#false hero

[literatureloverx]

“I feel no responsibility to those comrades who’ve lost their lives in my service. They chose to fight those battles, just as you chose, just as I… just as I have chosen this. But there is one thing I can do for them—for the dead. It is to win, and keep winning until I attain my dream. A dream they clung to and risked their lives for. I can’t just step over the bones of the dead in order to realise it. My dream is already smeared with blood. I don’t regret; I don’t feel guilty. But I’d rather sacrifice myself than watch any more innocent children die in the name of my dream.”

— Griffith from Berserk

In my view, Griffith embodies a disturbing blend of unhealthy obsession, Machiavellian cunning, moral detachment, a fractured sense of responsibility, delusion, and false heroism, each aspect interwoven with a chilling elegance.

His unhealthy obsession is clear in his relentless pursuit of his dream, regardless of the cost. When he states that he doesn’t feel responsible for the deaths of his comrades because they “chose” to fight, it highlights his singular focus on his goal, disregarding the human cost. His priority is his vision, and he reduces the sacrifices of others to mere choices rather than recognizing them as genuine acts of selflessness. Yet, despite this rationalisation, he still feels a sense of guilt. His obsession blinds him to the true cost of his ambition, allowing him to justify the loss of life while still struggling with internal conflict.

Machiavellianism is reflected in Griffith’s cold pragmatism. The statement “they chose to fight those battles” underscores his manipulative mindset—he views those around him as pawns who make decisions for themselves. His detached attitude toward their sacrifices reveals his willingness to justify their deaths as a means to an end, characteristic of Machiavellian behavior. Griffith sees people as tools in his grand plan, willing to use them without any emotional attachment or care for their fate. Yet, beneath this detached exterior, he is trapped in his own internal contradictions, experiencing deep guilt over the consequences of his actions.

By claiming, “I feel no responsibility…” one might assume that Griffith is emotionally disengaged from the suffering of others. However, this doesn’t reflect a lack of guilt or regret over the sacrifices of his comrades. Instead, he rationalises their deaths as choices they made, distancing himself from any moral burden. Despite his attempts to distance himself emotionally and justify his actions, he still grapples with guilt. He frequently reflects on the people who have died because of his dream, blaming both himself and his ambition inwardly, while outwardly justifying his actions. This creates an internal dilemma that tears at his psyche.

The following lines further reveal his breakdown through a false sense of responsibility: “But there is one thing I can do for them—for the dead. It is to win, and keep winning until I attain my dream. A dream they clung to and risked their lives for.” Here, Griffith imposes a sense of responsibility that is partially delusional. He convinces himself that the best way to honor the dead is by achieving the dream they “clung to.” However, this sense of responsibility isn’t genuine; it’s a mental construct meant to rationalise his obsession. The weight of this perceived duty serves as psychological justification for continuing to sacrifice others. It’s not true selfless responsibility, but a coping mechanism that allows him to maintain his focus on his goal while masking the emotional turmoil that accompanies it.

Griffith is deluded into believing that the end justifies the means. He says, “I can’t just step over the bones of the dead in order to realise it,” suggesting that he retains some moral boundary. However, his insistence that he must fulfill the dream “for the dead” is itself a delusion, because it enables him to overlook the horrific consequences of his actions while still rationalising them as necessary for the greater good. He convinces himself that his dream will somehow redeem the sacrifices made in its name, even as he continues down a path paved with violence and betrayal.

Finally, Griffith’s false heroism is evident in his belief that his pursuit of his dream is not only justified but noble. The line, “My dream is already smeared with blood,” reflects his internal conflict but also his refusal to turn back. By stating that he would rather sacrifice himself than watch innocent children die for his dream, he presents himself as someone burdened with a higher moral calling—sacrificing others for the “greater good.”

This is the essence of false heroism: Griffith sees himself as a hero because he believes he is making these sacrifices for a noble cause, when, in reality, his actions are self-serving and driven by ego.

The line, “But I’d rather sacrifice myself than watch any more innocent children die in the name of my dream,” is crucial in understanding Griffith’s self-perception as a tragic hero.

On the surface, it suggests a moment of self-awareness and even self-sacrifice, as he claims that he would put his own life on the line to prevent further innocent deaths. However, this statement also reflects Griffith’s deeply flawed understanding of his own moral standing. It implies that, despite the bloodshed he has already caused, he still believes his ultimate goal is noble enough to warrant such sacrifices.

His willingness to “sacrifice himself” is framed as a form of atonement, but it is also a manipulation of his guilt. The fact that he would rather die than let more innocents suffer reinforces his delusion that he is, in some way, the tragic hero of his own story—sacrificing others for the greater good, while seeing himself as burdened with a higher moral calling.

In reality, Griffith is not truly acknowledging the enormity of the harm he has caused, as he still justifies his violent and self-serving actions as being in service of a dream that transcends any personal guilt or regret. His attempt to position himself as a martyr only further illustrates the extent to which he is trapped in a cycle of delusion, convinced that his sacrifice will redeem him and make his dream legitimate, even at the cost of others’ lives.

[xpi3]

Im lazy to color it so

[bunkless-bed]

[caninemotiff]

Been thinking lately about characters who are so convinced that they're the hero, who hold onto it so tightly. Because if they aren't, if they never were, then was the sacrifice meaningless? Was the pain escapable? Was it all for nothing?

[girlatrocity]

villain kids!!

