#This manga had its highs and lows but this... This denies everything the series ever said about hope and change

[thyandrawrites]

Do you ever think about how Dabi's "people live to laugh" quote has some dramatic irony now that it effectively predicted his ending and how fucking cruel it was. "whether we laugh or cry, the sun will rise again, impartial to it all" and hero society goes back to thinking the league of villains wasn't made of human beings, so it's okay to rejoice of the fact that they were put down like dogs. "so let's smile, himiko toga. People live to laugh" and Touya's last scene was about how what will kill him won't even be his injuries, but likely just plain old heartache. His heart so full of grief for the life he couldn't have, it threatened to give out, and his own doctors asked his family to leave him there to cry his eyes out alone

[sukiglycerin]

the scrapbook documenting denki kaminari and his experiences with love, subtlety, and volumes of manga || denki kaminari.

* pairing: denki kaminari x oblivious!reader (gender neutral!)

* genre: fluff, normal conflict(??) but not much, uni!au, friends to lovers, mutual pining, idiots to lovers

* words: 4.5k

* warnings: brief scenario of intoxication, mentions of maidgirls (one of them has a gun because mey-rin from kuroshitsuji), reader has past bad experiences with relationships, bakusquad is supportive af, reader is oblivious (duh), i love sero, side kiribaku

* original request: Can you do a fluff Denki crushing on the reader but the reader is really oblivious to him just badly flirting and bakusquad gets annoyed and helps them get together 😳

* a/n: this turned out much longer than expected, but i’m satisfied with the turn-out! i call this a “scrapbook” because it’s like a collection of short moments. i’m experimenting with this writing style, so i hope you enjoy it! i started writing reader by basing them off of this one pretty girl i know (and very much like), but then reader started morphing into me projecting myself and oh boy. yeah. fun fact: i actually own the kuroshitsuji manga volume with the maidgirl on the cover (volume 22).

“please don’t like me,” is the first thing you say to denki kaminari. you don’t know who he is, though, when you say these words. all you know is that he’s presumably a college student like you and that he’s quite extroverted. behind him stand three of his friends giggling to themselves. it’s apparent they’re playing a practical joke. 

the first thing the blond boy said to you was, “hey, you’re cute, i like you.” that was thirty seconds ago, after you’d put your manga down when you noticed his friends pushing him towards you.

he cracks a grin upon your response. “alright.” he puts his hands up in mock surrender. “the point still stands - you’re cute.” his eyes fall to the manga you set down. “hey- is that detective conan?”

it’s an old, worn copy of detective conan’s first volume.

“oh, yeah,” you reply.

“can i see it?” he asks. you nod.

he picks up the book, surprisingly gentle with its fading corners and creased spine. 

"i used to read the series all the time," he says quietly, reliving a memory in his eyes. "i always tried to solve the crime before conan." 

you're not sure what to answer, but he introduces himself before you can.

"i'm kaminari, by the way." he slips a piece of paper in your manga, setting the book down on your table. "text me."

“please don’t fall in love with me,” is the first thing you whisper to denki kaminari, hushed under the sheets in mina’s room. you're surprised he can hear you over the quiet murmurings of a ghibli movie playing on the tv; you're surprised he's awake.

“okay,” and it’s the first promise he’s ever broken, voice all low and hoarse from the after-effects of prolonged silence. 

(maybe he should've feigned sleep, he later thinks, as his heart stupidly falls and crashes clumsily into love. maybe he shouldn't have said anything at all.)

he turns onto his back, staring at the ceiling. it's dotted with glow-in-the-dark stars mina and sero had impulsively hung up one friday evening instead of studying. there's a couple moons, too, which bakugou had frowned upon, stating, "where are we, jupiter? there's only one moon orbiting earth." kirishima laughed. 

from the sound of shuffling sheets and a quick glance next to him, denki can tell you're now laying on your back, too. he almost makes a comment about you copying him. he stares at the faux stars overhead, not tired enough to close his eyes and allow sleep it's victory for the night. there's not much to do while awake at the moment other than strain his ear to decipher to the tv's audio. his throat feels dry, but he's not motivated enough to sit up to grab a water bottle. anyway, he supposes you and he are staring at the same sky, in a cheesy way. he remembers reading something like that in a book.

he kills the time and his aching mind by finding stupid constellations in the stick-on stars. there's a slightly distorted dipper of some sort, and a heart. there's a lot of squares. there's a shape he passes off as orion, but he knows anyone a tad more into astronomy than him would gasp at the abstract shape and completely dismiss its resemblance to orion. 

eventually, your breathing slows to a rhythmic pace beside him. the logical part of his mind tells him to sleep now that you, too, are sleeping. he doesn't know why he waited for you to be asleep first. one pentagon constellation later, kaminari allows sleep's gaze to wash over and envelope him. the ghibli movie is still playing.

it seems that his friends have beat him, somehow, to the conclusion that denki kaminari has a bit of a crush on you. it's childish, really. he shouldn't like you, recalling your first words to him. they struck you apart from other people he'd met. back then, though, he never seriously thought about you like that. sure, you were conventionally attractive (enough for him to approach you to give you his number), but it was all in good fun. that's what you were, too, for the longest time: good fun and a friend.

until one day, glances lingered for too long while you weren't looking. one day, kaminari's jokes became more and more aimed for you, to hear your laughter in his ears. one day, kaminari realizes he has your usual coffee and bubble tea order memorized, when he can barely remember his own.

he pretends all of it is completely normal, but mina assures him differently. as does bakugou, which is strange, because he's usually not wrapped up in other people's affairs (when voicing this to the blond, he responded, "it's hard not to notice because you're too damn obvious"). it's kind of hard to ignore when bakugou calls it obvious (he's literally had kirishima pining over him since day one with no notice).

kaminari really does try to ignore the bubbling feeling rising at the bottom of his heart. he really does, but you keep on shaking and shaking his poor heart until it's all fizzy like a bottle of soda. he's weak, okay? one day, he’ll explode.

his friends are all urging him to confess to you already, but he cannot work up the nerve to do so. instead, kaminari drops you obvious hints that he likes you. he doesn't know whether you're completely oblivious to them or if you're deliberately ignoring them.

he's been so painfully obvious, he swears.

he's practically able to write a list of hints he's dropped. he's fairly confident he could publish it as an advice book with the title "how to tell your crush you like them without saying 'i like you.'" by this point, he's the king of obvious subtlety. 

the list would go something like this, in no particular order:

pick-up lines

"did it hurt, when you fell-" you were silent, "-from the vending machine? because you're a snack." 

silence. absolute radio silence. he was extremely tempted to run away from the sheer awkwardness between the two of you. as he turned to leave and freak out in private, he heard you mumble a belated "thanks," which made everything worth it.

he still left to freak out, though (and plan his next pick-up line to tell you).

manga references

"hey, y/n," kaminari had said one day, after a particular burst of confidence. you hadn't looked up from your book.

"if i were shinichi from detective conan, you'd be ran," he'd said, referencing the main love interests from the manga. "or maybe vice versa. you are the smart one in this relationship..."

you didn't bat an eye. "they never get together, though? shinichi and ran."

"they- they don't?!" he'd sputtered indignantly. he definitely needed to read up his detective conan lore. "but they both like each other?"

"true," you'd replied in typical you fashion, neither letting on whether you did like him or not. well, hey, kaminari had thought. you didn't deny it. progress.

hand size comparison (which was, in reality, just an excuse to kind of hold your hand)

kaminari had smoothly been planning this for weeks (which, according to sero, was a little sad). he'd bring up the topic of hands one day in your daily conversations, then nonchalantly slip a "oh, y/n, let's do a hand size comparison!" he high-fived himself mentally upon the formulation of this genius plan - you'd definitely fall for him (or at least, realize his feelings for you - this state of teetering between do they like me or do they not like me frustrated him for months on end). the perfect opportunity presented itself one day as the two of you lounged in mina’s room (which, at this point, had become you and your friends’ hangout spot) studying. 

