bruce Wayne made the decision to adopt Jason. Enji made the decision to have children, however with Enji you have the added insidious motivation of he only wanted to make designer babies and just didn't care for the ones who didn't turn out right.

Bruce attempts to do both, to act as a father for Jason and also a crime fighter as batman but he can't do both. This comes to a head in Death of the Family when Jason is having serious trouble because of his lack of a strong parental figure, and Bruce knowing that Jason is in trouble chooses still to go off and fight crime instead of staying with him. The choice to place crimefighting over the child they chose to take responsibility for has the unintended consequence of getting that child killed.

Whereas Enji makes the same choice over and over again, ignoring Toya's clear troubles at the fact his father no longer spends time with him and choosing to run away to the world of heroes because he doesn't want to face the fact that his actions are severely hurting his son. Bruce's motivations are more sympathetic admittedly he wasn't actively practicing eugenics, but the choice is the same and the consequences are the same.

Both Bruce and Enji are forced to bear witness to the deaths of their children when they are not there, specifically because they made a choice to be a hero instead of staying by their child's side. A situation directly caused by their choice to be a hero over a father, and a situation that would have been avoided if they had stayed with their child in their time of need. Jason runs off when Batman tells him to stay and gets kidnapped by the Joker, if Enji had been on Sekoto peak that day Toya would never have accidentally lost control of his fire.

This is just the backstory however, the main event that kickstart this plot is the unexpected return from the dead of both Jason and Dabi. Each story follows the same plot beats. A new villain appears to challenge Endeavor / Batman. The villain reveals themselves as their dead son. Both Endeavor / Batman are given a chance to try reaching out to their sons, but they choose not to.

Then even though they are given a second chance with a miracle of a dead son coming back to them, they choose the exact same thing they chose before, being a hero and because of that the tragedy repeats itself. For both of them they are unable to save their son again, and the son goes through a second death. History repeats itself, the lesson isn't learned.

Their fatal flaw is their guilt. This is a story about grief and mourning after all, a son who is died, buried, but never grieved properly, never mourned, an open wound on the father suddenly coming back. The inability of each to process their grief blinds them from seeing the fact the son has come back, and they have a second chance.

Toya has internalized he is a failure, because Enji literally called him that. Jason believes that Batman thinks he is a failure. In both cases the father is the one who failed, Bruce at least acknowledges this but cannot communicate it in any way shape or form.

This guilt and responsibility both Enji and Bruce feel causes them to self-sabotage. They no longer have the confidence they are in the right (they no longer feel like heroes because they have failed to be heroes to their own son).

You can also add the layer of complication that since both men chose to be heroes in the past, they do not know how to handle the situation as a father now that they're being challenged to step up as one. Unfortunately, they are not the fathers that stepped up.

The reason their grief becomes a flaw is because they put their grief over their victims. . Each man is aware too much of their own failure, and while they should feel guilty they make the classic mistake of placing their own guilt over the feelings of the victim. The guilt they feel for causing the death and the genuine grief of losing a son is given priority over Jason and Dabi who you know... actually died.

An overwhelming grief and guilt is understandable because grief is a messy and human emotion, losing a child is an unimaginable tragedy that should never be inflicted on anyone.

Yet at the same time both Dabi and Jason are grieving to. This paradox that Batman only thinks of his own grief at losing a son and never stops to think about how Jason must feel leads to one of the best lines in Under the Red Hood.

"The father had lost a son, and now the son had lost a father."

Batman's guilt is so strong over being the cause of Jason's suffering, that the suffering of the victim himself is ignored. To be fair to My Hero Academia, the Todorokis say a similar line to Enji.

However, this is where I begin to get into the difference between ideas and execution. Tragedies are stories of actions and logical consequences, every action has an equal and opposite reaction in Under the Red Hood. Batman is punished for the choices he makes, the choices he doesn't make, and the choices he fails to make in time.

The Todoroki plotline features almost none of its character making any choices of substance, and because of that the plotline says the right things over and over again, but it all comes off as tell don't show.

I'm going to quote @codenamesazanka's post right here a couple of times because they describe the complete failure of the Todoroki plotline to show us a reason why we should be feeling things for the characters artfully.

We've heard Enji say this before - I'm sorry, I intend to atone. It's indeed the right thing to say, it's exactly what he should be saying and acting. Natsuo is declaring no contact - That's fine, I'm sorry, I accept this as part of my atonement and will continue. Touya calls him a coward - That's fine, I'm sorry, I accept this as part of my atonement and will continue. The public hates him - That's fine, I'm sorry, I accept this as part of my atonement and will continue. But you can only hear this so many times before you want to snap and beat the character, the story, the writing over the head with Enji's wheelchair. Why is that? He's behaving exactly as he should, and yet...

The reason why it fails to evoke strong feelings is because of what we'd called "narrative dissonance." The actions of Bruce and Enji are the same, they both neglect to do anything, make any real attempts to reach out to their victims because they're paralyzed by guilt.

However, we are told that they have entirely different arcs. Bruce's arc is a tragic fall. He's failing as a hero. While we are being told that Enji is experiencing an arc of atonement. Enji is supposed to be improving himself, and Bruce is supposed to be experiencing negative character development but they both do the exact same thing in story. Bruce neglects Jason, we are told by the story, by the characters in the story that Bruce is failing Jason. Enji does nothing in time to actually atone for Toya or try to help him, yet, we are told again, and again, and again, and again, and again, and again that Enji is atoning with nothing substantive to show us this is the case.

To show what I meant instead of telling this scene is in chapter 252.

This scene is the ending point in chapter in chapter #426.

It's just him repeating the exact same sentiment and yet in a more than 150+ chapter gap, Enji never made any action to show he was now placing his family first. Enji didn't say anything to Dabi when he revealed himself as Toya. Enji didn't look for Toya in the months before the final war arc. Enji literally appeared on live TV in a broadcast that Toya was watching and said the very selfish "Watch Me" atone for the crime of creating Toya instead of literally talking about Toya or too Toya. Well, that would have rocked the boat too much... THAT IS LITERALLY THE POINT. Enji had to somehow break from tradition or make some significant sacrifice onscreen to his social standing to show that he's willing to put his family first. Enji decides to go along with Hawks decision to not face Toya head on, making the decision to be the hero for the final time which directly causes Toya to get up after Shoto brings him down non-lethally and make one last attempt to suicide bomb for his father's inaction.

Bruce does nothing for a long time in Under the Red Hood. He ignores his initial instinct that Jason came back and instead makes a long investigation on whether or not someone can come back from the dead in order to distract himself. When Jason takes the mask off, Batman already knew but was pretending otherwise because he didn't want to face the reality.

Even when Jason takes his mask off, Bruce still takes on the "I need to investigate this" angle even though Jason calls him out that deep down he already knows it's the truth. This of course foreshadows Bruce's underlying flaw, he doesn't want to face Jason head on because he feels too much grief about what happened to Jason and his guilt is more important than Jason's own grief. Just as the father has lost the son, the son has lost the father.

What follows is several chapters of Batman fighting crime as usual and making no attempts to directly search for Jason. They cross paths a few times but when they do Bruce doesn't follow. In fact, Bruce only shows up when Jason sends Bruce a sample of the joker's hair and Bruce knows that the Joker has kidnapped him out of Arkham. Bruce almost lets Jason get killed by Black Mask because he doesn't know whether to stop Jason or save him yet again, and then they have their final showdown where Jason has kidnapped the joker to demand Bruce kill him, and Bruce finally attempts to talk him down.

Out of context it sounds like I'm describing the same plotline, to the point where if you haven't read either, it looks like I'm complaining baselessly. Why is one hero doing nothing until it's too late good, and the other bad? The difference is of course context, or rather framing. Bruce's actions are called out by the people around him (Dick, Jason, Alfred) as him handling the situation wrong. Whereas both Enji's internal monologue and other characters say that he is doing his best to atone for his actions and deserves a chance, but the events we are shown in story are the exact opposite.

Here's another example to SHOW my point. Here's Dabi with my special, hardcover edition of under the Red Hood.

I reread the entirety of the fourteen chapter plotline and the majority of internal narrations come from characters outside of Bruce observing his behavior and commenting on how differently he's acting. Jason's backstory for instance is told by Alfred, not Bruce. Dick Grayson the first Robin comments on Batman's odd behavior. The rest are the third person narrator. Bruce has four instances of internal monologues spanning a few pages each in a 378 page story. (Alfred has the most internal monologues and he's presented as a more trustworthy unbiased narrator than Bruce, to get us to question Bruce's actions).

"Information travels on many routes, sometimes it comes predictably like the tides. You just need to know where to stand and meet it. Other times it's elusive and you have to root through the garbage to find it. In the last few years I've come to rely on Barbara Gordon, Oracle, we all did. Utilizing every form of surveillance equipment she has been the eyes and ear [...] but those days are over. I can't rely on anyone anymore. [...] and tonight it's also about the company I keep. It's different with him [night wing] out here. I think about when he was younger, when I was younger, it was different, simpler and I miss it. I miss those days, for that it's hard to be around him.

This first internal monologue is a case of unreliable narrator, because as soon as finishing it Dick Grayson / Nightwing shows up, offers Batman his help and while Bruce at first refuses it the two of them are forced to work together to fight Amazo. What does this show us? Bruce is not alone, but Bruce actively acts like he's alone ignoring the feelings of the other people around him. It exhibits a flaw of Bruce and the bad headspace he is in mentally (if I remember correctly Stephanie Brown recently died in the comics while this storyline was being published. It establishes Bruce's improper coping mechanism with grief, and how he is going about it the incorrect way.

Bruce says I work alone, and then Bruce says it's easier working with Dick, I miss it, but I can't go back to those days. It's bruce's contradictory thinking patterns in the same chapter that stop him. it's bruce's fault he cannot connect to Dick, and he is actively mourning the past because his relationship with Dick has changed.

Now the final part of the monologue in that chapter.

He's quick. Not just fast, agile. He's not thinking about his next move, he's just making it. He's been trained well. And there's something about him. Something familiar. There was something interesting about before he cut the line, before it had been taught. That had to have been practiced. Either that or just plain dumb luck. No it's not luck.

This is the first hint that Bruce already suspects it's Jason from early on but is in denial about it. This unreliable narrator trope also gives an agency to Bruce's decision, he is actively choosing to ignore the possibility that it's Jason because it doesn't want it to be.

Whereas, a lot of Endeavor's plot takes away any agency from him. For example, he doesn't even know that Dabi is Toya, because if he had the sneaking suspicion and ignored it like Batman did that might have made him look bad. We can't have the main character in a tragedy looking bad now can we?

The second monologue is more denial.

That device is from Kord industries. I should know. Ordered it special from them. How can he have it? No more dead ends. No more questions. No more guessing. Tonight I find out what is passing for the truth.

Reading between the lines this is outright confirmation Batman already knows.

The third is a brief reflection in his feelings for Jason.

The armor has to be light enough to fit but strong enough to protect. But sometimes a great many times, it's not strong enough. It wans't strong enough for Barbara who has to fight from her chair. It wasn't strong enough for Stephanie, other dear soldier enough dear grave. And it wasn't enough for Jason. Willful Jason. Who ignored the danger. Who spat at risk. Who was never frightened enough. I've always wondered... always... was he scared at the end? Was he praying I'd come save him? And in those last moments when he knew that I wouldn't. Did he hate me for it?

This monologue directly shows without stating it outright, Bruce is prioritizing his feelings of grief and failure mixing them in with his genuine grief over the loss of a son. it's selfish of him, but grief is a selfish emotion.

Here's the thing Bruce is allowed to be selfish and to not have the correct reaction to his grief, because the whole story is centered on Bruce being unable to get his shit together in time, and this picture into his emotions is an explanation as to why. Bruce is afraid of being hated by Jason. Jason of course has every right to hate him for failing as a father, but still I think not wanting to be hated to a person you loved so much and feel genuinely sorry over what you let happen to them is an understandable reaction.

Meanwhile we have Enji saying repeatedly all the right things in his monologue, the selfless, I don't need to be forgiven, it's okay if they hate me, I just need to atone but he never actually does anything. There's no explanation for why he isn't doing anything either, so that narrative dissonance. We're shown why Bruce doesn't act in time, he's internally a mess to be frank. We are not shown why Enji doesn't act in time because his internal monologue tells us again and again he's committed to atoning and he understands what the right thing to do is.

As Codenamesanzanka says:

Enji is still saying all the right things, but the story isn't giving him the opportunity to actually do the right things. To have his new actions matter. I have no doubt about his sincerity in his mantra, but without the 'show', it's hollow. Similarly, "Let's talk" is actually kinda bullshit too, because it's so vague. This is less about Enji, and more about the writing, how it set up this scene. "Let's talk" or "I want to talk" or any of that variation is repeated 6 times, without anything more or specific added.

There's an excess of repetition of Enji saying he wants to atone, he's ready to atone, without any of that materializing in the story.

As @class1akids says in this reaction post:

It also feels also super-hollow to say he's sheltering the family from the fallout, after they've just talked about how Fuyumi lost her job (and got a new one through the connections she herself built). How is he going to do that?

The fourth because I don't want to write it down, it's just Batman monologueing on how his partnership with Jason is still good and explaining the technical details of his fight with count Vertigo. It's in chapter 10 if you must look it up.

So four monologues total. Two monologues establish indirectly that Batman knows that Red Hood is Jason and doesn't want to face him. The third monologue establishes why he doesn't want to face him, he's afraid of being hated. The monologue is in line with Bruce's actions in the story, Bruce investigates several ways of reviving from the dead instead of looking for Jason.

The character's reactions around Bruce are also talking about how he's not acting like himself. Especially Alfred's who speaks of Bruce's indecision, on whether to put a stop to or save Jason.

"It is curious. He is lost in thought. It is not like him to spend vast stretches of time immobile, where his mind is gripped in the solitary process of deduction. This is quite different. He is hesitating. At a loss for what to do. I believe it is about Jason. And whether or not to stop him or save him."