“wow, you type fast,” kaminari remarked as he pretended to innocently look up from the “work” (changing his laptop wallpaper for the tenth time that day) he was doing. you were focused on your work, sitting on mina’s bed with your laptop propped up by a pillow on your lap. you’d barely registered his words, judging by the way your eyebrows scrunched and how you looked up at him after a slow beat. 

“oh, uh, thanks,” you replied. “i’m just copying some text down. i don’t usually type this fas…” you trailed off, eyes widening as you watched kaminari scooching next to you on the bed. he put his hand next to yours, whose fingers still ghosted the keys of your keyboard.

“look,” he said softly, bringing your hands up to eye level. “hand size comparison.” it was breathed out belatedly, but your crystalline eyes didn’t leave his. he started to curve his fingers in between yours, holding your hand so tenderly. he really, really didn’t want to let go. “we fit.” it was a whisper he wasn’t sure you could hear - did he want you to hear it? “like… a puzzle,” he added awkwardly.

you nodded, dazed, slowly bending your fingers over his. he rocked your clasped hands side to side, a fond feeling creeping through his limbs. it was warm and tingly - and maybe it was contagious. could you feel it too, buzzing past his fingertips to you?

precisely three minutes passed before kaminari’s arm started to ache. he didn’t catch your disappointed expression when he let go of your hand, but he did catch the smile that emerged when he held your hand as the sides of your fingers nudged the bed. you didn’t get much work done after that, sitting in silence with him. 

brushing your hand in a popcorn bucket

movie nights on fridays were commonplace at mina’s. the plan, this time, was created by kirishima, who said that it was manly with just the right amount of romantic. kaminari hoped so. the movie settled on was some romance flick, as decided by mina, kirishima, and sero’s pleading with a very begrudging bakugou.

he can’t remember much of the movie. what he can remember, however, is the very close presence of you next to him as the two of you shared a popcorn bucket (courtesy of sero’s very romantic ideas). your hands brushed a (purposeful, on kaminari’s end) dozen times throughout the film. the last couple were accidents. on the first time, though, kaminari watched with satisfaction from his peripheral view as you looked from him to the popcorn that obscured the place where your hands made contact. he was very satisfied by the time the movie ended. 

truth or drink (which just ended up with you and he both getting very, very drunk)

you didn’t particularly enjoy the taste of sake, but that night was an exception. according to your drunken explanation, you had a very rough day. your exam, first and foremost, did not go particularly well (“who cares about freud!?” you blurted. “i dooooon’t!”). kaminari didn’t have the heart to ask who this freud was. then, one of your close friends confessed to you (which almost made kaminari’s heart stop, when you first recounted it to him), and you had to turn them down. you adamantly refused any sort of relationship, you told kaminari. (“nuh uh,” you shook your head. “they’re not good.”) it was surprising to him that you opened up that night. your first couple drinks left you quieter than usual - which was scary, because kaminari was practically having a conversation with himself then. a couple more drinks loosened your tongue, though. 

“there’s someone i like.” you jabbed a finger at him. “but i’m not supposed to saaaay… and it’s scaaary,” you slurred.

“ohh?” kaminari asked, more focused on the burn in the back of his throat. “whooo is it?”

you looked at your arm outstretched to him, and the pieces fell into place slower than they should’ve. he first looked around, just in case he was covering the person you were really pointing to (of course, you and him were the only ones there).

“this guy?" he asked, flabbergasted and pointing to himself. "him?!"

you nodded solemnly. "but i don't like dating," you said stubbornly. "love is dead!" you announced, flopping on the carpet. 

kaminari watched the heaving of your breaths as you lay on the ground, and strained his ears to hear your soft, soberish murmuring.

"i really like you, denki kaminari."

a dopish grin formed itself on his face. "i really like you too, y/n." 

kaminari then promptly blacked out, but not before hearing you running to the bathroom to throw up.

as of now, he can’t recall anything he or you said that night. on the contrary, he can vividly remember the ringing in his head and the sickly feeling that overtook him the next morning.

"you two are so frustrating!" mina declares over her sweetened iced tea. she points at kaminari, then to you standing with sero in the distance. you’re animatedly talking about some painting (“it’s renoir!” you mooned when you first saw it) while he and the rest of the group sit on a nearby bench. 

kaminari puts his hands up. “don’t look at me - i tried my best!”

“yeah, sure,” mina dismisses. “and i’m the queen of england.”

“i mean, they already told me not to like them!” kaminari counters. “what am i supposed to do about that?”

“shoot your shot!” mina urges. “c’mon, what’s the worst that could happen? …wait, don’t answer that.”

“yeah, kaminari, bro,” kirishima puts his elbow on kaminari’s shoulder. “flirt a little bit more.”

“that’s all you two seem to do,” bakugou grumbles from the other side of kirishima.

“you just need a little push,” mina says. kaminari isn’t sure he likes mina’s definition of push.

“i think i’m g-”

“hey, sero, come here!” mina calls to sero in the distance, earning her a couple dirty glances from others in the gallery. “kaminari wants to look at the painting with y/n.”

oh, god, kaminari groans internally. sero, already walking toward the bench, flashes a knowing grin toward him. 

“go get ‘em, champ.” sero pats kaminari on the back as the blond stands up, emitting a low, audible groan. 

the four on the bench watch as your eyes light up at the approaching kaminari, who’s sheepishly scratching his neck. he says something - then you start again, rambling something about “impressionism” then “salon.” mina watches with clasped, anticipating hands; kirishima’s hand accidentally brushes bakugou’s, who’s holding a juice box and watching the two of you; sero simply smiles with knowledge that the others are unaware of.

“well, what do you think?” you finally ask kaminari, gesturing to the painting. 

“uhh,” kaminari says. he was too busy staring at your face - the twinkle in your eyes, the curve of your lips - to pay attention to any of what you’d said. something about impressing and fleeting moments. he looks at the person depicted in the composition, then back to you. he remembers kirishima’s words - flirt a little bit more. it couldn’t hurt, could it?

“i think it’s pretty,” he leans into you, murmuring so he can be sure no one but you and he hears his words, “but it’s definitely not as pretty as you.”

you look down at yourself; then, for whatever reason, to sero. kaminari looks at sero, too, who’s wearing this stupid smile that sets unease in kaminari’s chest. he gives you two big thumbs-up. he’s so confused by sero’s behavior that he barely registers the light sensation of something on his cheek - a kiss. he looks at you, who’s looking away, then to the bench, where his friends are cheering despite the disapproving looks from those around them. he touches his cheek out of disbelief. light swells in his chest - it’s warm, so warm - but your aloof voice brings him back to reality (which really, isn’t much different from a dream).

“kaminari, you’re very red right now.”

“the two of you,” mina exclaims with the two of her hands clasped together in excitement over skype, “should go to a manga cafe!”

kaminari blinks. “as a date?”

“i wasn’t thinking about it like that.” mina nudges him, a sly smile creeping across her lips. “but hey, that works too. i mean, they did kiss y-”

kaminari cuts the pink-haired girl off before she can finish. “is that something… they’d want to do?”

“mmm…. probably,” mina says. “they were reading manga when you first met them right?”

he can vividly remember the somewhat tattered volume of conan, the detective turned little boy who must solve crime while hiding his own identity. really, the wear was only on the soft cover, nudged and peeling on the corners with faded text splayed on the spine. the pages were in crisp condition, he’d noted one day as he (totally, completely discreetly) watched you read the copy again. the bookshelf in your dorm and the stack of books on your desk is littered with different mangas, ranging from the old classics (astroboy) to some newer works (your lie in april). he only remembers this fact because he really, really wants to borrow a copy of black butler (yes, it’s the one with the maid on it. she looks really hot with a gun, okay?). all your manga are well-taken care of, cared for diligently as if each book has a piece of your heart in it. besides, you rarely lend out any (sero once asked to borrow jujutsu kaisen and you very, very reluctantly handed it to him), so he doubts you’d trust him with it.

“hang on, lemme ask sero if they’d be interested in a manga cafe,” mina says, pulling out her phone. “they’ve been close lately,” she mumbles as she types out a quick text to him, a quiet ping letting kaminari know that she’s sent it.

after a pause, mina excitedly reads sero’s reply: “yeah, probably.”

well, that was a definitive answer. 

“there’s one nearby here,” mina offers. “hagakure told me good things about it, and she has a knack for finding the best spots in town. i’ll send you the address.”

“you think they’d like it?” kaminari says in an atypical bout of self-consciousness.

“of course,” mina replies instantly. “don’t you see how they look at you?”

usagi manga kissa makes kaminari cringe. it’s not the bunny-themed logo on the top of the building, nor is it the wide assortment of manga lining the walls, nor is it the cozy, soft seats nuzzled in the nooks and crannies of the café. it’s not even the life-sized cardboard cut-outs of various anime maid girls (he actually particularly really likes that detail). it’s the name itself. usagi is fine - kaminari likes bunnies as much as the next guy. manga is fine, too - he wouldn’t be here if not for the manga. the kissa makes him cringe for the most immature of reasons, like a five year old just learning basic english vocabulary. kissa innocently shortens the word kissaten, for cafeteria, but suspiciously sounds like the english word kiss. he does not want to think about kissing as he walks into the café with you, and especially not when the lady at the counter asks if you want a couples’ discount (you say yes, solely because it’s cheaper). 

he does not want to think about kissing as he walks next to you, browsing the manga selection and passing the shoujo section that boasts illustrations of happy couples and romantic imagery. he doesn’t want to think about kissing as the two of you walk to a “couple’s” room, you rambling about the plot of the manga you chose and him with some shounen volleyball manga in his hand. kissing is the worst thing to think about as your knee touches his in the cramped apparent two-person room. he is not thinking about kissing at all when you offer him your water bottle, half full, and he’s definitely not thinking about indirect kissing or anything when he takes a sip. that would be crazy. 

fortunate for him, his manga is full of not-kissing, so he’s able to somewhat enjoy it without his mind bombarding him with the fact that your face is less than a metre away. as he finishes up the volume, he realizes how much of a middle school student he feels like. 

“y/n,” he looks up to you and says. you’re watching an old episode of neon genesis evangelion on the computer provided in the room, the manga you were reading sitting on the table beside the keyboard. 

“yeah?” you respond and pause the anime. out of his peripherals, he can see you turn to look at him. he stares at the wall ahead of him, lacking the confidence to face you head-on. 

“remember when we first met?” he reminisces. 

“the cafe?” you say. “yeah.”

“if… i can ask,” he musters, “why did you say what you did then?”

you pause, taken aback. “i… i don’t know.”

“because,” kaminari starts, and you flinch, “i like you. a-and i know you said not to-”

a ghost has crossed your face. your mouth is agape, as if you suspected his feelings but never thought he’d verbalize them. he wonders what the kiss was about. 

“i’m,” you gulp, breath stuttering, “i’m sorry.”

kaminari lied. five days later of zero contact with you, he realizes he’s in deep. he doesn’t like you - he’s in love with you. they say distance makes the heart grow fonder, and here he is, sifting through memories he had with you like they’re books. he should probably be studying instead of lying spread eagle on his bed, thinking of you. he can recall a promise made one night and the moment it was broken; he can remember the plastic stars he studied that night, falsely shining and lighting hope within him. he can remember dozens of constellations, half of which were geometric shapes, that he fell asleep to with you at his side. his heart aches, alighting a dull burn within him like a protostar barely able to burn hydrogen. 

there’s a polite knock at his door, so he assumes it to be either kirishima or sero. mina always enters unannounced and bakugou is far too brash to knock softly. slowly - almost reluctantly - he sits up in bed, standing up and making his way to the door. he catches a glimpse of his reflection in the mirror, telling him that his hair is an absolute mess and in no way presentable. he figures that either kirishima or sero will comment about it, but he never needed to impress them in the first place. turning the knob and opening the door, he’s expecting either of his friends, maybe here to nag him or ask him to come and study or say “hey, why haven’t you spammed the group chat with memes in a while? i missed them.”

he definitely isn’t expecting you, face pulled into a worried expression and lips held in a thin, anticipating line before you meet his eyes. you’re pouring out a waterfall of apologies at a thousand words per second as soon as he opens the door, letting yourself in and hardly taking notice of his bird’s nest hair. he guides you to the couch, attempting to interject and ask you to slow down, but he finds that it sounds rude at any given moment. you’re sitting on the couch, lamentations and explanations spilling from your lips as you grip the plush material of the cushion you sit on, when you finally pause to take a breath. kaminari uses this opportunity to interrupt you.

“woah, woah, woah.” he hesitantly puts a hand on your shoulder. “can you back up?”

“oh, yeah,” you start to move back in your seat and kaminari stifles a laugh.

“no, can you start your story from the beginning?” he asks. “take your time, i’m not going anywhere.”

“i’m really, really sorry about what happened the other day,” you apologize, then look at him finally and ogle his hair. “i got… scared,” you admit earnestly. before he can make any question of it, you continue, “i like you too, see. and i never really, seriously acted on it - i didn’t want to. so when you did the inevitable and confessed… it scared me. the truth is… i’m not the best at romance or relationships. i don’t want to put anyone through that, again.” your voice wavers but finishes strong as you look kaminari in the eyes.

“that?” he asks. he’s afraid he’s crossed a line, but you reply all the same.

“i was in a relationship, once. i wasn’t… i wasn’t good enough. i didn’t do the things that people in a relationship are supposed to do, i guess.” you fiddle with the fabric of the couch, looking down at your fingers. your voice gives away the vulnerability of the topic, wrapped in a stiff disconnection; you’ve distanced yourself from it, probably once too familiar with the feelings you speak of.

“it’s okay,” kaminari says, almost too quickly. he slows himself down. “that’s… completely fine,” he admits truthfully. “we can go slow. i… i can wait.”

“can you?” you look up at him, hope shining your eyes. it dims quickly before you say, “you don’t have to. i don’t want to limit you…”

“the only person i want is you,” he reassures you, hesitantly taking your hand in his. “you’re not…” he struggles for words, “...limiting me if i don’t have eyes for anyone else.”

“are you sure?” it’s an almost inaudible whisper, clutching your hopes in three words that are held together by thin threads. 

“i’ve never been more sure,” kaminari replies confidently, giving your hand an encouraging squeeze.

“okay,” you breathe out, relief tingeing your speech. “i… want to be with you.”

it takes everything in kaminari not to kiss you right there. 

“oh, by the way-” you say, standing up from the couch and leaving kaminari to sit alone, “did you still want to borrow that copy of black butler?”

“the one with the maid who has a gun?” kaminari asks, eyes wide. how did you know about that?

“yeah. you kept staring at it before, so i assumed…”

“yeah. yeah, no, yeah, that’d be really great. amazing, actually. wonderful. stupendous-” kaminari shuts himself up before he can ramble on longer. 

“okay, give me a second,” you respond, smiling, and exit to the hallway to retrieve the manga. 

you return with the volume in hand, placing it in kaminari’s hands. 

“thanks,” he says as he glides his thumb over the glossy cover and mint condition. it’s heavier than kaminari thought, and it feels like the weight of a heart. he’ll be sure to take extra care of it, holding it with ginger fingers and a sweet, sweet feeling in his chest.

[mirrorfalls]

The Alchemist When He’s Full of Metal, Vol. 27

(Vol. 1, Vol. 2, Vol. 3, Vol. 4, Vol. 5, Vol. 6, Vol. 7, Vol. 8, Vol. 9, Vol. 10, Vol. 11, Vol. 12, Vol. 13, Vol. 14, Vol. 15, Vol. 16, Vol. 17, Vol. 18, Vol. 19, Vol. 20, Vol. 21, Vol. 22, Vol. 23, Vol. 24, Vol. 25, Vol. 26)

And lo, there shall be an ending.

A double-triple-deluxe ending. It’s never an easy prospect, giving everyone something to do in your Grand Finale, but the genre pretty much demands it - even when the finesse needed to juggle dozens of protagonists and deuteragonists in the same room have crushed countless otherwise-talented writers. On the low end of the scale, of course, we have our pick of any Big Two kill-a-hundred-C-listers-cripple-a-couple-more crisis crossover (which, adding insult to injury, never actually end anything apart from the fans’ patience), and on the high end...