This is illustrated in two scenes later where Jason spends a long time simply watching when Jason is fighting enemies, first in a fight against Captain Nazi, and second Black Mask. Jason even gives a direct callout of that behavior.

Jason: What the hell took you so long? Couldn't decide if you wanted to let me live. Batman: Shut up and fight.

Observed by Alfred Bruce is completely stalling and can't choose, observed by Jason Bruce can't decide whether to let Jason live or not. Bruce hesitates twice. We know why. We see it in action. It's called out as flawed behavior.

Now let's cover all the tell that don't show that is Endeavor's many monologues.

Pro Hero Arc:

I have to safeguard the future for them. That's the job for whoever's on top. What about the lives I cut short? Just demanding forgiveness isn't enough, it's too late for that. At this point I need to atone there's no other route.

Hellish Todoroki Family 1:

I'm trying to make ammends going forward. It might be too late. but I fall asleep every night thinking about it. Lately it's been the same dream. The wife and the kids looking happy at the dinner table. But I'm never there with them. It might be too late but I fall asleep every night thinking about what I can do for my family. I wish you could be here too, Toya. It's always the same dream. My whole family's there but not me. If I really care how they feel [I'll remain here].

I'm not going to read 200 chapters so I'm just going to ballpark it based on memory. Here we go.

Dabi's Dance:

My eldest, Toya didn't harbor frost within him. He didn't have a way to overcome the inescapable downside of overheating but I nevertheless sought to raise the boy as a hero. [...] Because Toya had more potential than me I placed my ambitions on his shoulders. I thought it could be you. You could have been the one to reach my eternal goal. My frustration... My envy... The ugliness in my heart... you could have been the one to smash it all to dust.

Plot twist this is the only monologue I like. It's different from all the others, and it's the only one where Enji is being emotionally honest. He put the emotional burden of his own emotional insecurities on an eight year old child, and expected to live vicariously through him and when Toya failed to live up to those expectations he just abandoned him. It alligns what we have been shown so far, Enji is not acting like a reptentant man here who realizes the harm he's done to Toya and only thinks of Toya as an extension of himself and his own regrets.

The Fight Against AFO:

My mistakes took the form as Toya leading to many stolen futures. The past never dies. Rage, resentment and even penace wound together toward the future. And the future is a path for the young. A path with so many branching choices. That's why I must win this. [I'll keep paying my penance. I'll win today and keep my eyes on Toya.]

When Enji decides to double Suicide with Toya:

I take full responsibility. I swore to bear the burden and live my life atoning for it all. However, you've been watching me all this time. While I couldn't be there to watch you. You were someone I especially needed to do right by. No I can't let you meet your end alone, but I won't let anyone else get caught up in our tragedy.

Hellish Todoroki Family Final:

I came to talk about what's to come. I'm retiring as a hero. That was my initial plan even before the war started, but now I can't even walk on my own. The hero endeavor burned to death. Your flames were really stronger than mine. [...] You're right. You know everything about me, Toya. After all you were always watching me. And you wanted me to do the same for you, but I didn't. Not matter what anyone says your heat does come from my hellflame. From now on I'll come everyday, so let's talk. It's too late now, so let's talk. [...] You're free to hate me. Anything is fine really, so throw it all at me.

This one is spoken dialogue but it's still a four-page long monologue. Every one of Enji's monologues with one exceptionsays the same thing: I'm sorry, I'll spend the rest of my life atoning for my actions.

We're repeatedly told Enji is atoning but he acts like Batman. Then, his actions should be framed as Batman, not atoning but avoiding any responsibility.

As observed by Class1akids when we were discussing the update:

Everyone else faces an uphill struggle with their lives, but we should all feel sorry for Enji atoning and being in hell. I hate Hori's compulsion to over-write his abusers and over-explain their atonement. He does this with Bakugou too but with Enji it's more irritating. It was so much more enjoyable when he just wrote the thing but didn't point at them and say -> look, they are atoning. Aren't they soooo cool??

Enji's internal monologues and the other characters frame him as some sort of martyr, while on the other hand it's clear by both Batman's actions and Alfred's observations he's not acting like his usual self. In fact, this is an interpretation of Under the Red Hood that I love from the writers of the video game Arkham Knight that does a less tragic retelling of Under the Red Hood:

Batman doesn't fight victims. He saves them.

Therefore if Batman is fighting Jason, a victim, he's not acting like Batman. I'm also fine with Arkham Knight being an Under the Red Hood retelling because it's a different story. Comics do this all the time, different universe versions, popular storylines adapted into different mediums. It also works as a commentary on the original story, by showing what Batman could have done to lead to a more positive outcome it makes Batman's choices in Under the Red Hood worse and more tragic because he could have saved Jason, there was still a chance.

So here we have two flawed tragic heroes who are meant to be both pitied and condemned for their actions. One of them is all pity with no condemnation. The other is both pity and condemnation, Batman is grieving, but also he's failing his responsibility towards Jason. Therefore one protagonist works, the other fails utterly.

I'm not saying abusers don't deserve redemption. I'm not saying Enji should have died in order to atone. I'm not saying that the underlying problem with the arc is that they decided to make Enji sympathetic and a focus of the arc. The most important problem is the breaking of one of the fundamental rules of storytelling: Show, Don't Tell.

The Tragic Villain

Not only does The Hellish Todoroki Family plotline fail to make Enji a compelling protagonist, it also fails it's biggest victim. Now, these are both stories that end with the hero failing to save their victim. So if both of these stories have the same ending, why am I saying it failed Dabi, but not Jason?

Well, let me explain.

Dabi and Jason are both villains turned victims. The stories themselves are about this ambiguity. How much should the be held responsible for their own choices? If they are actively harming innocent people, then shouldn't they be stopped? Should they be automatically be forgiven just because of the pain and grief they've suffered, even if they've been causing it to others?

Both characters are also reflective of their fathers because they are too being selfish in their grief, they want their grief acknowledged and so are violently lashing out.

Jason and Dabi both make plays at being vigilantes at first, Dabi wants to inherit Stains will, and Jason Todd wants to be a better bat-man by taking control of the drug trade in Gotham and cutting crime down by executing gang heads. However, neither of them are being honest with this and it's shown through their actions, both of them abandon their original plans.

In the final showdown all Toya cares about is facing Enji on the battlefield, and when he's on the brink of death his mind erodes to the point where all he can do is scream for Enji's attention while his flames get hotter and hotter.

Let's take about Jason first and how his narrative treats him a whole lot better and more sympathetically, with more humanity than Batman. Jason is still held responsible for his choices, he is criticized by Bruce for murdering gang leaders and passing it off as justice. He's also blatantly shown to be a hypocrite. My favorite scene from Red Hood: Lost Days, the official UTRH prequel.

"I want to kill the joker in a cool way. Just sniping the Joker from a rooftop isn't dramatic enough for me."

This scene, and the final scene of UTRH underlines Jason isn't executing criminals because he believes it's the right thing to do, or because of his stated motivation that killing the joker would prevent more future victims.

Instead his every action is to set up a scenario where he makes a selfish demand of Bruce. He wants Bruce to prove to him that he would choose him over being a hero, by setting up his final scenario. Him, the Joker, and Batman. Jason will shoot the Joker. Bruce has a gun. He can either choose to let Jason kill the Joker, or kill Jason to stop him, either way it makes it clear what Bruce's priorities are.

The underlying reason for this is similiar to Bruce. Just like Bruce, Jason is deeply afraid that Batman doesn't love him. That he thinks of him as a failure. (This is Toya's main reason too).

He also interprets Bruce's failure to avenge him to mean that Bruce didn't even care enough to mourn him. If Bruce loved him enough, he'd choose him over the joker, but he's so afraid that Bruce doesn't love him enough that he's going to force Bruce to choose.

Along the way he's also going to behead several crimelords in order to put an exclamation point on that point.

The way Jason completely unravels in the confrontation shows this insecurity, he begins with monologueing about how batman should totally kill people, until his fear that he wasn't important enough, and his grief at losing his father is revealed.

Batman: I know I failed you, but I tried to save you. I'm trying to save you now. Jason: Is that what what you think this is about? Your letting me die. I don't know what clouds your judgement worse, your guilt or your antiquated sense of morality. Bruce, I forgive you for not saving me. Jason: But why on god's green earth is he still alive? Ignoring what he's done in the past. Blindly, stupidly disregarding the whole graveyards he's filled with people. The friend's he's killed. I thought killing me - that I'd be the last person you ever let him hurt. Jason: If it had been you that he beat to a bloody mess. If it had been you he left in agony. If he had taken you from this world. I would have done nothing but search the planet for this pathetic pile of evil, this death worshipping garbage, and sent him off to hell.

Direct statement, it's irresponsible of Bruce to let Joker live after killing Jason and should have put him down to prevent future victims. Reading between the lines, Batman not taking revenge for Jason is a sign that he didn't love him enough, Jason loves Batman more because he would have taken revenge.

As the confrontation continues and Jason's mental spiral worsens, to the point where he can't keep up his pretense of self-righteousness.

Jason: I'm not talking about killing cobblepot, or scarecrow, or riddled, or dent. Jason: I'm talking about him. Just him. And doing it because...he took me away from you.

The father had lost the son, and now the son had lost the father.

Jason's revenge is just a cover, for his grief at losing Bruce. I think this also shows a really positive aspect of Jason's character to humanize him instead of condemning him for his actions to ignore or even justify the suffering he endured: Jason really loves Bruce.

I mean how meaningful is the statement: "Bruce, I forgive you for not saving me."

Bruce has been afraid to hear the whole time that Jason hates him, that he won't forgive him, but Jason loves him deeply. In fact his love is almost equal to his rage because Jason is a deeply emotional person, and these little details make him human and not just like a plot obstacle that Bruce has to face. A metaphor for his past failures.

Dabi is drawn as a crying boy who wants comfort, Jason is shown to be a crying boy who wants comfort through both dialogue and action without us directly needing to be told. It's a heartbreaking line and doing it because he took me away from you and it lands perfectly because the narrative wants us to just look at Jason's grief. It doesn't add an asterisk* even though he was in pain, he's done unforgivable things that can't be justified to undercut Jason's suffering.

In fact that might be another underlying problem with The Hellish Todoroki Family, the narrative tries too hard to make you feel a certain way instead of just presenting things as they are to make you come to your own conclusion. UTRH doesn't support Jason's revenge based serial killing of villains. It doesn't say he's justified to cut off the heads of mobsters. However, it doesn't excessively state "Well, I'm really sorry what happened to you but what you've done can't be forgiven" so we don't have to challenge ourselves to feel too much empathy for Jason's suffering.

Meanwhile even when Toya tries to express his rightful anger and grief, we're always met with someone shutting him down and saying well yeah, but you're wrong, involving innocent people is unforgivable.

As said by @stillness-in-green in the replies to this post:

I think so much harm (in-universe, but the state of the Twitter fandom makes me think the messages are pretty toxic irl, too) comes out of portraying the Heroes as needing to weigh in on the *morality* of the Villains' actions before they gauge "saving" them, when that is not a thing that glorified cops have any business thinking they have the right to do. Demanding repentance before the rehab is so bizarre.

You can say someone's actions are wrong without using it as a factor to consider whether or not their suffering as a human being should be acknowledged, and like I said there's multiple instances of people just yelling at Toya how immoral he is instead of addressing the elephant in the room.

You're wrong, you're wrong, you're wrong, you're wrong.

(Okay, I understand that some people have interpreted this as a show of Honnae and Tatamae, the Todoroki's who are a very repressed household are finally talking about their feelings even if those feelings are selfish and ugly).

(I'm not criticizing Shoto for saying that the people he killed were his own choice necessarily, Shoto is a character who's actions need to be read more deeply than his words he was dedicated to bringing Dabi down without him burning himself any further start to finished. My criticism lies in the fact that Hori uses Shoto as a mouth piece because he thinks we need to be reminded that murder is bad).

However, even acknowledging that time and place man, time and place. They couldn't have done that in the aftermath, when Toya isn't burning to death?

Hey buddy, you're being selfish.

Toya: AHHHHHHHHHHHHHHH I'M MELTING, I'M MELTING.

This is I feel the underlying problem with the way the arc is written, not because the Todorokis are a very traditional Japanese family and there are cultural reasons they express their emotions differently, I'll give a caveat to that it's a nuance I might not understand.

However, I am arguing the actual problem is tell don't show. Horikoshi thinks that we as an audience need to be told multiple times that murder is bad, and we cannot be trusted to interpret that on our own.

Under the Red Hood shows both sides of Batman and Jason's debate, and let's us just come to the conclusion that Jason is in the wrong because revenge isn't justice. Horikoshi reaches no shit sherlock levels of telling us that we're not supposed to approve of Dabi's murders.

it's also a matter of giving Dabi narrative space to express his feelings, like every time Dabi tries to talk he is continually shut down (Shoto does engage Dabi talk to him and listen to why he didn't come back though I'll give him that) and it seems to be to push forward this weird idea that you shouldn't sympathize with the pain Dabi has endured or the ways he's dehumanized unless he does something to prove he deserves to be treated like a human being first.

Jason gets to monologue and make an entire argument, and his argument also shows the depths of his love for Bruce and what a deeply feeling person he is, and how those feelings being hurt and twisted could logically lead to his lashing out.

Compare this to Dabi who doesn't get a final monologue, but is instead reduced to a completely mindless state where he just cries out for his dad's attention. He doesn't get to make his argument.

Jason and Dabi both choose to blow themselves up, but Jason gets enough character agency to show this is a deliberate choice he's making even if it's the wrong one. He retains his character agency and ability to make decisions until the end of the narrative.

Jason's also you know physically crying. The end result of the narrative is about wrong choices that both Bruce and Jason make together, and then suffer the consequences together. Bruce watches the same failure play out again and he isn't able to save Jason, Jason doesn't get what he wants, he doesn't get revenge and he doesn't get to reunite with his father. It's tragic for both of them, and brought about by decisions both of them made.