... on the high end, this is a pretty good candidate.*

I suppose I’m cheating, since this particular Final Battle started anywhere from one to six volumes beforehand, during which everyone from the Armstrongs to the Curtises to the Xingese to Scar to Marcoh to Yoki got to contribute something. But this is where the not-my-our victory theme truly congeals. Here, a lesser writer would’ve decided everyone else has already done their part and relegated them to cheerleading while Ed pastes the Dwarf solo; here, Arakawa makes damn sure that you know Ed owes it all to the sacrifices of unambiguous friends....

... and supposed foes.

Now, in case you think I’m getting too gushy: I still think the Dwarf in itself is an underwhelming Big Bad, and its actual “death” scene is visually impressive but emotionally not too different from setting the week’s trash out on the curb. I’m also not too unsympathetic to those who came away from this scene deciding Truth is the real Big Bad of the series**, or that the true moral is closer to “Equivalent Exchange rules all... but there’s still a guy at the top who gets to rule on what Equivalent is.”

A point made all too clear by what comes after.

Don’t get me wrong - I love that Arakawa doesn’t let the Epic War story get the last word over the small, all-too-human quest the Elrics started out on. And Ed’s giving up all his powers (and implicitly at least 75% of his combat ability) is still refreshingly unique among Shonen protagonists, even counting those whose powers are literally lethal curses. But I really could’ve done without Truth suddenly deciding to like and approve of the kid like some kind of auxiliary sensei. Even if it’s not a cheat - and I don’t think the manga ever denies that every single Gate Exchange only happened because Truth let it happen - it drains quite a bit of ambiguity and hardship from a scene that could only have benefited from both.

And then you’ve got Mustang’s equivalent to the above:

Okay, so Mustang never willingly entered the Gate - it’s fair enough he’d get his eyes back with less fuss, and on top of that he doesn’t actually get to be Fuehrer. I’ve no complaints on that front, but I wish a bit more space had been devoted to the Ishvalans beyond “Bad Army Men out, Good Army Men make everything okay for you oppressed peons now!” In particular, it feels off for Scar’s final scene to be with the uniforms that wreaked so much havoc on his people; I’m not saying he should’ve turned his backs on them entirely, but tell me it wouldn’t have been more heartwarming to see him rejoining the other Ishvalan refugees, or even Mei and Yoki.

Speaking of heartwarming... okay, I don’t have the time or space to go into all of the different epilogue-threads, but I’d just like to highlight this one in particular, because more than any of the others it lands just the right amount of hope.

Selim is, in the final analysis, a Nina who was saved - an innocent child, involved in repulsive alchemy experiments through no fault of his own, now untangled from it all and allowed to live as freely as he can. And through him, Arakawa raises a question I’d been wondering a while now: why should Homunculi be so feared and hated on sight, to the point where Mustang and friends spend multiple chapters acting like the Fuehrer being a Homunculus should in itself be a career-ending scandal? Oh, the seven Sins have the whole stigma from the Dwarf, fair enough, but they can’t have been the only Homunculi in existence, else the secrecy of their existence would preclude Amestris even having a term for it; and hell, when the chips were down, one of those seven turned around and gave its life to do the right thing.

They can learn. They can change. They can love. Not for certain - but then, a child should never be a promise, only potential. Potential to go higher than the last generation ever dreamed - or lower than it ever dreaded.

And that, ladies and gents, was Fullmetal Alchemist.

Is it good? Definitely.

Is it great? In many parts, yes.

Is it the epitome of everything the Internet says it is? No - at least, not at the stage I read it.

I can say this without hesitation: if this had been my first or second or even fifth Shonen, devoured anytime during my school years, I’d almost certainly be a full-on stan today. It’s a machine with many, many excellent parts - maybe too many to build a properly excellent whole. You’ve got all the talent and ingredients for a first-rate fighting fantasy, or globetrotting political thriller, or horror-fable about the follies of playing God, or goofy-ass romcom, or heartbreaking war drama, or a half-dozen other storytypes. Perhaps a more seasoned author could’ve mined the strongest benefits of each while keeping them all in line; as-is, they compete with each other as much as they complement. I’ve lost track of how many times I’ve seen a perfectly poignant moment cut apart by an ill-timed joke, or how many many potentially interesting plot/character moments were either let down by insufficient worldbuilding or left dangling altogether.

(I’m told that 108 is some sort of sacred number in Japan, so I presume Arakawa had the total length mapped out before she even started the series, But as any author can tell you, no outline survives contact with reality; some characters might have been better off folded into others, some plot-threads trimmed altogether. I, for one, still can’t quite figure out why the heroes needed four chimeras turned to their side.)

At my current age, I suppose my eyes are a little too jaded, a little too impatient with (or worse, eager to point out) shortcomings big and small and subjective alike. But make no mistake: I don’t regret finally finishing this little epic, and if half my mutuals’ accounts are to be believed, it's just the start of the real fun to be had with the series.

Hi-ho, to AO3!

*The midpoints that come most immediately to (my) mind are Harry Potter, Gravity Falls, and Samurai Jack. Which stands atop which is an exercise for the individual reader.

**Y’know, there is still plenty of time for Arakawa to roll out a sequel series where our heroes fight actual God instead of a wannabe. ‘til then, let’s content ourselves with this.

[kingofthewilderwest]

FMA 2003 Anime First Runthrough Thoughts

So people saw, in the last few weeks, me liveblogging my first runthrough of the 2003 Fullmetal Alchemist anime. I still have yet to finish the story by watching Conqueror of Shamballa, but before I do so and before I forget to do so, I’m going to post some of my thoughts - more coherently - about the 2003 series.

There are lots of angles I could look at, both pros and cons, and certainly all have points to talk about in length. I’m not going to go into everything now, though. What I’m writing here are some of the biggest first impressions I take from the 2003. Here I’ll mainly write a list of analytical qualifications of how FMA 2003′s storytelling structure differs from Arakawa’s - and consequently how the 2003 anime comes across (to me) as less effective. None of this is in disrespectful criticism of the 2003, which I did end up enjoying enough I’ll potentially do a rewatch (and some episodes I adore so much I actively recommend them to others, too). This is just for me to reflect, in fascination, at how 2003′s different writing choices create some different results and effects.

My response would be better nuanced and FAR more accurate with a second watch through, of course. So don’t take everything I say as a concrete, flawless handling of the topic. We don’t catch everything structurally and informationally the first time watching something, and a story feels different the second time through. However, these are points I take from a first run through regarding (what I feel to be) the odd, limited efficacy of the 2003:

FMA 2003 has an overall grimmer take on reality and achievement. How events unfold and how characters respond in the 2003 show a different level of cynicism versus motivational optimism than in FMAB / the manga. What moral lessons are expounded upon and taken away from has a huge effect on mood. Furthermore, to what extent characters achieve their goals, and feel satisfied with that, and how much characters receive a happy ending... plays into this overall mood difference between 2003 and 2009 / the manga.

FMA 2003′s pacing doesn’t have as much drive. This is due to several factors, like how much time is spent focusing on equivalent materials (ex: one versus two episodes in Liore with Father Cornello), how many filler episodes there are, and how pacing is weighted. FMA 2003 and FMAB have opposite pacing weights. The 2003 anime has a slow start and a faster end, whereas FMAB has a fast jump start but is climax heavy at the end. All of this results in FMAB having a much smoother flow and exciting build, whereas FMA struggles with momentum.

Arakawa is extremely solid for logical clarity, explanations, and follow-through - be it in why events happen in the story, or how clear the story feels to us audience members. Explanations, clarity, and follow-through of various points is more convoluted and inconsistent in the 2003.

So, to talk about it in more detail:

I have downright adored Hiromu Arakawa’s Fullmetal Alchemist storyline for almost a decade now and believe she has captured one of the most brilliant stories ever told. With the 2003 anime, it’s interesting to see creators take material just from the start of her writing and attempt to finish that story separately from her. There are some cool elements to it - the idea of the homunculi being created from failed human transmutation experiments is rather clever, for instance. But there are also some things which make the anime’s story less clean, directed, and powerful as what Arakawa does.

The writers don’t handle explanations and follow-through as well in FMA 2003. By “follow-through” I mean continuing storyline elements forward or using details from past episodes to build material in future episodes. So, if someone completely forgets to follow through on information, then plot threads are left hanging. FMA 2003 doesn’t usually leave threads hanging, but it’s like the story neglects to braid threads together evenly. This results in story threads feeling like a machine spurting on and off, material being less explained, story arcs being awkwardly handled, and the plot as a whole containing more logic holes.

It’s easy to talk about this with some examples. For instance:

Mustang assassinated the Fuhrer in an overt enough manner to be accused, and even if he and Hawkeye had managed to kill all nearby security, reports would have made it to other military personnel. In fact, reports of the event were how Archer got onto the scene to try to halt Mustang. At the LEAST, Roy would be obviously suspected of killing Bradley due to heavy lacerations across his body (plus wouldn’t an ambulance show up at Bradley’s location to take him to the hospital, showing where Mustang was at the time of the event??). And there would be other manners in which Mustang could be put in a position to be incriminated. 

Edward said that Mustang could never be a leader again because he couldn’t get people behind him. Bradley himself said Mustang could never again hold a leadership position after assassination. And yet not only does Mustang have no seen dirt on him at the end of the anime, but he retains his high military rank - not even a demotion for disobeying orders, subverting northern troops, and killing the nation’s leader.

(Note: I know he drops in rank in Shamballa, but I hear that’s due to choice, not repercussions of the assassination - by the end of 2003 when he’s recovering, he’s still got his high rank. He gets off clean for literally murdering the country’s most powerful individual).

In fact, you have to wonder how everyone gets off the hook. It’s not like I’d expect them to pin down Havoc specifically impersonated Mustang, but higher-ranking officers like Alex Armstrong led troops to attack Central and that can’t be denied. Why is Alex stepping off free? For all this story focuses on the concept of equivalent exchange and unpleasant consequences, this story sometimes drops odd logic holes on the responsibility front.

Did you even notice Ed accepts Hohenheim as his father at the end... without obviously emotionally working through all the grits of Hohenheim’s backstory and information regarding Philosopher’s Stone creation? There might have been something here to explore the consequences of. It’s like Ed almost accepts his father more effortlessly in London after hearing Hohenheim’s worst side and past... than he does at the start of the story reuniting with Hohenheim.

The truth is that follow-through throughout the anime is uneven. The strangeness of the Elric brothers’ missing father gets hit hard in the starting episodes, gets dropped completely off the radar, then at once cumbersomely, in full force, is relevant again. That plot thread is neither paced nor juggled well. There’s a difference between hitting key moments to progress and build a plotline throughout, versus jumping in and out of the concept to the point it feels sporadically addressed. Many things get turned on and off like light switches. Mustang’s trauma with the past is something that gets hit heavy, dropped, and feels like it’s an on-off light switch several times... until the end where they retroactively discuss some (though not all) of the issue. Even things as major as the Ishvalans’ plight just disappear after Liore. What happens to the Liore refugees upon escaping? With Amestris still being an aggressive military power in a state of widespread racial discrimination, who decides to reverse Ishvalan policies? Why? There is no development, explanation, resolution - just a quick, vague comment at the end of the anime giving an unexplained positive nationwide social turn.

And these sorts of starts and stops and off-balanced jugglings of plots happen all too frequently in 2003. Interweaving of ideas doesn’t feel well-braided... more like a braid with uneven strands, some thin, some fat, some loosely pulled together, some clumps forgotten, some tightly cinched together. Things are connected in FMA 2003, yes, and sometimes in cool ways, but the presentation can be imbalanced.

This sense of uneven content distribution and execution ties into plot pacing. 

FMAB starts with unashamed alacrity - not rushed, but nevertheless boldly throwing viewers into the fray. It has a quicker start but focuses on a longass, heavy, high-intensity climax lasting many episodes. Materials build up from the start into increasing stakes for an amazing end. Furthermore, the distribution of episodes in FMAB cleanly follow Arakawa’s three act structure - the East and Central, the North, and the Promised Day arc. 

I don’t get the same sense of cleanliness in 2003. Maybe with a rewatch I’ll get the scaffolding, but in a first watch... not so clean. Opposite to FMAB, there is a very slow start, with beginning adventures feeling almost like small, segmented, episodic, low-stakes quests rather than some tension-building gestalt. And the climax, instead of being drawn out and grand for full effect, is proportionally short to the anime - with no time spread for a full denouement either.

So what’s the result? A complete contrast to FMAB. FMAB starts fast and draws out the climax, while FMA 2003 starts slow and shortly squeezes in a climax... which is a great way to stagnate momentum.

And as for the middling section... well. In 2003, there don’t feel to be as cleanly demarcated arcs proportionally. I feel like there is a lot of stop-go motion in the middle, too. Nothing builds to its full capacity and the other events don’t piggyback off well enough to keep momentum flowing throughout. There are a fair number of fillers. The excitement doesn’t vamp up near as much, nor feel as long sustained, nor make one event pull you grippingly into the next as well. Now, it’s true I could feel differently with a second rewatch and catch more of the flow. But I think it’s undeniable that there are different effects between how 2003 and 2009 are scaffolded - and goes to show how 2009 makes the much cleaner, more momentum-building plot building choices.

The 2003 series might also have felt more intense if they had created a greater range of character dynamics. More emotional range is effective, but 2003 doesn’t give us near as full a range as 2009. FMAB both gives us higher, more thrilling heroics... and worse pits of vulnerability.

In 2003 we talk more conceptually about Mustang’s grief over Hughes than show it; he is stable mentally even when he takes his boldest move on that front, assassinating Bradley. And in that scene, we never quite get the feeling “This is for Hughes.” Earlier, when Mustang works to rise his rank (and we barely see any of that), we don’t get much sense “This is for Hughes” either. Frankly, if people didn’t directly say it in dialogue, you almost wouldn’t have known. 

Contrast this with Arakawa’s manga and the 2009 anime, in which something so small as Roy taking initiative (to ask every homunculi if they were Maes’ killer) gives us ongoing, lasting understanding Roy hurts. Then, once Flame of Vengeance and Beyond the Inferno happen, Mustang’s reaction is far, far, far more emotional and vulnerable. He goes to emotional levels 2003 doesn’t give him. We see Roy not just cry at a funeral one time, but here completely break down into a vengeful monster. Arakawa pulls Roy into downright VULNERABILITY and HUGE emotional failings, and because of that, we audience members take away so much more about his care for Hughes. We take away so much more emotion-wise ourselves!

So. We see Mustang at a far more extreme emotional low in 2009. (He breaks down three times in three distinct ways during the Promised Day arc!) AND. We also see him at more extreme moments of greatness. Fighting Bradley is undoubtedly Roy’s best, most dramatic moment in 2003, and while I enjoyed it immensely, there’s something to be said that Roy’s easily more badass in FMAB by episode nineteen. Death of the Undying is a powerful, jaw-dropping, eye-widening, fist-pumping, ultimate badass moment for Roy... and he hasn’t even hit his greatest OP strides. FMAB builds the heroes up to greater, longer, more intense battles that make you root for them and shout. There’s rarely even a single shout out “Yyyeees!!!” moment for our main characters in the 2003. It’s literally not until the last episode I felt any thrill for Roy fighting.

You know how much more emotional and amazing stories are when you give us these greater highs and lows???

And that’s just ONE example. List any character, and you’ll see the same pattern. Which feels more momentous? Ed punching Envy in 2003, or Ed whaling on Father in 2009? Sure, Ed might defeat more homunculi in 2003, but don’t the fights feel so much more epic and victorious in the manga? And which Riza makes you cry more: the woman who makes one (admittedly rather agonizing!) scream for Roy, or the woman who flips out in a gun firing spree when she thinks Roy is dead, guides a blinded Mustang after getting her throat slit, and declares at one point she’ll commit suicide after executing her commanding officer? Riza’s got many more cracks, depth, vulnerability, and badass heroicism in 2009.