Whereas yes Dabi makes a lot of bad decisions leading up to the last war arc, but in the end his final fate is up to a choice Enji made to not face Toya in the final battle.

However, while the final consequence of the battle is brought about more by Enji's decisions than Toya's, it's Toya who endures all the suffering and punishment. It's Toya who is in an iron coffin, and doomed to slowly and agonizingly die with all of his skin burnt off unable to move. Toya doesn't even get agency after the arc is over. Enji still has a wheelchair, Enji can still move around, Enji's still fucking rich, he's not in prison for his actions, he as Rei wheeling him around.

Toya's agency and choices are all taken from him, presumably to serve the plot purpose of making Enji save him to finish off his arc, and then ENJI DOESN'T EVEN SAVE HIM.

Also I think it's important to mention, Bruce's tragic ending is brought about by him attempting to save both, trying to save the joker and Jason with the same action. Whereas Enji's tragic ending is brought about by Enji NOT LIFTING A FUCKING FINGER TO HELP. Yet, it's Dabi who has the lion's share of suffering, and is sentenced to this horrific state of being skinless in an iron coffin and only being able to be awake a few minutes a day with no choice but to waste away.

Bruce is also immediately called out for his actions, by the Joker of all people, you handled this all wrong, it's your fault. Bruce is right to not kill the joker, killing the Joker would not have solved any of Jason's problems, but the fact that he put off facing Jason for so long, and his inability to communicate that he loves Jason is what leads to Jason thinking that the only way to prove Bruce loves him is to force him to choose. It's because Bruce has utterly failed to show him in any other way that he is loved.

Joker: Oh my god, I love it! You manage to find a way to win, and everyone still loses. I'm going to be the one who gets what he wants tonight, badda bing, badda boom."

I'd also like to add that a lot of agency in Enji's actions are taken away too, to make him look more blameless. It's not Enji's fault that he didn't say anything to Dabi during Dabi's dance, he passed out because he had a punctured lung. It's not Enji's fault that he spent a month protecting Deku instead of searching for Toya, he had to protect innocent people. It's not Enji's fault that he didn't go immediately to face Toya in the final war arc Hawks told him not to.

It's not Enji's fault that he made Shoto and Toya fight like Pokemon instead of cleaning up his own mess, and also he feels really sorry for it and as soon as he's done punching the bad guy he'll look after Toya he promises.

Enji does get called out for this behavior but it falls flat because it only comes from the villain AFO, and Toya himself. As I stated above too, the ending is more influenced by Enji's actions not Toya's (because Toya's agency is stripped away until he's mindless) but Toya is the one who has to die while Enji gets to live and atone.

That is the real sticking point for The Hellish Todoroki Family, the way it ends.

Themes Are For Eight Graders

The underlying problem with the whole arc and why The Hellish Todoroki Family fails as a tragedy, is because it wasn't written to be a tragedy.

The above quote is from an interview with the writers of the widely hated Game of Thrones Season 8, which took a sudden tragic turn for Dany's character, gave her an incredibly dehumanizing ending of being put down like a rabid dog by her own lover, an ending that was neither foreshadowed nor did it match with anything written before.

In this meta here by @hamliet it goes far more into depth that Game of Thrones isn't a tragedy, but a piece of Romantic fiction (not a love story, Romanticism is a genre of big emotions, the beauty of life, larger than life ideas hence why it fits well with fantasy genre, it can be sad but it doesn't follow tragic structure).

Dany is a romantic heroine, a deconstruction of the idea of the classic warrior princess trope, and you know a colonizer, but she's not meant to be written as an inherently bad person. There are people who say that Dany was going to die in the original books. I'm one of those people. Me. However, context and framing matters, Dany for all her colonizing ways does genuinely want to do the right thing, so it's likely she'd die a heroic death as a reflection of her selfless intentions (and intentions do matter for fictional characters) whereas in the show she's put down as a villain.

Now watch me I'm going to coin a term for future literary critics to use: Narrative Gaslighting.

Narrative gaslighting is different then Show Don't Tell, where an author has just failed to properly show what they're trying to tell you in the story. Narrative Gaslighting is when a narrative deliberately tries to mislead you, straight up lies to you, or just insists things that did not happen totally happened guys. Much like real gaslighting, Narrative Gaslighting makes you feel stupid for interpreting things a certain way and insists you were wrong all along.

Narrative gaslighting is when Tyrian gives a speech that everyone should have suspected Dany when she burned slavers alive that she was secretly evil and would one day turn on them.

Like, no.

Dany is flawed because she is a foreigner, interfering with the politics of a different country that she does not understand in order to gain enough resources and men to return to her home country and invade that country to exercise her right as a Targeryn to uphold the divine right of kings.

Game of Thrones doesn't mention any of that shit that's in alignment with the previous actions in the story, it's just insisting the very ableist notion that Dany was insane all along and her violence towards other people is the result of her mental illness.

(Also before anyone says, so if she's a colonizer than how can she have good intentions, everyone is Bad in Game of Thrones, they're all waging war to vie for a throne, monarchy is bad guys. IDK how to tell you that Game of Thrones has gray on gray on gray on gray morality).

(Also this aside ties into the hangup of MHA and most popular fandom culture on Twitter, that Dany's moral failings somehow disqualify her from her humanity. In spite of the fact that on top of all of that she's a rape victim, and like, Dany's only on that continent in the first place because she was sold as a bride.)

But here's the same weird subtext that Horikoshi's writing of Dabi. The fact that Dabi was continually victimized and denied human dignity does not need to be addressed, because he did the bad things and didn't atone properly enough for it first.

In essence this random post on the gunnerkrigg court forums I found on the same day the chapter came out, displaying apollo's gift of prophecy.

"When someone is persecuted, it's important to inform everyone about their flaws. That way you don't have to feel anything about all the times that they were denied human dignity."

So, Dany is not written as a tragic hero but a romantic one, we as an audience are both meant to acknowledge her flaws and sympathize with her, not demonize her in an ableist way for being insane, and even if Dany is meant to die the tragic way she dies does not match up with all of the narrative foreshadowing that was built before that.

Like, for instance a lot of POC after the show ended kept telling everyone that Dany's actions in a foreign country were seriously problematic, and not only did the audience not listen but the showwiters didn't acknowledge it with the same subtlety as the books. So those people especially were able to pick up Dany's character flaws, and when the show finally acknowledged them it's not even in the way that critiques of the show were pointing out Dany's flaws it was just "she was insane all along." Not like taking time to go "no matter what the intention, interfering with the politics of a foreign country is wrong."

The problem with the Todoroki arc is essentially the same, down to the ableism (because outsiders continually call Dabi either a maniac or insane Demon without even giving credence to his grievances about hero society he's just reduced to an insane fringe element of society, and Dabi himself is reduced to a completely mindless, childish, insane screaming state where he can't make active decisions).

The Todoroki Arc is not set up to us as a tragic one. The ending is pretty clearly telegraphed to the whole audience. People are not wrong for thinking that Toya's ending would be either rehabilitation like Rei with the eventual hope of being welcomed home, or some kind of house arrest where he still gets to be with his family.

Everyone happy at the Dinner table and Enji not sitting with them.

"I wish you could be here, Toya."

"We all have to go stop, Toya."

"In that case, I'll make him sit down for a bowl with me."

Even Shoto's efforts to take down Toya non-lethally are rendered completely pointless, because Toya gets back up again and then burns himself alive (completely by his own choice so no one has to feel bad that they failed).

The story sets up the expectation that Toya is going to be brought home and sit down for a meal with his family. Then it makes you feel stupid for going in an entirely different direction. It was always going to end this way didn't you know The Todorokis are a tragedy?

Well, I just spent a very long section of this thesis statement illustrating that if it's supposed to be a tragedy, then it's still not written well.

It's a written as a romantic story of a family healing, and the villain getting saved, only for the villain not to be saved and the story to just keep on going like not getting saved isn't a huge failure. This is something that should permanently destroy the main characters, that they got the chance to repeat Sekoto peak and be there this time and they all utterly failed. I feel bad for Shoto most of all because he did everything right, and he still loses his brother, but does the story show that?

The problem is the story is blatantly lying to you about the fact that Toya was somehow saved, even though he LITERALLY LOOKS LIKE HELLRAISER. To quote Codenamesanzanka again:

But I feel the story couldn't give us that because it will remind the reader and everyone just how much Touya will be missing. In-story, talking any more will overburden Touya's heart - and how apt is that metaphor? So let's talk about how we'll talk, but that's all that's allowed here for this scene. Else we'll see how unfair it is that Touya has to be confined to this room, he isn't with his family and they have to come to this prison just to tell him about their day, and soon he will be gone. Details make it real, and it would've exposed the lie that Touya was saved in an actual way. The story knows it too - "this extra time Shouto gave us." This is all 'extra', and not the core. [...] If the story was sincere that this is a case of "it's simply too late" - as it should be!!! imo, to really drive in the clear point that they failed, they did not get the save they wanted, because that's the truth - the tone of the chapter isn't tragic enough for that. The tone is going for 'Making Peace With This'. We've skipped the stages of grief and all we have is acceptance. The characters have accepted this, and so must the readers as well.

Therefore it's narrative gaslighting, the story is making us doubt our perceptions and trying instead to manipulate us to feel a certain way. We don't have to question the unfairness of Toya's fate, because look at all the people he's hurt, and look how Enji is atoning and taking responsibility.

The story builds up the idea that Enji will choose Toya. That he will choose being a father over being a hero. Enji doesn't do that, and it's Toya who suffers the horrific, painful consequences while Enji gets off mostly scott free. Mind you it's also ableist to suggest that being in a wheelchair is some sort of life-ending consequence like he's fine. The story even goes out of its way to say how avoidable this ending could have been if Enji or Rei or someone lifted a single finger to give Toya the acknowledgement he wanted, and then gives it a "Too little, Too Late" conclusion but doesn't acknowledge that this is where it's ending and instead tells us that Enji has successfully atoned.

"Everyone's watching me. So this is what it's like. If it was such a simple thing, then why not sooner?"

If it was going to turn out this way Toya should have just died here, not because death would somehow be a mercy compared to life in prison, but because the Todoroki Family doesn't deserve to get to pat themselves on the back. If they let Sekoto Peak happen a second time, then they should have to deal with the consequences of that.

It would be consistent is my point. This is written as a "Too Little, Too Late" kind of ending, but we don't get the emotional response from the Todorokis that they've let Toya die a second time.

On the other hand, UTRH has the exact same tragic ending but it doesn't make me angry because it's honest about it. The Todorokis let Sekoto peak happen a second time. Batman let Death in the Family happen a second time, but look at how even the narration and comic panels of the story acknowledge it.

"Fate is a funny thing. It swells up like a raging current and we are forced to travel. It provides us no exit. No deviation. It drops us in a bottomless ocean and compels us. We either swim, or drown, and sometimes as we struggle against the tide, a great truth arises."

One ends with Enji meaninglessly stating that he'll spend the rest of his life atoning for Toya and watching over him (which I guess will be like two months tops) for the fifth time. The other ends with Batman being lectured by the Joker of all people of how he chose wrong and being forced to watch once again as a warehouse blows up, and he's completely helpless to save Jason.

UTRH ends with the message that Batman sucks, Enji's atonement arc ends with Natsuo calling him cool for atoning and UTRH makes me like Batman way more as a character. Whereas at this point I feel nothing from the Todoroki Family, except for a disgust for the way that Toya not only has to die, but has to die a slow, gruesome death while the rest of his family walks away with the small comfort of "oh at least we'll get to say what we need to say before Toya passes."

Especially with the fact that Toya's greatest fear was that when he died, he died meaninglessly because his family never grieved him and all moved on with their life. I guess we don't have to analyze how gross the underlying message that criminals don't deserve to be sympathized with because themes are for eighth graders.

EPILOGUE

The post is finished but apparently everyone expects me to cover every single possible angle even in posts this long.

You didn't address the cultural aspect. Under the Red Hood is a western story, and Todoroki Family is based on eastern concepts.

The post isn't about that. The post is long enough I can't cover every single topic. Here's someone who covered that topic thoroughly. This one discusses more about the nuances of collectivism.

Also, since the Todoroki Family obviously copied Under the Red Hood's homework, it warrants a comparison. Especially since it seems to critically misunderstand what made the original work.

Which is a valid form of Literary Criticism, as Ursula K Le Guinn once said:

 It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

The Todorkis aren't all to blame for Toya. Natsu, Fuyumi and Shoto are innocent:

You're right. It's just easier to refer them as the Todorokis then specifying "Enji and Rei" each time.

You didn't mention Shoto once in this post:

I have no cricism for Shoto's role in all this. In fact I think he's the best written part. I praise it here.

Shoto is a good boy, and he deserved to spend more time with his brother. The fact he won't be able to sit down and have dinner of him, is the greatest tragedy of them all.

[bicheetopuff]

I just saw the worst takes about bnha’s ending on Instagram (three days ago now, as of posting this). So, today we’re gonna talk about Izuocha, shonen homoeroticism, and fandom… not in that order though…

I: Fandom

Fandom culture for all media has basically always been a war zone that you have to actively avoid, usually with two defining sides: people who try to enjoy media the way they want to enjoy it, and the people who say that everyone is wrong and attack others who they don’t agree with. There are shades of gray on both sides, but in general this is usually the case. It’s never been “‘alphabet mafia’ vs ‘normal’” or “fanon vs canon” or “right vs wrong”… I almost always see people having fun being attacked unwarranted (I am not saying that people being legitimately problematic shouldn’t be called out, pls don’t get me wrong. I’m talking about innocent fun!). And I’m not just talking about dudebros attacking shippers, I’ve seen a lot of shippers attack non-shippers/other shippers of a different ship, and it’s almost always people just saying “you’re wrong, I’m right, and your take ruins this media piece of media for everyone else.” That being said, I wanna talk about the highlighted parts of these comments, okay? But first I need to explain the video that these comments were on.

It was a video by @/d_rich7 on Instagram, a big anime creator, talking about this tweet:

To summarize the video, he went on to say that he’s not surprised because bnha has the worst shipping community since Naruto and how Horikoshi probably felt forced into not confirming any ships because of “threats and hate mail” that he got from his fandom. I’ll come back to that but first I’ll talk about some of the comments:

“At least, they can say they weren’t the reason for the downfall of their anime.”

I've seen this take from different parts of the fandom, whether it was in regard to ships, todofam, or the villains. Just because the narrative of a story ends up matching the theories of people you disagree with, doesn't mean the story is going through a downfall. Just accept that you were wrong and move on. It is okay to not like certain aspects of the story and it's okay to discuss and criticize it, but pinning the blame on people who just happened to be right, no matter how much you hate it, is not okay.

“People need to stop demanding the literal CREATOR of a series to do things how they want it done…They to learn it’s not their story to tell…”

“…like I don’t get how people who have no impact on the writing of a story get mad because the CREATORS don’t wanna use their personal ideas.”

“…from now on imma blame the fandom for fucking up the anime/manga, we could’ve had a better ending if it wasn’t for them…”

Outside of the context, I actually agree with the sentiment that fans shouldn't feel so entitled that they think they have any control over the media they're consuming. But, the commenters don't realize that they're doing the exact thing that they’re talking about. They're convinced that the queer shipping community is the reason the creator decided not to confirm any relationship and are pissed off that the ship they were rooting for, didn't happen. Why are they exempt from this rule? Because straight ships are supposed to happen and queer ships aren't? Because the boy is supposed to win the girl at the end in order to develop a good shonen? I'll go into the misogynistic implications of that later.

Other than that, I have seen a lot of people on tumblr get mad about other things, like before, regarding to the villains and todofam drama to the point that they started insulting Hori. Like I said, it's okay to be mad. Being mad about something doesn't make you a bad person but it was never our story to tell. Criticism and hate, are two different things and come off very differently.

“MHA’s fandom is filled to the brim with toxic, no shower taking, furry loving, lgbtq idiots…”

Honestly I added this one because he's right. We're here, we're queer, and we're idiots in the best way possible. However, I think this also says the quiet part out loud when it comes to the hatred towards bnha and it's fandom.

Shipping communities in other fandoms don't get anywhere near as harassed as often as the shipping communities in the bnha fandom despite not being much different. The difference is, a lot of us identify as and are recognized as queer and Hori himself even recognized that the LGBT community especially took a liking to his manga. But, in other fandoms, it's only okay to consider queer ships if they're recognized by the cishet audience.

Most people in the aot fandom don't have an issue with eremin because it was something recognized and memed by straight men, even if it was mostly as a joke. The kny fandom doesn't care about inotan because it was also recognized and memed by straight men. Narusasu doesn't get much hate anymore because the straight men of their fandom also started to recognize the characters weird obsession with each other and it became more difficult to ignore the ship since there was literally multiple accidental kiss scenes--one of the few times where the source material actively encourages shipping. I can keep going too.

On the opposite end of the spectrum, non-shonen animes with majority cishet women as their audience, no one bats an eye at their ships either, because there's not enough men in their communities to tell them they should feel ashamed for their fanon content and their words hold no weight… and there’s a lot less queer people in those fandoms. You see the trend, right? It's almost like queer shipping is perfectly okay and mostly accepted as long as the community is either majority cishet men, or those men grant permission/approval for the specific ships or the piece of media wasn’t “meant for men.” Otherwise, it's seen as gross and cringe.

There was one other community that was kind of similar to bnha in a sense that it was mostly consumed by queer people and cishet men, where there was a lot of discourse on whether the two main characters were queer or not… which is the Buddy Daddies fandom. When the show was airing, those two sides that I talked about earlier were pretty apparent, with people having heated arguments about whether there were queer undertones or not. The cishet men of the fandom didn't give their approval to ship Rei and Kazuki, so it became an issue. Same with JJK now, more so with itafushi though. SatoSugu was given a somewhat stamp of approval but itafushi is still seen as taboo.

However, for some reason, every queer ship and character (even if it's canon) in bnha is seen as something shameful to recognize which I think is very telling considering how large the queer and disabled part of the fandom is. Minorities are being punished for relating to a manga with discrimination as one of it's core themes. Do what you want with that...

“…hate-mail just pushed him over the edge so he just scrapped everything just as punishment to spite them…”

This kind of references rumors from a few years ago about the shipping community sending hate mail and death threats towards Horikoshi and everyone just running with it without doing their research.

Horikoshi did receive death threats but it was about Dr.Garaki's original name which you can read about here. It was mostly the eastern side of the fandom being aggressive, even going as far as posting videos of them burning the volume where Garaki's name was revealed which isn't okay. However, everyone blamed it on the western shipping community... for whatever reason...

There was another instance where people in the western fandom started sending Horikoshi death threats on his twitter because of a chapter about Endeavor getting attacked by Dabi and an Nomu and the Todo family being worried about him, people claiming that Hori "deserved to die" for romanticizing and glorifying abuse (when that wasn't at all the case, I'm genuinely confused on how they interpreted that...). This came out six years ago but somehow is still narrowed down to the queer community and women being toxic... like what? Do you see my point now of it feeling like we need to be granted permission to do certain things in fandom if we don't want to be punished?

Also who was Hori punishing by not confirming any ships? If anything, I’ve seen most shippers appreciative than not…

II: Ochako Uraraka and her relationship with Izuku Midoriya

Back to that point about misogyny that I mentioned earlier...

"...I would have lowkey wish we got to see deku and ochaco end up together since their relationship was hinted from the beginning..."

Quick warning... this is gonna be a long point.

Yes, they were attracted to each other at the beginning, no one is denying that. No one is denying Ochako’s crush either. Izuku’s nervous around her for the first like 50-ish chapters because he's still used to having friends (especially a girl. If you think about it, if his childhood friends were the only friends he had ever had before getting shunned by his community, then he had never had a girl as a friend before... ever) but their relationship eventually mellows out into a normal friendship. Given Ochako and Toga's arc, I don't think Izuocha was ever destined to end romantically.

Toga was desperate to be loved by someone who accepted her for who she was while Ochako was desperate to be able to show love to someone who she truly admired. Ochako wanted to be like Deku and tried for a while until she realized that she couldn’t and shouldn’t want to be like Deku. She thinks he’s amazing but she realizes that she can’t strive to be like him because she’s already like him but wants to change.

(this is kind of off topic but I just want to point out what Ochako said about Toga being sad about not being able to totally become Jin. Correct me if I'm remembering wrong but, Toga was only able to ever transform into Ochako completely, quirk and all. I think there's an analogy there, where her being able to be just like someone possibly means she's in love with them but she convinces herself that she loves everyone equally. I think it's supposed to be saying that "even though you can't be him completely, doesn't mean you don't love him, you just don't love him in the way you thought you did" and I think Ochako realizes that because she possibly had the same realization with Izuku. Becoming him didn't work out for her because she didn't love him the way others told her she did... I guess it wasn't off topic... oh well.)

The highlighted parts can apply to Ochako too if you replace “bloodlust” with “envy”. She suffered the same issue that Toga did with other people telling her how and who to love which made her feel like she was supposed to be jealous.

She didn't like these feelings of jealousy, so she began to unintentionally be like Deku and hide them. I don't think she ever had an issue with loving Deku but she had an issue with the way she convinced herself of how she loved Deku made her feel. It made her feel like she was hiding something because I think she felt conflicted for not loving him the way everyone expected her to. All the way up to her final fight with Toga, we were only getting intel about her crush from other characters. Not her.

There's a lot of Mina just telling her what her feelings are despite Mina canonically not knowing much about love. Her crush has always been projected onto her which is why she's able to relate to Toga so well and wants to be more like her since Toga is able to live as herself so comfortably and broke away from conformity and what's expected of her.

Ochako's crush is only there because it's expected to be and her arc is meant to prove that she can be more than just the MCs love interest. Ochako's projected crush is Horikoshi trying to prove a point about basic shonen tropes which he's done time and time again throughout the story. SHE WANTS TO LIVE AND LOVE HOW SHE PLEASES WITHOUT SOCIETY TELLING HER HOW TO JUST LIKE TOGA WAS ABLE TO DO! I WILL KEEP SAYING IT UNTIL MY THROAT IS RAW AND DUDEBROS BEGIN TO FINALLY UNDERSTAND AND NOT VIEW FEMALE CHARACTERS AS NOTHING MORE THAN EYE CANDY FOR THE MALE CHARACTERS!!!

In the epilogue. she hides her feelings with a smile because she doesn't want to worry anyone (sound familiar?) so it only makes sense that it was Deku who pushed her to let out her feelings despite not practicing what he preaches. So, she embraced her inner Himiko and let out her feelings with her whole face. Those feeling just weren't for Deku... and they shouldn't have to be.

I genuinely feel like (especially with the way dudebros hate queer ships in this fandom) if Ochako was a boy, her arc wouldn't have been so widely misinterpreted. Because if he had talked about how amazing Izuku was and Mina came in and still said "It's love!" most fans would've taken it as a joke and/or even going as far as pointing out that the crush wasn't real because he didn't actually admit to it and it was projected onto him by other characters. But, the world ain't ready for that conversation.

"...I saw it as the fandom tryn to force their ships into the story 100% ruining key moments..."

I mainly added this quote because I thought it was so absurd. How do you see class-a coming to support Ochako as "omg it's the fandom forcing their agenda and controlling Hori through mind control to force their ships into the story and ruin this key moment,"??? Like, is it really so unthinkable that Horikoshi can have creative freedom outside the norm of treating girl characters as a trophy for the MC? You expected Izuku to marry her on the spot while she's having a mental breakdown? It's just... anyways...

III: Old-Gen Shonen Homoeroticism and it's Relation with Internalized Misogyny and how New-Gen is Changing That

The Shonen genre - especially old gen - is notorious for it's accidental misogyny, queerphobia, and racism. It got to the point where it's just kind of expected at this point.

The main one is usually misogyny. A lot of shonen mangaka like to write women as nothing more than eye candy and when they are actually given a personality and power, their character arcs are suddenly ignored/neglected and turned back into eye candy. Take Tsunade and Nezuko for example. We're told that they're important and powerful and yet they rarely do anything and almost never get important speaking lines and when we get to see them in action, the author makes sure to highlight certain parts of their bodies. Nezuko I think is an especially obvious one, being literally muzzled for most of the story, and when she powers up, she grows up and is suddenly given huge boobs...

Almost every shonen girls' character arcs revolves around a man and if not, then their existence is for the sake of a male character. I will say, I havent watched much shonen because of this aspect that's always apparent, but almost every older shonen I've watched, read, or seen other people talk about, it rears its ugly head at least once.

Because of that, most love interests weren’t given enough personality to actually form a meaningful relationship with the MC that the audience - especially female and queer audiences - can connect to. More often than not, it’s “I like her cuz she’s pretty” or “I like her cuz she likes me” and it’s irritating. And since these relationships are so shallow, authors are forced to create an interesting bond between the MC and a different character which usually ends up being the deuteragonist who is usually another boy more often than not. And boys in media written “for boys” are almost never neglected the way a girl would be, which is a sad truth.

These relationships almost always end up feeling like they’re passed the point of friendship and because of that, a lot of women and queer people end up shipping them instead of the canon love interest. Because their relationship being romantic actually makes sense most of the time.

BakuDeku, Eremin, KilluaGon, NaruSasu, ItaFushi, SatoSugu, IsaBachi, HideKan, GenoSai, LawLight, the list can go on for fucking ever.

However, in bnha and BakuDeku’s case, especially when the “canon” relationship with the “canon” love interest wasn’t really developed at all, and we never got a hint from Deku that he liked her, I don’t think this homoeroticism wasn’t intentional. Like with a lot of new-gen, there wasn’t really blatant misogyny towards the “love interest” present to explain away the closeness between the two male leads.

All of the roles a love interest would usually have, were given to Katsuki. He was damseled for Deku to save, he was Deku’s biggest cheerleader, he risked his life to save Deku, he died in Izuku’s honor, he showed up for Izuku when no one else thought to, he showed up to his hospital room and cried over the condition he was in, and then he devoted nearly a decade of his life trying to bring Izuku’s dream back into fruition… He cares so fucking much and Izuku cares right back. And no one can convince me that it was accidentally gay, because Horikoshi literally felt the need to tell AND remind us that Katsuki doesn’t like girls. Plus, like I said before, all of that was done without neglecting Uraraka’s character arc.

But even though all of that is in text, I think shonen bros just expect it while also expecting the main girl and boy to be together… because that’s how it always used to be. It wasn’t until new-gen - starting with mha - started to purposely parody dated shonen tropes and twisting them into their own stories that shonen bros began to feel threatened by queer ships. Because they know that there’s actually a chance of them happening now, and I feel like IzuOcha not being canonized is the beginning of a new trend. And misogynistic anime fans already hate it.

Conclusion - TLDR

uh idk what to say here.

In conclusion, fandom culture kinda sucks because of unexpected reasons, Ochako’s character arc is ignored for the sake of men wanting her to be Izuku’s prize and it’s irritating as fuck, and I think previously accidental homoeroticism in old-gen shonen is becoming purposeful in new-gen shonen as new-gen slowly becomes more progressive and less misogynistic. Oh and bkdk canon ig (I don’t think I’ve ever said that before, strangely enough…)

[pikahlua]

I definitely get your point on a lack of self reflection in mha criticism. I always came from the camp that MHA was doing too much in a single story the cast was so big and things escalated so much, I felt a lot of the setup in earlier chapters never really got it's pay off. It's the reason I prefer vigilantes where the story is a lot more focused.