Our big moments are bigger in 2009. Our low moments are lower in 2009. Our casualties hurt greater. Our successes feel more monumental. This range of emotion is critical to making story dynamic. Many ideas in 2003 don’t dig out their full potential because they restrict dynamic range. We NEED our characters to be vulnerable. We feel AMAZING when they’re big damn heroes. You walk away with so much more then.

Now, part of the 2003 not having anyone be big damn heroes is because of the grimmer take. Both FMA and FMAB tackle extremely serious topics with depth. But their takeaways are different. 2003 is a lot more about how life has problems; 2009 is a lot more about how life has solutions. Both stories have problems and rewards, but there’s a skewing in how the animes handle each.

For instance, FMA 2003 digs in deep with the Ishvalan people. There is a great amount of content and interesting, nuanced material showing a minority people suffering at the hands of an unsympathetic military state. I appreciate that significantly. The story does a great job calling out the military and questioning the state for their wrong actions. The story does a great job showing what injustices a people group can undergo, and how emotionally they are going to respond to such injustices. In another part of my liveblog, I described the sense of this plot arc as, “The military is shit. They destroyed us. We have the right to be angry. You can argue we have the right to fight back.”

There’s a lot of truth to what 2003 says. It’s a grim concept but quite true in the workings of the world. However, while 2009 also shows us how horrifying Ishval is and how terrible the workings of the world can be, it doesn’t stop at this grim perspective. FMAB also calls out the Amestrians for baselessly killing Ishvalans; Riza points out that even if upper command gave orders and Envy started the war, she and her fellow Amestrians carried out the bloodshed with their own hands. But. FMA 2003 says, “This is bad shit and people can be shit.” FMAB 2009 says, “This is bad shit. We should fix it.”

2009′s message states, “The military is shit. They destroyed us. We have the right to be angry. But that DOESN’T mean we have the right fight back. What we need to do is work to fix the horrors of this work.”

That wraps into one of Arakawa’s biggest, most widespread message throughout all of her manga, from start to end: All humans are important. All souls deserve to be treated with the utmost respect as human beings. It doesn’t matter if you’re a suit in armor. It doesn’t matter if you’re a pig chimera. It doesn’t matter what your race is. It doesn’t matter who started the bloodshed… you should be the one to end it. You are a human, human is good, and the best thing we can do is help each other. FMAB is about breaking out of the cycle of “an eye for an eye.” In 2003, Scar dies carrying out acts against the military. He doesn’t break the cycle. We understand why he responds the way he does, but it’s in 2009 that Scar and his brother become the damndest heroes in FMAB. Scar goes from someone with vengeful purpose for what the military has done to him… to trying to be the better person, the HERO, who fights back and gives back when no one else would before. 

In the end, 2009 gives the Ishvalans new hope, too. It’s a lot more balanced in coming, especially as we see characters like Scar work through themselves... changing from a man taking vengeance for Ishval’s destruction, to someone working to rebuild Ishval. The Ishvalans’ return to their homeland is built up with good reason, hope, and moral messages. 2003 shows attention to the grimmer realities in how Scar’s life ends. 2009 gives us the greater perspective of growth and solutions in how Scar’s life moves forward.

How most characters’ goals are met - or not met - is another series of instances in which 2003 comes out less optimistically. Edward Elric and Roy Mustang have an entire conversation near the end of the 2003 anime about how both of them cannot achieve their goals in the way they initially intended. Mustang planned to rise to Fuhrer by distinguishing himself in military leadership. Ed planned to find his body by working as a State Alchemist. Both of these characters abandon their plans, Mustang commenting, “Both of us are like children, trying to be faithful in living out our dreams.” There’s a good lesson to be learned in this - don’t swallow evil into your plans, but purge it, even if it means stepping away from that initial dream - but it’s also got a lot more of the less pleasant grits of reality to it, than does FMAB in its messages. 

For in the end of 2003, Roy Mustang never becomes Fuhrer, is not brought up any further up in military command to seem he could achieve that goal in the future, and is in fact set further behind his goal’s progression because of his injury. He wanted to become Fuhrer “for Hughes,” decided instead to kill Bradley “for Hughes” - but the result is a battle he barely wins, an encounter with Archer that makes him lose an eye, and a scenario in which he collapses unconscious in pools of blood from his injuries. Conqueror of Shamballa may of course change this state, but currently, by the end of FMA 2003, Roy Mustang’s life position is no great momentum forward. There are some good things about what’s become of his choices. He seems to be thankful to have Riza Hawkeye around him as he’s recovering. Still. It’s a more grim reality with grim results.

FMAB and the manga show a more positive future for Mustang. It’s also not ideal, but it’s a more optimistic angle. He’s going to regain his vision - the big injury he sustained during his final encounters with the enemy. Mustang is promoted to Brigadier General fairly quickly after the Promised Day arc. Only a few years down the road from that, he’s the second most powerful man in the country. The final photograph of him at the end of Chapter 108 shows us an esteemed General Mustang. And the way Grumman talks suggests he’ll be giving the Fuhrership to Roy down the road. Instead of Roy throwing away his goal’s hard work because it was imperfect, and instead of finding himself no noticeably further in life by the end of the story, Arakawa gives us a much brighter ending for Mustang.

Even if Conqueror of Shamballa may give Mustang a little bit more of a step forward, how Edward and Al regain their bodies still hits my point hard that how characters achieve their goals, and to what extent, is grittier in the 2003. It’s more imperfect in how life goes down. Al actually uses the Philosopher’s Stone inside him in the 2003; he and Ed sacrifice their well-being for each other to try to help one another; Al returns as a ten-year-old boy with lost memories; he and Ed find themselves in different worlds; and on and on. There are a ton of unideal angles in how Ed and Al return to their initial bodies in the 2003. You’re not celebrating a great, hard-earned victory. It’s CERTAINLYy not the same sort of exciting, fist-pumping achievement we get in FMAB when Ed finds a way to outsmart Truth and carry his brother home, arms wrapped around one another’s shoulders. 

The way I like to phrase the end of FMAB is that most characters achieve 85% of their goal. There are some things that aren’t going to be ideal, and Arakawa acknowledges life isn’t ideal. Al gets Ed’s arm back but Ed will always have an automail leg. Edward Elric has to give up his alchemical abilities to return Al home. Roy Mustang has more years of work ahead of him before he can reach his goal. Ling Yao becomes Emperor, but doesn’t carry home with him an exactly immortal body. Mei Chang doesn’t become Empress, though she earns what she most wished to accomplish: secure the well-being of her clan. Winry, Ed, Al, and Mei all have wonderful relationships to grow through, too. Even though they don’t get every aspect of their goal achieved, that’s okay! It’s still the case that these characters earn through very hard work their own happy endings. These endings are more satisfying, and feel like a greater sense of accomplishment and resolution to their original goals. 

2003 moreso undercuts what the characters want. What they achieve and how they achieve it is much less a sense of accomplishment, and focuses even more on the imperfections of the world around them. Ed and Al getting their bodies back isn’t a time to celebrate. It’s just another point in their long journey of trying to figure out how to make their life okay.

And we can continue looking at many more instances to see the pattern 2003 has a less optimistic spin on events. Both stories show imperfections in life, but 2003 hits that sense of imperfection harder and with less payoff to characters. Equivalent exchange and the suffering we endure in life - that’s definitely more positively spun in Arakawa’s tale than the first anime.

Even the ending words of the two anime, while both being similar in their idea, give a sense of the differing levels of focus between imperfection and inspiration:

FMA 2003: Man must pay an equal price in order to obtain anything. That is the Law of Equivalent Exchange. At the time, we believed that to be the true way of the world. But the real world is imperfect, and there was no law that could explain everything. It’s the same with the Law of Equivalent Exchange. Even so, we believe that man cannot obtain anything without paying a price. The pain that we received must have been the price we paid to obtain something. And, by paying the price of effort, everyone will certainly be able to obtain something. Equivalent Exchange is not the law of the world. That’s the promise Brother and I made to each other until the day we meet again. 

FMA 2009: There’s no point to lessons that don’t bring with them pain. People can’t gain anything without sacrificing something, after all. But once you’ve successfully endured that pain, you gain a heart that is stout enough not to become overcome by anything. Yeah, a heart made of fullmetal.

Both of these endings acknowledge that we gain something when we go through pain. But in 2003, Al says that the world is imperfect and what he and his brother believed about equivalent exchange was imperfect. Al also is trying to say that he wants to step beyond the imperfect and incomplete Law of Equivalent Exchange and through that find a way to reunite with his brother. There’s a lot more focus on imperfection and the fact that life continues to bring imperfection to him. In the 2009, stating that we gain something through pain is given a more positive spin: once you do that, you can overcome everything. It’s not just that paying the price of pain will gain you a mediocre “something” - it’s that it will turn you into someone with a steel-strong heart that can overcome anything. Mentioning the Law of Equivalent Exchange in FMAB isn’t to talk about how the world is imperfect, but here it’s to say that the experiences we undergo give us a great end result. Hardcomings build our character and give us a happy ending.

There’s certainly a difference in mood between these two closing monologues, similar as they are in conceptual content. FMAB is far more inspirational.

Now. Don’t let this long analysis suggest that I think FMA lacks good quality. There are some extremely cool topics that FMA 2003 discusses in depth, especially regarding our responsibilities in war. And typically I tend to enjoy stories that acknowledge the imperfections of our experiences, and how situations never resolve in the glittery manner we imagine. However, in the case of FMA versus FMAB, I have to say that Arakawa’s story is by far more successfully emotional, satisfying, and inspirational. There has to be some payoff for characters to undergo their challenges. The way FMA 2003 is written, there is less payoff and less inspiration.

These are just some of my thoughts about how FMA 2003 is framed, and how that makes it feel in comparison to FMAB. I’ve had a hoard of fun watching the older series, and I could certainly talk about its positive sides, too. However, I think that’s enough yakking for now. These were my biggest impressions of the series before heading off to Conqueror of Shamballa.

[recentanimenews]

REVIEW: Friendships Go Beyond The Limits in My Hero Academia Heroes: Rising Anime Film

The second My Hero Academia anime film – and maybe the last –, My Hero Academia Heroes: Rising, opened in Japan on December 20 and was up against the might of Star Wars: The Rise of Skywalker. The heroic film has done well for itself in the country, with over 1.1 billion yen in ticket sales, so we sent our Japan Correspondent Daryl Harding to go Plus Ultra and check out the film!

    With the fourth season of the TV anime currently airing, and the manga reaching the 25 million copies printed mark, you cannot deny the staying power of the My Hero Academia franchise. The debut of the TV anime gave us one of the best-animated shonen series ever, spawning two feature films, Two Heroes, which released in 2018, and Heroes: Rising, which was one of the last films to be released in the decade in Japan.

  It’s getting chillier in the My Hero Academia universe as class 1-A heads into its first winter together. To get away from the cold, the budding heroes are sent off to a tropical island off southern Japan to test their heroics on the local community, without any pro-hero supervision. Of course, in true My Hero Academia fashion, things go coconut shaped when a powerful group of villains, headed by Nine, storm the island.

    My Hero Academia Heroes: Rising starts out big. With a car chase that rivals that of Initial D – sans the Eurobeat music, sadly –, the opening minutes of the film told me that this would be a wholly different film than that of Two Heroes. Two Heroes, for all its fun, was an All Might film and sidelined certain characters which could’ve shined on the island. Heroes: Rising, on the other hand, was a Class 1-A film, giving each of the characters their own time to shine.

  After what feels like the long stretch of the story outside of UA in the currently airing Hero Intern arc in season 4 of My Hero Academia, it was really nice seeing the whole class work together as a team to protect and serve the island. A lot of the build-up in the film, whilst being a little slow, was showing all of Class 1-A acting as heroes for these islanders; they saved beachgoers from perverts, fixed tractors, transported old ladies across the island. Unlike the anime series which most of the time goes from epic fight to bad guy plotting to a depressing story about All Might’s past, it was nice seeing the kids have fun using their quirks to help people in their daily lives. We need more of that from all the heroes in the My Hero Academia universe.

    With all of Class 1-A as a focal point in the film, scriptwriter Yosuke Kuroda (My Hero Academia series, Ano Natsu de Matteru) had the daunting task of adapting the treatment from director Kenji Nagasaki (My Hero Academia series, Classroom☆Crisis) and manga creator Kohei Horikoshi to make sure the story flowed and every character acted like themselves in the tiny 104-minute timeframe they had to shine.

  Major props have to go to the character development of Deku and Bakugo throughout Heroes: Rising. As a fan of the TV anime, I noticed all the little quirks their relationship had in the film, but for people just watching this film and not caught up to the anime or manga, you won’t be left behind either. Seeing them tackle Nine side by side really showed the growth of the characters over the entire anime series’ and even the film's overarching plot of how they’re different types of heroes that can come together, unlike All Might and Endeavour. If My Hero Academia was only a character-driven show, without the main plot, Heroes: Rising would be the perfect culmination of the entire series.

    Coupled with the great insights into these characters – of which this same team at BONES has been adapting since 2016 – was beautiful animation that felt like a step up from the TV series, with its own unique style. Unlike the current Hero Intern arc which has Deku fighting in a sterile basement, Heroes: Rising is set on a tropical island, giving the animation a tropical, sun-kissed look, highlighting the already wonderful character designs by Yoshihiko Umakoshi (My Hero Academia series, MUSHI-SHI). The final fight animation was some of the series’ best, but sadly, I felt, was let down by the OST which was a down-tempo remix of You Say Run from the series. The emotions I felt while watching didn’t run away from me though.

  Sadly, the film did have a problem with going beyond its limits. Nine felt as powerful as the scenes needed him to be at times, as did the quirks of the first-year high schoolers. This gave them some pretty brutal fights that had a lot of weight behind them to go against with Nine's minions. But because this is a side-story anime film – set inside the already established continuity of the manga – we already know who lives, who dies, and everything in between. While it doesn’t make the film any less fun, the world-ending stakes in it felt lessened.

    Speaking about continuity, this film is said to be canon in the anime series, set in the wintertime of the first year. Manga readers might recognize some hints of where it’s placed in the timeline, but anime-only watchers, like myself, had to play a little bit of catch up to the new powers certain characters had – which looked awesome by the way. Heroes: Rising doesn’t spoil anything though, other than the first interactions of Hawks, who was previously introduced in a later arc in the manga, which hasn’t been adapted into anime yet.

  For My Hero Academia fans, this film is a must-see. From the delightful visuals to the character interactions, and the hints of the story to come, I had a really enjoyable time watching the film and seeing Class 1-A being teenagers using their quirks for a community, rather than fighting bad guys. Don’t worry though, there’s a lot of punching and cool looking fight animation in the film too.

    To help with the cinema-going experience, the cinema I went to had a special My Hero Academia combo deal going where you got a special Deku inspired cup holder (pictured below) based on his hero outfit (and popcorn, but who cares about that?). While the deal was a little overpriced – it was a cinema after all – getting Deku in a cup is totally worth it.

    Review roundup:

  + Some of the best animation in the franchise to date

+ Character writing was on point

+ Fans of Deku and Bakugo will be VERY pleased with the film

+ Seeing Class 1-A being heroes was a treat

- What Nine was trying to do has been used in My Hero Academia before, multiple times

- Stakes were low due to being a spin-off film in a manga adaptation

  My Hero Academia Heroes: Rising opened in Japanese cinemas on December 20, and is set to be released around the world from early 2020. The fourth season of My Hero Academia is currently streaming as episodes release on Crunchyroll.

      ----

Daryl Harding is a Japan Correspondent for Crunchyroll News. He also runs the YouTube channel about Japan stuff called TheDoctorDazza, tweets at @DoctorDazza and posts photos of his travels on Instagram. 