Still a lot of what I dislike about mha cones down to my own preferences. I liked the slower paced coming of age story it was introduced as and I was not a fan of the rapid escalation from 'that one time we were all traumatized by this one terrorist group' to 'we are literally fighting a war because the adults around us aren't strong enough to protect us' it just was not a vibe for me. So I found another piece of media that fit that niche better and it allowed me to look at mha without the bitterness of what I wanted it to be. I enjoyed it's characters but ultimately I'm just not a fan of how a lot of things are handled in the story. Never the less what I did like about mha led me to a series I'm obsessed with now- which I think more people should do, if you're dissatisfied with a story find what you liked about it and find something more to your tastes. It makes your criticisms a lot less malicious when you evaluate what something does well.

Anon if I knew who you were I would kiss you

[filipinoizukuu]

what comes next though? (MHA ch. 413)

// major spoilers for mha ch. 413 since its leaks, so please stop reading if you arent quite caught up. i havent written one of these in a LONGGG while lmao.

ANYWAY, with all that being said.... this week's leaks huh?

We saw it coming a long time ago, we speculated it to hell and back, we made aus and fics, and now it's finally here. The conclusion we've reached and the one that's been hinted at since the release of Heroes Rising in 2019:

bnha is going to end with deku giving up one for all and becoming quirkless.

(LOTS of words under the cut -- youve been warned.)

For those who are a little lost; the basic premise of the ending we are hurtling towards is that Kudou (the 2nd user of ofa) has a plan to take down Shigaraki. With AfO dead and gone + Shigaraki becoming so powerful he is essentially invincible -- theres no other choice for the heroes other than destroying him inside out; the plan being the equivalent of charging a battery so much it explodes.

the way they're going to go about this is by essentially, feeding Shigaraki bits of One for All until he's given all of it -- then allowing the vestiges of the previous wielders to create a massive revolt similar to what SnS did until they can successfully tear him apart from inside the "quirk realm" and shut him out. Kudou volunteers to go next since danger sense has already been taken, and if Shigaraki uses gearshift again after Deku already used it twice, Tomura's body will likely shutdown and receive twice the backlash Deku does when he uses kudou's quirk.

(sidenote: funny as fuck that deku only understood once kudou equated the strategy to bkg throwing papers at him. bro stupid af.)

its a sensible(ish) idea. one that seems plausible given the context of the last hundred or so chapters with heroes like Hawks and SnS having their quirks revolt against both AfO and Shigaraki in a way that makes it clear that its not uniquely OfA that animates the souls of peoples quirks. Its inherent. Quote, Nana Shimura, "romantic" even.

(let it be known though that i think hori absolutely did not plan on delving into this plot point as much as he is now. ill explain in a bit, but heroes rising was 100% a major factor of why he moved in this direction.)

That being said, the conclusion of the plan (and subsequently, the major plot of bnha) is as follows: Deku gives up One for All to Shigaraki. One for All unites with All for One within Shigaraki and destroys it in one final clash between Yoichi and his brother. The break in the barrier of Shigaraki's hatred will part, letting him find the consciousness of Shimura Tenko behind it after years.

Shigaraki dies, taking OfA and AfO down with him,

and then Deku is quirkless once more.

Sad conclusion aside for now, I firmly believe that no matter what way you look at it; Deku was always meant to end the story without a quirk. Given some of the original drafts of bnha where Deku was never supposed to be given a quirk in the first place, this is clearly unsurprising. What's more is my favorite piece of information relative to katsuki and deku's character development:

the fact that heroes rising was (one of the) ideas for the original ending of bnha.

a refresher for some of you: heroes rising is about class 1a going to the isolated village of nabu island and defending it against an upcoming big bad villain named "nine" with a quirk that is essentially a scaled down version of all for one. katsuki and deku eventually resolve the conflict together via brute force by deku giving katsuki ofa, them rushing in while the quirk is transferring and both of them have it, and then ultimately defeating nine at the end. the movie then of course circles back on deku losing one for all, undoing that consequence by saying the transfer never completed bc ofa chose him over katsuki and they all move on to the endeavor agency arc with katsuki remembering absolutely nothing of the final battle.

many fans often misunderstand one of horikoshi's quotes about the movie in that it was, without a doubt, the original ending of bnha. for the sake of accuracy, that is not what horikoshi really said; what he ACTUALLY said was something closer and to the tune of of how it was "one OF the endings" he planned on using for bnha, but his original idea for how the story ends "has not changed one bit."

obviously disregarding the cop out where ofa sticks back to izuku in order for the series to continue as normal; this can only confirm that bnha was going to end with midoriya izuku quirkless whether katsuki was involved or not.

so what's different this time?

its hard to figure out how far horikoshi had planned the ending of bnha with heroes rising's prototype conclusion in mind. if heroes rising never pulled through and horikoshi had planned on bnha ending with the shared ofa transfer and katsuki continuing deku's legacy -- then that means katsuki wouldve died an early death because of all might's confirmation that only quirkless people can hold on to one for all without dying young, meaning he either intended on katsuki dying soon after the story ends or only planned that plot point after heroes rising was released.

the plot as well of heroes rising's conclusion cannot have been thought of all that early on because of ANOTHER tidbit of information that changes perspective of the entire series: in that,

bakugou katsuki was never supposed to be a major character to begin with. (keep an eye on this link; i reference this interview a LOT)

he was not supposed to have an arc. he was not supposed to become a major focal point of the series. he was not meant to be the hero he is in the story today. bakugou katsuki was not written with the intention of being a major narrative this late into the story -- instead originally only existing as a character that deku would surpass within the first few arcs.

but then katsuki cried, and deku apologized, and then opened his big fat mouth, and then told him a secret he didnt even tell his own mother -- and suddenly bakugou katsuki was not just another footnote in deku's story, but a legitimate character that grew and created one of the most loved (and hated) character turnarounds in shonen history. he started of as a literal EXTRA before snowballing into the very same character horikoshi decided would defeat all for one, the original scariest antagonist of the entire series. someone not even ALL MIGHT could defeat.

but circling back, yeah. heroes rising was definitely not the ending horikoshi thought of first, nor was it the ending he thought of last. ultimately, it was simply another route he couldve taken into wrapping up deku's fate into what it was (probably) always meant to be:

deku was gonna lose one for all no matter what.

it's kind of fitting, honestly -- for this to be the ultimate conclusion to the series. it makes the most sense, since what sent deku down this path so many years ago was his mother apologizing to deku for being quirkless; as if being quirkless meant he was born inferior to those who had quirks. people, after all according to deku's famous beginning monologue, are not born equal.

Even still, i thought to note: deku never stopped wanting to be a hero. we all know this, obviously. this was his driving force -- but then when you REALLY think about the implications, you have to ask. what the heck was deku even planning to do?!

he had ideas. he had hope. he wrote notebooks for the future and thought of his costume for being a hero -- but not once do i remember him writing about his hero experience as if he was suddenly going to develop a quirk. he was planning on saving people quirkless -- an extremely interesting motivation especially when he couldve so easily chosen to walk the path of being a doctor or engineer instead if he wanted to save people so badly. its a story about conviction, about doing the things you wanna do in the way you wanna do it no matter what ANYONE else says and hey wait a minute that sounds familiar

it doesnt quite read that way at first, especially because of how izuku almost listened to all might about "being realistic" when the first met and nearly gave up on becoming a hero entirely, but izuku is a lot similar to katsuki in the sense that no matter what gets in his way -- he is determined to achieve his dreams in the way HE CHOOSES, and not the way that is more "convenient".

even when you look at just his name, "deku" in the way that uraraka had interpreted it (dekiru -- "you can do it!") and the way deku reexplains it to katsuki in deku vs kacchan 1 ("the deku that doesn't give up!") you can so easily tell that deku from the very beginning has only ever needed the slightest push to pursue being a hero, quirk-or-not-be-damned. hell, we even see a glimpse of this possibility in the sports festival race when deku absolutely DECIMATES not just bakugou but also TODOROKI (as well as every single other damn student participating in the festival) with nothing but robot scraps and his balls of steel. it just so happens that until the promise of one for all, no such encouragement or push was ever given to deku in his pursuit of heroicism, most especially in comparison to katsuki who had been receiving praise and validation for his goals his whole life.

i'd argue that deku's conviction is even stronger than katsuki in a way no other person seems to recognize (except maybe katsuki himself). katsuki had received only positive feedback and zero competition for his goals growing up while deku received nothing but discouragement. both of them kept the conviction of being a hero for TEN YEARS; neither wavering til the day of the sludge incident.

that aside; what comes next?

we know the story after that. deku gets his quirk, he goes to school, he fights, he drops out, he fights some more, and now he's standing before shigaraki tomura with every quirk of one for all unlocked and over twice the power that all might had in his prime -- fully knowing he's about to lose EVERYTHING in order to defeat shigaraki.

this is deku we're talking about. he doesn't care. he knows the implications and what that will mean for his dream -- but his goal right now is in front of him. his goal is shigaraki, consumed by hatred, threatening to take down the world izuku loves most into a pit of misery and decay because society failed people like them. does he care? probably. will he refuse to give up his power if it means not saving the world and fulfilling one for all's purpose? absolutely not.

deku has made all might's quirk his own, but one for all does not belong to him. it belongs to yoichi. and kudou. and bruce and nana and all of the other users who built that quirk for generations in hopes that one day, someday, someone would be able to yield it all and bring down the monstrosity that created it in the first place. deku will not hesitate, but also deku knows what he will lose.

i have... a few things i dislike about this.

Admittedly, i do think that this is a better resolution than the simple brute strength approach of Heroes Rising. For one, while i do love heroes rising with my entire heart and soul, i firmly believe it would not have been a satisfying conclusion to the core lessons and teachings bnha tries to impart throughout the story. simply outnumbering and outpowering afo/shigaraki would not be enough to close yoichi's story and one for all -- much less the story of shigaraki himself as tenko, the boy consumed by hatred.

Still, this new ending that horikoshi has laid out leaves me with more questions; as well as large expectations for how izuku's character will close out. its complicated, because deku's evolution and development is subtle and intricate in a way i havent seen from other shonen protagonists and i worry about doing it justice.

but most of my problems have to do with bakugou katsuki.

(aint that the truth)

i know i mentioned that bakugou was never intended to be a major character, but i want it to be known that that was only in the beginning. season 1, maybe even season 2 -- but horikoshi had said it best himself in that bakugou katsuki, against his permission, had gained a life of his own and inserted himself into the very grain of mha's story. you cannot deny this.

he is the series deuteroganist inarguably. one of the most beloved characters and one of the most attentively-written development arcs in the whole series. katsuki in and of himself embodies major themes in bnha that make it so that ditching his development and impact last minute after defeating all for one would reflect poorly upon the conclusion of the story itself. he and deku are intertwined in arcs -- even if they do have separate paths at the end of the day. katsuki is the one izuku told about the quirk. the one who followed izuku during the paranormal liberation arc. the one who understands one for all and is determined to learn about it more than anyone else barring all might and deku himself. the one who is closer to izuku than anyone else.

it can't be over for their arc, no matter what way you see it. friends? rivals? hero partners? what comes next, when the smoke clears? what comes next when izuku gives shigaraki hell, like katsuki told him to?

katsuki's atoned. we accept that, have known it since chapter 285 and have continued to know it until the iconic apology in the rain. that's not where katsuki stops however, because we know that its not all about begging for izuku's forgiveness nor atoning for himself. its about catching up to izuku -- the last words he uttered before shigaraki crushed his heard say it all.

"can i still catch up to you, izuku?"

since the moment katsuki died, we've been given a metric ton of material to read through what he and izuku have become in the story. firstly, the point of katsuki being the person closest to izuku. what does this mean? what does that say about katsuki? is he supposedly the person izuku loves the most? the person izuku believes in the most? i'd argue these two criterion would easily fit his mother or all might a lot better -- not his childhood friend turned bully turned rival turned barely-friend. katsuki sure as hell didn't believe he was the person closest to izuku before shigaraki brought it up as evidenced by the fact that he let IIDA bring deku back to UA -- and neither does izuku as far as i bet. what was shigaraki's intention?

katsuki heard that statement. he hasnt said anything, but he definitely heard it. its an open end that is left entirely unanswered PRECISELY because katsuki fought afo on his own and izuku is about to tackle shigaraki without katsuki by his side. if it was heroes rising's ending wherein they would both fight shigaraki and take him down together -- then that statement would easily be answered by how their strength and bond is the one thing that gave them an upper hand in the final battle. other than that... i'm not entirely sure how they're going to have katsuki and izuku acknowledge katsuki's brief "death" and Tomura's reasons thereof.