By: news+feed@crunchyroll.com

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My Top 10 Favorite Waifus In Anime https://animeride.com/lists/6590/my-top-10-favorite-waifus-in-anime/ #AquaAndKazuma, #BallroomEYoukosho, #ErinaNakiri, #HajimeteNoGirl, #LucyHeartfilia, #Mila, #Noragami, #OnePiece, #Reiju, #UtahaKasumigaoka, #YumekoJabami

New Post has been published on https://animeride.com/lists/6590/my-top-10-favorite-waifus-in-anime/

My Top 10 Favorite Waifus In Anime

Hi everyone. This is my personal list of favorite waifus. I love these 10 women most of all. Most of them are very new to our viewers. Plese comment your top 10 Waifus in Comments.

10 ) Miia

Anime : Monster Musume 

Coming at my list at number 10 is the lovable Miia, I remember the first time I started Monster Musume. I did not expect much, but I was intrigued from the get go with how forward Miia was. She was always so care free, and never seemed shy whenever she can do things with her caretaker. Being a monster girl you couldn’t really imagine a human wanting to be with her romantically, but their are just some assets you can’t ignore in some cases. If Monster Musume wasn’t a harem, I would want Mia to be the one our MC falls in love with. Sadly we can only be teased since most harems never progress into anything special. Last but not least that tail is beautiful! One day I hope we get a season two, but as of now I guess I can only enjoy seeing Miia in manga form.

9 ) Lucy Heartfilia

Anime : Fairytail 

One of the most talked about characters in Fairly Tail till this very day. I can’t fathom how anyone could possibly dislike Lucy, from her personality, appearance, and friendships she has build as a member of fairy tail as time progressed. I always loved her friendly side, even if her back story was kinda generic living as a rich girl throughout her years, to put her life on the line takes guts. I know I wasn’t the only one to ship her with Natsu from day one, you can automatically feel the spark between them, its just Masahiro constantly had to tease us into thinking that NaLu would be a reality. One kiss between them would have been enough for me to ask for, but I guess it wasn’t meant to be. In my opinion it seemed like every season Lucy’s beauty kept on getting growing! Lucy come to the real world. ‘-‘)

8 )  Aqua

Anime : Kono Subarashii Sekai ni Shukufuku wo! 

Without certain one of my favorite female characters in anime, Aqua is truly in her own league among st the rest. From her childish nature, to always somehow getting her party members in danger, I love everything that makes her shine. Their were times in which Aqua has shown to be useful in certain situations, sadly it would get overlooked since it would result in more bad outcomes than good almost all the time. Throughout the hardships she always seem to be happy most the time, I doubt at this point she really wants to go back to deciding people’s choice after death all alone. The world of adventure is the perfect fit for here, also her revival spell is lit, I wish I could use that in the real world. Kazuma should not be afraid to die now, knowing that he will just be revived by this valuable water goddess waifu!

7 ) Reiju

Anime : One Piece 

Vinsmoke Reiju, also known as “Poison Pink”, is the eldest child and only daughter of the Vinsmoke Family, making herSanji’s elder sister. She is also the princess of the Germa Kingdom and a commander in its military arm, Germa 66.

Reiju is a slim young woman with shoulder-length light pink hair (darker pink in the anime), covering her right eye and curling upwards at the tips. She also has purple eyes (blue in the anime), and occasionally wears light pink lipstick. Like all the Vinsmoke siblings, she has distinctive curly eyebrows that form a spiral resembling the number “6”. However, unlike her brothers Sanjiand Yonji, her eyebrows appear to swirl symmetrically in opposing directions.[6] Both of her thighs are tattooed with a number “6”

 6 )  Bishamon

Anime : Noragami

Where could you go wrong with a woman like this. As they say the mature ones or sometimes the best compared to the rest! Bishamon’s courageous actions really caught my eye, taking on all those regalia as her own must have been painful. Still she overcame that pain because of how much she cared for all of their lives. If Hiyori never existed I would ship her with Yato mainly due to their complicated relationship. Like Bishamon hates him, but still shows signs that she cares about him in more ways than just a regular friend. Haven’t caught up too the manga, but with my chance to see both seasons I have come to understand their relationship better. I hope one day they could even start a family together, but I may be stretching it a bit. Also Bishamon is really strong to the point where I would be afraid to confront her one on one. She seems clueless in love, so she’s an easy prey for me to snatch up for myself. Wouldn’t want to get on her bad side.

5 ) Yukana

Anime : Hajimete no Girl 

Best girl for summer anime of 2017! I can’t cherish how much I enjoyed her character. To the eyes of many I bet most people views her as a slut who is just looking for casual hookups. Well you were completely wrong for those that assumed that, Yukana is a pure hearted girl who just wants to fall in love, and enjoy her life to the fullest. Her teasing never got old, and I couldn’t wait to see more of her after the episode finished. Safe to say I only

watched Hajimete no Gal due to her alone. I’m glad we got to see a different side to her towards the end of the anime. Her crying over a possible break up truly emphasizes the love she held for Junichi is in fact real. Bases on the ending of the anime it looks like I’ll have to read the manga as of now for more Yukana!

4 ) Shizuku

Anime : Ballroom e Youkosho

Shizuku Hanaoka  is a first year student in Highschool and an amateur dancer at Ogasawara Dance Studio. She is so damm sexy. As a dancer she has great physique. Also here curves and long graceful neck.

Shizuku is perfect waifu material for me. She is understanding and a well versed dancer. Her chemistry with Kyoharu is so great and i just love her decency .

3) Erina Nakiri

Anime : Food Wars 

The ultimate female chef is hard to not love! Erina is a child on the outside, but in the inside she is talented unlike no other. Her cooking skills have me locked on figuring out what makes her have such a Queen aura surrounding her. I have a sense that almost everyone except for Soma, and some others aren’t afraid to challenge her to a shokugeki match. I have shipped Erina with Souma till this very day, sadly though since this series is a shounen it won’t ever happen. One can dream, but my hopes aren’t too high. Wouldn’t hurt to make Erina be more cutesy around Souma. Funny how his dad is the one she has always looked up to at this very point. Haven’t read the manga in a while since season 3 is almost here!! So pumped to see Erina again in Food Wars, shoot more foodgasms for the win!

2 ) Yumeko Jabami

Anime : Kakegurui 

Attractive, smooth as silk, and silver-tongued, Yumeko is a natural-born gambler. Gathering the attention of her peers and the entire student council, there’s no denying she enjoys the attention she receives. Despite all odds in a gambling match, she somehow manages to turn the tables in the most daring ways, often times using her perceptiveness to decipher her opponent’s tricks.

Yumeko has pale skin, long black hair styled with a hime-cut and brown colored eyes. Her eyes are sometimes seen turning red in the anime and manga when she becomes excited. She wears the Hyakkaou Private Academy issued uniform; a red blazer with black trim lining the cuffs and collar, a white button up dress shirt, a dark pleated skirt, a tie and black/grey colored stockings. As well as the academy’s issued footwear, brown colored loafers with black soles. She also sports red lipstick and has red painted fingernails (sometimes seen pink). She wears a ring around her left thumb.

1 ) Utaha Kasumigaoka 

Anime : Saenai Heroine no Sodatekata 

Last but not least we have Utaha as my number one! This on my part was difficult to decide between her, and Darkness. But with the conclusion of season 2 for both parties my choice became easy after what Utaha pulled off on the low. With the use of this anime making fun of harem anime’s while being one as well suited Utaha perfectly. From being one of the most popular girls, and falling in love with an otaku named Tomoya. Love can appear out of no where sometimes, they may not have been childhood friends. I ship both of them compared to the other girls solely due to Utaha’s don’t give a dam actions. From sleeping with him in a hotel, to her womanly assets almost being exposed, no event is ever detrimental to her end goal. I could be wrong, but her end goal is basically to write her stories to appeal to Tomoya’s desires. Season two left a lot for me to remember on why I made the right choice in Utaha being my personal number one favorite. Morning Utaha, time to expose Tomoya so he can be your slave now with that lewd evidence!

  So who’s your favorite anime waifu ? Comment your favorite Anime waifu in the comments !