But fine, lets ignore that for the time being and move on to what happened when Katsuki came back.

katsuki answered izuku's cry for help. he came back to life in the last moment to save all might when izuku was too busy fighting tooth and nail to win. they are the penultimate example of two sides of a hero; the win and save. not one without the other. every single parallel thus far between izuku and katsuki have always been to draw attention over and over to each of their stubborn convictions to win and save under all might's tutelage.

katsuki has chosen to prioritize winning and fighting over saving and rescuing over. and over. and over. and over again. at every single opportunity from the very beginning of the series. in usj, in sports festival, in the final exam, every choice he's made up until --

chapter 285 - bakugou katsuki: rising.

he chooses to save izuku in this instant. as he says, his body moved on its own -- or in other words, he felt like how izuku has always did since the sludge villain incident. this is bakugou katsuki catching up to midoriya izuku. its katsuki realizing that he needs to save so deku can win, and actually being okay with that for once. it's a major turning point in his character that clearly tells even horikoshi that there's absolutely no way katsuki can go back to being a side character within the plot of bnha after a development like this.

and then, after this instance, we notice it happen again and again. katsuki choosing to save to win instead of winning to save. katsuki protecting best jeanist against the nomu. katsuki coming to chase after izuku when he runs away from UA. katsuki (in a way) saving aoyama when its revealed he's the traitor. hell, katsuki saving ALL MIGHT as soon as izuku -- the savior -- begs someone to save his idol when he can't because he's too focused on trying to win.

so what changed?

what changed since the moment of chapter 285 was katsuki accepting his fears and anxieties. katsuki letting go of his aversity to working with deku. the reason katsuki started accepting the path of saving to win was because he TRUSTED deku to win where he couldnt.

this is katsuki accepting that him and izuku already surpassed all might together.

but katsuki said it himself. it's not over. he accepts that him and izuku are finally on equal footing -- hell, he admits he's the one who needs to play catch up. it's not about katsuki conceding to weakness, but katsuki being able to trust in izuku to finish the job. the point is that they both will break and break until they win the way they choose to, and the other will be there to win while they save and save while they win. moreso, katsuki still wants to be number 1. he still wants to catch up and surpass deku. he wants to fight by deku's side. but ... as we've established:

deku will be quirkless soon.

my problem (or, i guess, curiosity?) with the path horikoshi seems to be going down for the end of this story is what happens to this end? what happens to the wonder duo? i believe in a quirkless deku plot as much as the next person -- but any reader would find it easy to see that once deku loses one for all, he will not be nearly as efficient nor quick nor capable of a hero as he once was. especially not against a developed katsuki with mastery over cluster explosions.

he will lose one for all and he won't ever be the pro-hero he was going to be before the final war arc. katsuki will get number 1 surely, but will he be happy about this resolution? i don't think so. All Might himself had said it when Katsuki spoke to him about his relationship to Izuku; that the twin stars reminded All Might very much of his own rivalry with Endeavor and the bitter feelings it created.

endeavor expressed regret and a bitter end to their rivalry; the acknowledgement of the bitter truth that the only reason he was the number one hero is because all might lost his own quirk. he knew he didn't deserve the mantle all might had held for a long time before him. he knew that he was still only just playing catch up with the wisdom and understanding of heroicism that all might had in his heart from the beginning. endeavor will likely retire from being a pro-hero unsatisfied with this truth and his own victory at becoming the no.1 at the very end -- never feeling like he truly surpassed all might of his own accord. both enji and toshinori -- victims of their destiny.

is this the fate that will befall katsuki once izuku is quirkless for good?

There are many questions I have in wake of the recent chapter. The end of the series is here, and that's a whole can of worms i haven't touched in and of itself. We all saw this coming; some of us know that this was always going to be Izuku's fate since the beginning of the series. But now that it's more than just izuku's character involved in his dreams of being a hero -- i dont know how this series is going to conclude and if it will be satisfying to any means. there's a lot of questions i still have; bakugous arc feeling incomplete ever since he came back to life, the conclusion of all might and one for all's dreams now that they will disappear altogether. where does deku go after this? where does bakugou go? where do any of them?

i guess i gotta wait and see lol

[dekusheroacademia]

Looking back at Horikoshi interviews (mha 394 spoilers) - Hawks, Bakugou, Togachako

Hawks

Looking back at Horikoshi's interviews... it is clear now that the "beacon of hope" moment for Ochako was her speech (that interview where hope is mentioned comes from Dark Deku chapters, around that time)... but what was Hawks?

This was the interview from April 2021 (at the time of Dark Deku):

Monoma, Shoji, Shinsou and Ochako as hope are done, so we are missing Sero... but what was Hawks' moment of hope? I do not remember him doing anything in particular if not helping Endeavor during the fight against AFO?

Bakugou

The other interview I wanted to look at comes from Jump Festa 2022 which was in December 2021. December 2021 was during the Aoyama traitor chapters:

His apology was already done, so it is clear that something EVEN bigger will come. So Bakugou fans should not be worried!

Togachako

In the same interview we also have this:

I wonder what this scene is, but after chapter 394 I think it might be the scene of Ochako and Toga falling from the sky. It is identical as the one from Spirited Away:

This interview came out December 2021, the MHA Art Exhibition came out in April 2021:

This is the exhibition where we have Toga with that monstruous figure (which was used in chapter 394) and that Izuo/cha art of Deku and Ochako falling from the sky:

As said by Horikoshi this art is directly inspired by Spirited Away, just like the current Togachako chapter (which almost is the same as in the movie, scene by scene).

I wonder if after drawing this exhibition piece (which was presented with a comment saying "this is their relationship if I were to develop them")... he decided to co-opt it for Togachako. Maybe he felt like the relationship between Deku and Uraraka could not progress in time for him to represent his scene, so he decided to instead focus on Toga and Ochako?

[h2bakugou]

hello hello, old friends, fans and readers!

god its been AGES. hi im alive ish-we’ll touch on that in a minute, but hi!

i miss writing so much, so much has happened, and i wish i could say im coming back, but i truly dont see a future for this blog, as much as it means the world to me, it wouldnt feel right coming back when i havent watched mha in years.

for starters, i wanna say thank you for the continued love and appreciation of my works, i know they’re not the best, but they’re what i considered some of my best work, for the time being lol. im 21 now, and its crazy to think about how long ago it really feels to look back at this stuff. i still love writing, i still love to read, i havent written anything worth posting in my opinion but if i do, this blog will be the first to know about it!

onto the health side of things, tw for cancer

i was diagnosed with stage 4 hodgkin’s lymphoma around the end of 2023, and have been undergoing chemotherapy for the past few months. my last scheduled treatment is the beginning of april but things are looking good. im hoping to make a decent recovery or at least have hair by the end of this year. i truly truly want to write again when im done with chemo. i keep telling myself i need to write again, work has kicked back into full gear after taking three months off, which i thought would’ve been the perfect time to stage some sort of writing come back, but life has been so utterly utterly busy. i hate that even with every fibre of my being, most of my ideas trickle down and out of my brain before i can even write them down on a piece of paper or a sticky note.

i miss the connection that writing brought me with like-minded readers and artists, and enjoyers. i miss the bliss of publishing something that felt ready to be published. i miss it all, and im so so so looking forward to that breath of fresh air again when i can calm down and write something that truly feels worth reading. and again, i want all of you to be the first to know about it.

i sound a little silly im sure, i havent posted in ages, and i know this account lays dormant for the most part but i still think about it all the time. this account is truly something special and i hope it is for someone else out there too.

no matter what you face, or what you’re going through, you’re not alone. you are loved. take care of yourselves!!

i shall be plotting a return of some kind, for now one battle at a time, oh yeah and fuck cancer.

[newtthetranswriter]

This is a call out post

To the people who judge and criticize those of us who read or write fan fiction: If you don't like it don't read it. simple as that. I'm tired of scrolling through a tag looking for something to read and seeing a post telling me I'm gross or disgusting for reading about a fictional character, simply because the character is 17. I have a few points I'd like to make.

They are a fictional, ie. they do not actually exist

if you want to get real technical about stuff, if you look at canon birthdays a lot of these characters you have a problem, if they were real would be over the age of 20

What people say and do online is not a direct reflection of real life, just because I write a story about stabbing some one doesn't mean i'm going to do it, same for if I write a story about going on a date with a fictional character who is 16. These are fictional characters they are meant to be perfect versions of real things, if you have ever spoken to a real 16 year old you would know they are typically trash

Most of the characters I like who are under 18, I liked long before i turned 18. I was watching MHA and Haikyuu in high school, I was the same age as characters. And I will admit I'm not as interested in the younger characters any more, but sometimes that's all there is

If people are being respect full why worry. If someone is writing a fluff piece about cuddling after a hard day at school leave them alone, or if they state that it takes place in the future leave them alone. Stop policing peoples work

LASTLY THEY ARE FICTIONAL CHARACTERS THEY DO NOT ACTUALLY EXIST.

Yes there are weirdos out there who make it weird or who actually have bad intentions, but if it's not actively causing someone else harm leave people alone. People just want to enjoy their interests and connect with the community, stop shitting on people for their interests. Any way thanks for coming to my ted talk, Remember to Hydrate or Diedrate.

p.s i also know i will likely get some colorfull messages over this but i don't care, i'm tired of feeling like trash for reading about a comfort character.

[zumicho]

💞 but really I just want to know what you think of ur mutuals ^^

anon. look what u made me do.

ask game

💞 : @ your favorite blog

if you weren’t on this list know I love you !! I just have bad memory <3 IN NO PARTICULAR ORDER !!

@causenessus was the first mutual on this blog I actually talked to / interacted with and her tags for white denim overalls really solidified the fact that I wanted to be part of this community <3 ily ness !!!! anon you didn’t ask but I’m going to list my favorite works from these people too lol

new grounds I think about every 4 business days, and how they comfort you (I’m definitely biased) is so well written and heartfelt !!

@mitskicain is cheating in this thread bc she’s my irl but also quite literally my favorite person alive even tho she NEVER REPLIES WITHIN THE SAME DAY (stuck up, I know) — and if ur into ken sato she’s a great pick !! she has some haikyuu works coming soon too <3

@mollyrolls . the barney to my ted. i love her so bad u guys have no idea I miss her whenever she’s not on here n I’m so grateful they exist </3 molly if u see this u didn’t read that. i hate you i hate you i hate you I hate you hey cupid! is my favorite rendition? version? take..?? on iwa on this app (I’ve said that already) & all shades of blue is criminally underrated

I CAN TELL THIS IS GOING TO BE AN INSANELY LONG POST IM SO SORRY 💔💔💔💔💔

@nectardaddy is an incredible writer and person all around I still can’t fathom that they’re in my dms. dodger u are insane and i love u

88 ford is a well known obsession of mine !! if dodger is the president of the ‘GET UP’ / down bad club consider me the vice president. OH AND IM SO EXCITED FOR I HATE YOUR GUTS

@sweetfushi , the akaashi to my bokuto — sweetest person ever, is one of my only jjk moots and put me onto the show itself 😭🤍 I can’t pick a specific favorite but the way she writes nanami is perfect to me !!! there’s also mha and haikyuu on her page go take a look <3

@kuroppiii RO. THE PATRICK TO MY ART. my favorite film freak on this app. they have a challengers inspired miya twins fic that takes up 90% of the space in my brain. if u don’t go read right NOWWW I’m coming for u and ur family

@sandwhitches IS SOOO FUCKING UNDERRATED her smau dedication is everything. PLUS MY TWIN FLAME HELLO I LOVE U MITCH !!! ur humor is top tier and I’ve never clicked with anyone as quick as I have with you ugh — read on sight or it’s on sight 💥👊

@guitarstringed-scars I haven’t interacted with u as much as I’d wish to but MO UR SO COOL !!! ur movie taste is everything to me and raven’s eye diner is such a creative piece of work and so so fun to read ,, I have to sit down and grab a snack whenever I do

@cr4yolaas is legendary for making mezzo forte I owe u my life rye. I’m so serious rn I was hooked from blue spring (which I still haven’t finished bc i don’t want it to end rip) and I’ll be staying a fan forever!! ur blog is a blessing to this community

@/yenonoff is on a hiatus and I don’t want to bother her but she’s a great rec if u like haikyuu AND eye candy when u read. her blog is just so nice to look at and i miss her terribly

not being on this does NOT mean I don’t like u pleaaaase know I love all of my mutuals dearly n cherish every interaction I have with u all

[justheretoposttrash]

day 6 of being unhinged about fictional 2d men:

i definitely wouldn't call hawks's phone usage symbolic, but i would call it *organic* in how it reflects or emphasizes each section of his character arc!

when he's being used as a tool while acting as double-agent, the phone is one of the vehicles through which he wears his masks, receives orders from either side, and honestly i'd imagine it's a source of stress considering the situation he's in. his fans assume he'd use a phone for what most average people would--for actual relationships and genuine communication, obviously--and ask if he's talking to a girlfriend or something while he's talking to dabi. and needless to say, honest relationships and communication are very much not the name of the game at this time for him, lol. at the end of the day, it's about allowing himself to be used in the ways he deems necessary for achieving the best outcome. his character is nothing but performance after performance from his very introduction, a double-agent from the start, constantly scrutinized, and his phone usage reflects that.

(tangent: appropriately, as a constant peformer, all of his core relationships with other characters initially hinge on some tension surrounding belief---tokoyami believes in him but is also frustrated to know he's being used/that there's some disingenuousness to their relationship at first; twice believes in hawks wholeheartedly, and ultimately too much; dabi never believed in hawks at all; and endeavor is frequently left to question hawks's performance, but ultimately believes in him with a great deal of faith.)

the toxicity bubbling underneath hero society is represented in a multifaceted way through endeavor's, the commission's, and hawks's own wrongdoings, which all intersect and come to a head with dabi burning him. in the aftermath, hawks carries the consequences of herodom directly on his body, and his phone emphasizes the severe state he's in, filling in for his voice at a time when his voice has been literally taken away. this is a low point where a lot of characters grapple with betrayal, guilt, and judgment--and it's also a time of resilience.

his phone is a practical thing after the raid, strictly business for the most part--typical of a side-character in a shonen conveying information to the audience--while he is also working hard to pick up some of the pieces of what's been broken.

he avoids using his phone to reciprocate when tokoyami keeps trying to reach him. a relationship with tokoyami that isn't at arms-length is a commitment to being more open and vulnerable to someone who looks up to hawks rather than the other way around, and based on thought patterns and dialogue during the final war, it seems hawks seriously struggles with the idea that he's someone worth looking up to.

at midoriya's retrieval, there's a bit of standing to the side and remarking "wow look at what those crazy kids are doing", again á la shonen side character, but also a moment that has hawks distantly interacting with a model of what emotional vulnerability and intimacy looks like. him bearing witness to 1-a getting midoriya back ends up being critical to his understanding of one for all after uraraka's speech, and the whole ofa-connecting-peoples'-hearts-thing is a pretty transparent vehicle for one of mha's main ideas: that reaching out to others, even when hard, is what saves them and makes the world a better place. suddenly, hawks's original goals of saving people and creating a peaceful world become intertwined with being emotionally open to others (while his work as a hero up until this point, alongside his trauma, has had him doing the very opposite).

and *finally* as of 430 he's using the phone more like how a person normally would--for personal communication and relationships (and some job stuff still, but even so). with endeavor's retirement, there is no more pretense/obligation to the betterment of society to fall back on as to why he reaches out. enji is no longer the number 1 whom so many rely on, and when hawks offers him his support, it can serve no other purpose than simply being something for their personal gratification. hawks isn't propping enji up as a powerful public figure who needs to succeed, but talks to him because that's what hawks genuinely wants to do. and considering that enji has had no insight into hawks's lil thought bubbles prior, this is the first real moment that he can have direct confirmation of that fact. and with that, hawks did it! he talked to a friend! it's a start ☺️👏👏👏👏👏

i see all this is more serendipitous than super 100% deliberate, but when one writes a character arc that actually ends up going somewhere, then that character's interactions with even everyday objects will naturally come to parallel wherever they're at in their arc.

[snowywolf1005]

Can i ask for more of bnha x uta!?!? plsplsplsplspls with the teachers,class 1b,or even the villains!!! I just want more of them!!!

Alright!

MHA X UTA READER

The 1A students were going to your concert, and they're excited, and it a road trip. "I can't wait to hear (Y/N) music!" Said mina, "yeah! Her music so manly!" Said kirishima, wearing a shirt of your logo.

Deku is wearing a shirt saying, 'I love you' (Y/N)!' and a jacket with your logo, a backpack show an image of you, two glowing sticks, and some glasses. He is ready. He is your biggest fan.

The girls were making a sign, od drawing or painting, printing some photo of you, and they do wearing shirt of you. Even the whole class and also 1B, too.

"We're here!" Toru yelled, the class look out of the window to see the concert. They started cheering, and they got out so as 1B. This is the concert:

"Woah! It's so big!" Said sero, everyone was amazed, and they can seat one the front land to get better view. "We got the chance to get a better look, so cool!" Sato cried, 1A and 1B got brought snack, and water.

"There's a whole bunch of people coming! Even pro hero!" Said, momo. "My parents and I love her song! It brings them joy!" Said uraraka, "me too! I love her so much that I really want to join her!" Said jiro.

"Can't wait! To see her!" Pony happily yelled, holding two glowing sticks. "(Y/N) is a talented singer! She brings joy to everyone!" Said deku mutter, and the show begins.

Choose one of these!

We can choose the way of our future

Try a brand new path, we can change the world

We can change the world!

Everybody stands up, cheer. The class looks at the stage, and the light moves towards the stage. Revealing you dancing:

Say goodbye to everyone who stands against us

No one has the power to stop a change that comes through music

No, you can't stop magic

"(Y/N)!" Class 1A scream.

Close your eyes and you can see the future before you

Every note I sing is bringin' you closer to your purpose

Once you're there, don't let go

You wanna play a real game, unfurl the chain

Melody strung out like we'rе walkin' on a tight rope

Don't wanna cry, don't wanna try, wanna forget

Just let mе live inside a dreamland, I wanna be free!

And let a brand new era dawn

I know that we can create a new world!

And you release your power,

"Woah! So cool!" Said kendo.

We can choose the way of our future

Try a brand new path, we can change the world

We can change the world

This boundless music brings transformation

Messages in song reach even further

This dream will come true, "I believe in you"

Ooh

You release some bubbles with wings.

"Beautiful!"

Say goodbye to everything that's weighing you down

Transcend beyond reality to colorful worlds of music

We need to keep on rising

Close your eyes and take my hand, we're runnin' together

We don't have to live like this, I know we can all do better

I sing for liberation

"(Y/N)!" Jiro screams, so as others classes.

You wanna play a real game, unfurl the chain

Melody lighting up the path to new horizons

Don't wanna cry, don't wanna try, wanna forget

Just let me live inside a dreamland, I wanna be free!

And let a brand new era dawn

I know that we can create a new world!

We can choose the way of our future

Try a brand new path, we can change the world

We can change the world

This boundless music brings transformation

Messages in song

Reach even further, reach even further

A new genesis

Ooh

Everyone cheered and cried, the heroes were impressed and a big fan of yours.

!A new genesis!

Thanks for asking!

[linkspooky]

Does it ever frustrate you (like it bothers me), that the heroes and civilians (and many of the fans) have no concept of "the big picture"?

I mean being optimistic is one thing, but the hero kids are going back to class, hero society is being rebuilt and the same structures are getting back in place with barely a question of what might change, if anything will...

Like shouldn't they know by now??!!

Hawks looked into the league of villain's pasts.

Deku was told directly by shigaraki what was wrong with their society in the last war.

There was a whole (plausibly canon) movie revolving around the threat of the quirk singularity, and still nobody cares.

Judging by the recent chapter, the civilians are the same as they always were, or have become even worse in their mindset.

And at least so far, the heroes haven't shown anything concrete in how they plan on doing things from now on, if their actions or beliefs made any real impact.

At this point it really feels like either:

A. The Lov (Toga, shigaraki and some others) make a miracle resurrection/recovery.

or

B.it's the cycle of violence until inevitable extinction...

Do you feel differently or the same?

Hello, friend.

I definitely share your frustrations.

I think this post by Tumblr User BNHAObservations might be onto the type of societal reform that Horikoshi might be going for in this epilogue.

So there's two approaches that you can approach to MHA, and specifically it's endings. BNHAObservations is using Literary Analysis. That is they're not talking about the work in terms of "thing good, thing bad", but rather assuming that everything Horikoshi put into his work is intentional analyzing the themes which Horikoshi is putting forward. What is the theme of MHA and how does Horikoshi demonstrate that theme with characters and events in story?

That's the question to ask if you're taking a literary analysis angle.

(By the way if BNHAObservations sees this I'm not criticizing your post in any way sorry if I give that intention I'm just using it as an example, and also reccomending people read it because it's a good post. This post isn't a response to this post I promise I'm just linking it to provide an opposite point of view from my own).

The second is Literary Criticism. While I prefer Literary Analysis, I've been taking a Lit Crit approach as to late because. My question is not "What is the theme of MHA?" but rather "Does MHA use the tools of storytelling to communicate it's theme to it's audience well?" So, let's discuss how Hori chooses to convey the themes of the fictional world he created.

So as I said BNHA observations has an answer to your question from a literary analysis perspective. The gist being "Horikoshi seems to be suggesting that the improvement to society will come from the public being more involved with stuff like community outreach to assist the heroes, and maybe with Spinner's comic the villains voices will be heard on top of that." Which is a valid perspective and why I linked it.

However, from my literary criticism angle I don't think that particular theme is communicated well by the story. This is why while I think acknowledging the cultural context of the story is an important perspective, it's just one perspective because MHA is still A STORY and it has to use the tools of storytelling to get those messages across. MHA can exist as a piece of cultural commentary and still be confusing about what exactly kind of commentary it wants to make, because it doesn't function as a story.

So here's the literary critcism angle of: Why is it so gosh darned frustrating that the public at large doesn't seem to have changed at all by the ending of MHA?

When you are a writer you can write anything you want. But if you want to write a story that people want to read you have to follow the rules of good storytelling.

There are reasons why storytelling rules exist. A story is a bond between author and reader, readers to other readers. It is a communication between humans and humans work in a certain way.

I'd also argue that literary criticism is something that exists across cultures, like for example I watch Japanese Horror movies with my friends. Japanese Horror movies are very different from american ones because what that culture considers scary is different. However, if I'm watching the movie that has bad lighting and uncreative camera work, and I criticize it on that grounds, I think the rules of what makes good and bad camera work and shot composition work across cultures.

To quote this post:

Storytelling rules are rules of communication. Rules for handling expectations and saying what you intend to say without it being misheard. Rules for tugging at emotions and pulling heartstrings in a good way rather than a bad way. Storytelling rules are lessons learned by authors of the past that failed to communicate what they needed to. They are not that subjective.

So to address your ask finally friend, I believe a lot of audience comes from Horikoshi's inability to get his theme across in his own story with the tools of storytelling, just what he wants to say about the the society that he's created in his fictional world.

The first is the very obvious discrepancy between setup and payoff. As an example I read the Sam Vimes discworld novels, which you could say is copaganda about a good cop who does his job. However, the story is not trying to be a deep analysis about the crimminal system, it's a fantasy story taking place in a deeply corrupt medieval city where the main character is a parody of Dirty Harry. In other words it doesn't bring up any of those deeper issues so I can just read it for what it is, knowing it's kind of dated.

MHA sets up these deeper issues in a way that calls to be addressed. It's made clear several times in both Shigaraki's walk, and his speech during the first war arc that there's already enough heroes and yet problems in this society persist.

Theme is basically the story asking a question and then providing an answer. The question is: If there are so many heroes then why are there so many people who don't get saved?

It seemed like the answer we are building towards is that heroes need to change the way they deal with villains, hence why everything post War Arc focuses on the main trio trying to save their villains without just putting them down. You have Twice's death at Hawk's hands, and the question of why heroes only save the good victims. You have the parallels between Shigaraki and Eri. You have Deku say "ONE FOR ALL IS NOT A POWER FOR KILLING."

Hori is an author who makes choices and he chose to deliberately bring up these issues and not address them, and that makes the story feel unsatisfying to read because serialized stories hook the audience by promising future development.

Read this story because you want to see how the Todorokis will find a way to unite their family. Read this story because you want to see how Bakugo and Deku will become the greatest heroes, by saving by winning and winning by saving.

Twice's death, Toga's question about if Uraraka is going to kill her, Shigaraki's walk, OFA is not a power for killing these are all things that mattered in the story and then suddenly didn't. If you promise a story is going to address something and then you renege on that promise the audience will find it unsatisfying. If I'm reading a murder mystery and it ends with everyone eating cake and the murder hasn't been solved (and that's not the point of the story) I will feel like the story has wasted it's time.

So it's not just a case of "MHA was never going to be a story of deep societal reform because it's a shonen jump manga" but these themes are brought up, and then never addressed again.

Which is where we get my second layer of criticism, the massive tonal whiplash. My Hero Academia seems like a story of how kids are going to grow up to be better heroes by saving their villains, until it's not.

My Hero Academia is not a tragedy, until it becomes a tragedy in the last five minutes. Every single person thought Shigaraki was going to be saved somehow, until he wasn't. Everyone thought that Twice's death was going to be the last death in the league of villains, because the kids were going to realzie they have to find another way than killing the villains, until it wasn't. The audience isn't stupid for thinking this was going to happen, that's what Horikoshi was foreshadowing in his story until he threw it out.

The worst part is the tragic tone doesn't work, because it's poorly written as a tragedy. Greek Tragedy revolves around the fall of the heroes (this is a japanese work and japanese theatre is different, but Superheroes are inspired by the greeks). If the villains failed to get saved, then it should be a failure on the heroes part, it should be devastating on the heroes.

Hawks failed to save Twice but he's fine, Deku failed to save Shigaraki (OFA is not a power for killing) but he's fine, the only hero who seems personally affected by their loss is Shoto who is losing his brother. If this is a tragedy then heroes should be the ones to fall because tragedies are about the tragic flaws of the heroes.

However, we get this tonal inconsistency instead where no consequences stick to the heroes and every single bad thing that happens to them gets magically done away with by plot convenience.

So Hori has shown that he can just handwave away whatever kind of grievous injury he wants, and yet he still chooses to go out of his way to unnecessarily punish the villains for their actions, in the manga that's supposed to be about saving them.

And even if we go with the "Well, their hearts were saved" approach, the manga fails to demonstrate how their hearts were saved. Naruto, a manga running in the same magazine, does this so much better with characters like Obito.

Look at Obito's sendoff in the manga. A character who also is responsible for directly harming the main characters and who went to war with the entire world.

Obito has a dream sequence where he realizes he could have always gone home and still tried to become Hokage and he wasn't beyond redemption. He lives long enough to assist Naruto in the fight against the final villain. He gets called awesome by Naruto for trying to become Hokage because they shared the same dream.

His last moments in the manga are Rin the girl he loved comforting him in the afterlife, by saying she was watching his suffering all along. His literal last action is to lend his power to Kakashi his best friend in order to fight together once more against the villain.

Shigaraki on the other hand doesn't even get the majority of screentime in his own death chapter, he gets two pages compared to AFO's five.

It's not just the fact they get unsympathetic deaths, the story also bends over to show that they deserved it. Toga doesn't want to accept prison for her actions so it's okay for her to commit suicide even though she's a young girl. Shigaraki didn't want to give up being the hero to the villains, so it's okay that Deku didn't save him.

People are discussing whether or not Spinner should be held accountable for not saving Shigaraki because of his character flaw of deciding to not think about things and go with the flow, but that ignores the fact that once again Spinner is not the main character. Yes, characters should be held accountable for their flaws, but the protagonists are the one who should be held the most accountable because the story is not about them.

Spinner and Deku both failed to save Shigaraki, but let's look at their punishment. Spinner is in prison for the rest of his life probably, almost became a Nomu, and has survivor's guilt for being unable to save Shigaraki in time due to his own actions.

Deku... has to live with the fact he killed Shigarki and will "never forget it."

If we are going for a tragic ending, and Deku is the center of that tragedy, than Deku should be the one suffering for his failures. Deku should be held just as, if not more accountable than Spinner.

Spinner is held accountable and that makes him a good character - but to what end? I know what it's to slide blame away from Deku, which is also why Spinner randomly says something racist at the end of his scene.

So in all it's not frustrating because MHA isn't some deep, thoughtful criticism of Japanese society. It's frustrating because it violates the rules of setup and payoff, and it also is extremely tonally inconsistent.

A common response to this is I've seen is "You should just like MHA for what it is, and not what you want it to be."

However my underlying problem is that MHA as a story seems to be very confused about what kind of story it is. That confusion shows in Horikoshi constantly throwing out his own foreshadowing, and the wild swings in tone from tragedy to a story about optimistic young kids who are going to be the best heroez eva. Hori can tell whatever story he wants, but that doesn't necessarily mean he's telling it well.

As I said Hori's indecisiveness shows by this point in the story. I've already discussed this with Class1aKids but it really seems like Horikoshi is setting up two things with scissors-kun:

He'll either be A) A new villain that Deku and the kids prevent from becoming the next AFO or B) a resurrected Shigaraki who can save the rest of his league and fulfill his role as hero of the villains.

At this point there's equal foreshadowing for both, and this is my personal theory but it truly seems like Hori is gauging audience reaction to see which path he should take. If the japanese audience is satisfied with the villains "hearts" being saved, or if he should bring Shigaraki back to let the villains end on a more hopeful note.

[your-local-simp-writers]

༺☆༻ Introduction ༺☆༻

Hello! 

We’re the dynamic duo behind “𝕐our 𝕃ocal 𝕊imp 𝕎riters,” just a couple of friends who love to get lost in the world of stories and games. We’re here to share our passion for writing and all the geeky stuff we can’t get enough of.

♡ About Us ♡

I’m 𝒞𝓁𝑜𝓊𝒹 and I’m all about gaming and art. You’ll often find me with a controller in one hand and a comic book in the other. My better half, the yin to my yang. She’s the partner in crime, the sweet melody to my wild riffs, and the one who brings a touch of grace to our shared tales of adventure and heart, 𝒞𝒽𝒾𝑒𝓃𝓃𝑒! She is the other half of this storytelling team. We both love creating stories that’ll make you feel like you’re right there with the characters.

♡ Our Writing ♡

We write what we love, and we love what we write. Our stories are inspired by our current fascinations—be it a game, a movie, or a manga. If it’s interesting and fascinating to us, it’s fair game for our writing.

Most of our stories are “x female reader” because that’s where we feel most at home. Occasionally, we’ll write “x gender-neutral reader” pieces for a bit of variety. However, we generally steer clear of “x male reader” or “OC x canon” stories. We want to create a space where female readers can see themselves in the worlds we love so much.

❤︎ 𝒞𝓁𝑜𝓊𝒹 '𝓈 Interests: 

Gaming: I’m a huge fan of Kingdom Hearts, Batman Arkham games, Mortal Combat, Final Fantasy, Resident Evil, Doom 3, Phasmophobia, Five Nights At Freddy’s, Twisted Wonderland, Call of Duty, Halo 3 and 4, Sonic and Transformers. If it’s a game or relating to horror, chances are I love it.

Comics: Batman is my passion. I collect anything related to the Dark Knight, and my collection is my pride and joy.

Anime/Manga: I'm into One Piece, Princess TuTu, JoJo’s Bizarre Adventure, Jujutsu Kaisen, Yu-Gi-Oh!, Kingdom Hearts, Sgt. Frog, Free!, HellSing, and a bunch more. I have also seen MHA, Fairy Tail, Dragon Ball, Soul Eater, Naruto, Castlevania, Diabolik Lovers and more.

Disney & Tim Burton: I’m a Disney kid at heart. My top 5 Disney movies are Treasure Planet, Cinderella 3, The Nightmare Before Christmas, Pirates of the Caribbean: On Stranger Tides, and The Princess and the Frog. And I’m all about Halloween and everything Tim Burton.

Music: I love RnB and Y2K music so much! However, you can usually find me listening to cutesy, cheesy love songs.

❤︎ 𝒞𝒽𝒾𝑒𝓃𝓃𝑒’𝓈 Interests: 

Gaming: I’m definitely not the biggest gamer around, but I do love to play Roblox, Fortnite, and Minecraft! Sometimes I’ll also dabble in some fall guys, FNAF or Poppy’s Playtime. On Roblox, I love to play pretty much anything but pvp games due to the fact that I’m not the best at them. Horror games are probably my favorite, even though I’m a chicken!

Anime/Manga: My favorites are definitely Fairy Tail, Jojo’s bizarre adventure, Naruto, and Demon slayer. I’ve also watched MHA, Danganronpa, Yona of the Dawn, Food wars, High Rise Invasion, Angels of death, and more!

Disney and Tim Burton: I’m definitely a Disney girl! I love all Disney Princess movies, both animated and live action. My top three not in any particular order would have to be Tangled, The Little Mermaid, and Princess and the Frog. For Tim Burton, my favorites are the classics, The nightmare before Christmas and Corpse bride. 

Books: I’m also a huge book girly! My favorite genre has to be fantasy/sci-fi. My favorite book series is The Lunar Chronicles, I definitely recommend it!

♡ Join the Fun ♡

This is an invitation to you, dear reader, to become a part of our narrative. Engage with us, inspire us, and let us inspire you.

So, come on in, get comfy, and let's share the joy of stories. The next chapter is always the best one, and it starts right here, with you and us. Requests are always welcome in the ask box! and even inquiries, should you have any!

With all the warmth in our hearts,

𝒞𝓁𝑜𝓊𝒹 & 𝒞𝒽𝒾𝑒𝓃𝓃𝑒

P.S: 𝒞𝓁𝑜𝓊𝒹 drew the image, just so most people can get a idea of what we look like♡ AND THE G.M FIARY BOOK IS FOR FUN, for the pure shits and giggles TRUST

[bakuhatsufallinlove]

the new op is totally katsuki to izuku. its over, we are done for. WHAT DID HORIKOSHI SAY TO THEM??

The process for how music is selected or created for anime isn't very clear to me. I have no idea how much, if any, direction musicians are given. But one thing that is clear is that a number of the opening and ending song musicians have professed themselves to be fans and talked about particular themes or characters inspiring their work.

The official lyrics of this opening song, like many of the songs found in MHA, are fundamentally about hope and selflessness; a desire to ease the suffering of others and the drive to better oneself to reach that goal, no matter the cost. To reinvent yourself into someone who can the leave the world better than it was when you came into it. It's about looking outside yourself and seeing something worth protecting.

This is heroism. This is the through line of the series. It is found in Kirishima's story, Ochako's story, Mirio's story, hell, even Mineta's story. It's All Might's story, Izuku's story, and of course, Katsuki's story.

The visuals of the animations always remind us of how interconnected this story is--how interconnected the world of MHA itself is, because that's the point. Every piece belongs, every piece completes it. A broken piece cannot be abandoned, for it leaves us incomplete. It must be mended and made anew.

It's beautiful and good. Izuku and Katsuki are our two thematic halves, completing each other and themselves to reach this pinnacle, so of course they come to mind.

--And, frankly I'd be fuckin' hard-pressed to believe when TK wrote the line "I resurrect time after time — for whose sake?" he wasn't thinking of Katsuki, because what the fuck. But even if he wasn't, BONES sure as fuck understood the assignment when they had Katsuki look directly into the camera over these lines. What the fuck!!!!

I very much doubt TK is privy to the ending, but you don't need to be to write a slammin' song that incorporates the core themes from the perspective of the character who encapsulates yearning and redemption. He rose again, motherfucker, and he's going beyond.

I can't wait. >:D

[catastrophicclouds]

Have some Kurogiri in these trying times. These last few volumes of MHA have been hitting hard, so I had to draw one of my favourite comfort characters. I also have a prediction for Kurogiri’s fate, but I’ll put that below the cut (major spoiler warning).

I was experimenting with different brushes and line weights, and I’m really happy with how they turned out. I can see myself doing more of these greyscale drawings in the future, so I’ll just have to see what inspires me next.

Most people I’ve seen so far are sure that Kurogiri/ Shirakumo died after getting blasted by Bakugo. But honestly, I’m not so sure of that. What Bakugo blasted was a separate portal and not Kurogiri, himself, so Kurogiri should still be safe where he was standing in the distance. And I know with how rushed the Rooftop Gang’s story has been in the last arc of MHA, it doesn’t seem likely that they’ll get a complete, fleshed out ending. However, even though there isn’t a lot of time before the story ends, I get the feeling that they’ll have more of a resolution than we initially thought.

There have been a few interesting points about Kurogiri in the last couple of volumes that I wanted to point out. First, we saw him practically melting in front of Mic and Aizawa ever since he joined them on the battlefield. This points to his body being very unstable in a way we hadn’t seen before. When Mic and Aizawa got through to Shirakumo, the shape of his mist would change, and eventually, part of it turned white when Shirakumo had fully woken up. But this being such a different reaction points to Kurogiri’s melting as having a different cause. I speculate that it’s because of his nomu body acting up rather than him waking up and having an identity crisis. Recently, he’s been constantly sedated in both a high end prison and a hospital so that he wouldn’t use his quirk to escape. He was tested on and examined a lot for the sake of research and finding out his true identity. Then, when he escaped the hospital, he teleported up to Mic and Aizawa, all while his body was freaking out, to teleport them away. After a behind the scenes reconciliation (?) with his best friends, he proceeded to open up a million different portals so more heroes could make it to the battlefield, eventually joining them there. That’s a lot of stress for his body to be under, to say the least, so it’s no wonder he’s having a hard time keeping himself together at this point. And now, with the extra weight of his two lives clashing together, Kurogiri has the added emotional stress on top of it. My man’s been through it all.

The next point I wanted to mention was how we saw his portal starting to deteriorate when he reached out to save Shigaraki. It looked like literal pieces of it were breaking off in shards while others were dissolving in the air, more like ashes from a bonfire than mist. So not only is his physical body suffering, but so is his nomu-engineered quirk. This is where the point of these details all comes together.

For one, nobody in the manga has mentioned either of these things out loud. I know a lot of creators like to leave smaller details for their audiences to pick up and piece together themselves, but for these details to be so incredibly obvious to the viewer, I’m certain that they’ll come up again later. And for them to come up, the story will also have to focus back on the Rooftop Gang. Not only that, but I doubt they would leave Mic and Aizawa (Aizawa especially), two fan favourites, just hanging like that at the very end of the series. What happened to Kurogiri will have to be brought up eventually. There may not have been as much attention on him in the final arc as there should have, but giving him and the gang some sort of conclusion would only make sense at this point and is practically inevitable.

And then to my last point, which is just my own speculation based on what we’ve already seen and my own thoughts over everything. I don’t think Kurogiri has a very hopeful ending for him. Midnight’s dead, most of the league is dead, Shigaraki who was almost like his own son is dead, a large part of the city is destroyed, last I checked, all of U.A. or at least a decent bit of it was destroyed, his own body is failing, and his two lives are merging together in a way that would make continuing to live very complicated for him. That is to say if he lived at all. With how totalled his body seems at the moment, a part of me doubts that he’ll be able to come back from that, not to mention his death being an easy way to a smoother plot. And even if he did, he’d have to finish school (which isn’t as much of a problem), decide whether he still wants to be a hero, figure out with Mic and Aizawa where they want to go from there (if they’ll still be as close of friends or friends at all), and live in a society that knows he was a villain at some point and would likely still treat him badly because of it. I doubt that just because the show is ending, everyone will get their own “happily ever after”, so it’s still possible that we’ll get a few more tragedies before it’s officially over. A part of me believes there’s a chance that Kurogiri will be able to live, figure out who he is now as a person, become a hero, and start that hero agency with Mic and Aizawa like they’d wanted. But as of right now, when volume 424 just came out, it’s looking like he might die in the end. If that’s the case, I’m sure he’ll be able to talk with Mic and Aizawa and get some closure before it happens, probably the good kind.

But whatever happens, I hope he’ll be happy in the end. I’d love to see what he would do with his friends if he got to live, maybe come to work at U.A. or they’d all leave for the agency (which I doubt since Mic and Aizawa really care about U.A. and its students). I’m also interested in what he would do with the surviving league members when everything cleared up. As a Kuropress/ Black Magic enjoyer, I hope we’ll see Kurogiri and Mr. Compress interacting a little bit, even if it’s not relationship related.

Well, that turned out to be more of an essay than I thought it would. As I said, most of this is speculation based on what I know about storytelling and what’s happened in the story so far. I can’t say for certain any of this will happen or even be relevant in the final volumes, but as far as I know, there’s a good chance some of these points will be touched on or even happen in the story. Here’s to hoping.

[nitewrighter]

What would you say is the line between being sexist and just liking sexy female characters? And the line between arguing against sexist depictions of female characters, and just being a wertham style prude who thinks any sexiness is bad and wants to ruin fun?

For example, I like Wonder Woman’s classic bathing suit costume, but I’ll be the first to say the wonder thong is a bit much.

I mean like, I feel like *anyone* can like sexy female characters while being respectful, it just kind of takes a general sense of self-awareness and an ability to be critical about the media you like. You can enjoy a piece of media while still being critical of it. Like, the thing with Wonder Woman is, regardless of the fact that for much of her existence her superhero costume has pretty much been boots and a swimsuit (and bullet deflecting gauntlets OBVIOUSLY), she was still developed by a very progressive writer and the core tenets of her character are that she triumphs with love and compassion rather than violence. And I think because you started with that intention with the character, even with the titillating costume, she's still an icon who occupies a much greater cultural space than comics alone. And like, that's one of the things that is so interesting about her, is that when it comes to comic writers, you can immediately tell who does and doesn't respect her character.

But going back to the "Am I a bad person for liking the sexy lady?" question--No, you are not. Stop letting your puritan ancestors make you feel bad for liking the character that was aesthetically designed for you to like them. You are allowed to like the sexy lady. Literally have fun--but also at the same time, be willing to interrogate why you like Sexy Lady.

Like--okay, one of my favorite characters out of My Hero Academia is Yaoyorozu Momo--and I am 100% willing to admit that her design is shameless cheesecake which is fucked up because her character is meant to be a minor--but also at the same time, MHA is a shonen anime--literally its intended audience is minors! And the show emphasizes over and over again that she's a highly intelligent overachiever who has blind spots due to economic privilege and also shoots herself in the foot through her own anxiety. I like that! That's multidimensional and interesting and relatable to me! Also I think her power is really cool and unique! I can like that while also wishing she had a better designed costume for her age! So there you go! I'm enjoying the character while being critical! I mean that's a more complicated approach because honestly I love Momo's personality and power concepts more than her actual appearance, which I think is the case with a lot of Momo fans, but my point is, questioning your own feelings toward a character also help enrich your own experience with a piece of media overall, but also don't feel like if you're not self-flagellating you're not doing it right.

Make a point to expose yourself to a wide array of media so you can compare and contrast and find patterns and point them out. There's a whole beautiful spectrum of sexy ladies out there! Be critical, but also trust your own instincts, and also don't forget good faith, and assume ignorance before you assume malice (except in the case of Frank Miller, in which case KILL ON SIGHT).