[drawnfamiliarfaces]

Heroes of Millennium (HoM) AU

Act 1: What was left behind. - Part 1 (page 1-5) -here- -> Part 2

[poppy5991]

Enji, texting: Touya, I know you’re still mad, but did you really have to set my kitchen on fire?

Touya, texting back: Wtf are you talking about?

Hawks: *enters the room with a stack of burnt pancakes and a guilty expression*

Enji, texting: Never mind, disregard that

[foxnikki]

No because I do not understand why most of the villains are so hot, like- look at them!

I know they're villain, please leave me alone-

[tw1l1te]

𝖋𝖆𝖑𝖘𝖊 𝖍𝖊𝖗𝖔- 𝖈𝖍𝖆𝖕𝖙𝖊𝖗 𝖔𝖓𝖊

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Hyrule was no more.

That's what the elders told you, at least.

The sacred fields and forests of the kingdom have been blanketed with white snow for a millennia, the sun only behind the clouds. The population of Hyrule has dwindled over time, making this era lonely and full of decay.

Truly an era that should be forgotten.

An era that didn’t deserve a place in the historical archives. 

An era that was doomed to begin with.

Looking out onto the cold, dreadful expanse of Hyrule, you wonder what your life had come to. Being alone for a significant portion of your late teens and constantly on the run wasn’t your idea of a good life. A life where you got to be happy. But, no one really got to have that anymore, everyone lived to survive. They’ve all accepted that in this life, you lasted as long as you could, and that was that.

You felt a stinging cold brush of air against your cheek, instinctively causing you to bundle your scarf tighter around your face. An old habit.

It was about to snow soon. That’s all that Hyrule did anymore: snow. There were no more seasons or days of clear skies, the sunniest the fallen kingdom got was a gloomy gray sky, a white orb just barely being seen amidst the gray blanket. 

Getting up from the rock you sat on, you made your way downhill, back to the run-down village you called home, or the closest thing to that. The elders did their best with the limited resources they had, as after the Reawakening, there was hardly anything left.

The village was small, you could walk the entirety of it in just under five minutes. Being located South of central Hyrule, you were lucky enough to be shrouded in thick forests, protecting your little village. 

Walking through the main pathway, you wave to a few people, a small smile under your scarf. These people were the closest thing to family, as yours had been forgotten about long ago. It was for the best.

You walk up to the main entrance of the meeting house, knocking twice on the wooden door. You open the door and walk inside, making sure to latch the door behind you so the wind wouldn’t blow the damn thing inward. 

“Another storm comin’, aye?” 

You look behind you to see Arden, one of your closest friends and comrades. He was a few years older than you and taller, with shoulder-length black hair that was begging to be trimmed.

“Yep, second one this month and it's only the third week. Make sure your mother stores her plants in the cellar, her herbs are crucial to us.”

He nods, walking to the table in the middle of the shack. The table was littered with half-torn maps and old trinkets, most of them collecting dust.

“...Anything new?” he asks, arms crossed over his form. You knew what he was asking about. Your memories.

“Bits n’ pieces, they’ve been kind of blurry lately, its hard to even understand what’s happening.”

He nods, satisfied with your answer. 

“Well, at least you’re not having constant nightmares, I couldn’t even imagine the horrors you saw.”

You look away from him, recalling your last nightmare. Though so much of it was in fragments, you remember it being so vivid and… real. As if you were him.

“I haven’t had one in a bit, which is nice… I guess. Haven’t gotten any answers to our main issue though. Her.”

“Have you tried writing down what happens in your dreams? Maybe connect the dots after you’ve taken some notes?”

You shake your head, mentally tired from talking so much. After your journey a year ago, you’ve gotten so used to not talking for days or weeks at a time that even a few sentences makes you exhausted. 

“I see. Well, the others are supposed to meet us here-”

There were rapid knocks on the door, sounding impatient and frantic. Looking at Arden, you go to unlatch the door, curious as to what the disruption was about. You were surprised to see Colin, another comrade of the team, standing there looking worried, eyebrows creased.

“Y/n, Arden… I think you should follow me. You need to see this.”

You turn to look back at Arden, giving him a curt nod. Your meeting could wait.

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You and Arden walk with Colin, the lack of information eating away at your brain. What could have possibly worried Colin so much? Did something happen?

You all walk up to the large tent where you kept most of your supplies and food, the thick canvas fabric flapping in the wind. You could hear talking in the tent, several people already residing ithin.

Colin turns to you, muttering “Y/n, they might recognize you based on your clothing. I’d suggest concealing your face a bit, we don’t know their intentions. Could be some of her’s.”

Taking in the tone of his words, you wrap the scarlet scarf around your face, making sure only your eyes were visible. Your hood was already up, so you didn’t have to worry too much about them seeing more of you.

“Thanks.” you murmured, already walking towards the entrance of the tent, hands balled up into fists.

“Be careful, Link.”

ᨒ↟ ⋆｡°

Immediately after walking into the tent, you halt at the number of people in the room. Including two of your other team members, there were twelve people in the room. All of their focus was on you.

Dusk, one of the women of your team, walks up to you.

“We found them while scouting the back woods. They’re armed, but not hostile. They say they’re the heroes of Hyrule, whatever that means.”

You nod curtly at her words, eyeing the group. Their eyes are glued to you, each one with varying degrees of frustration, confusion, or curiosity across their faces. Then it hits you.

It is them. Each one, from each era.

But all together? This is a first.

You wonder why they’re staring at you so much, but then you remember you are wearing the hero’s garb. Same green hat, full green getup. An obvious indicator to them.

You groan internally, you should've changed.

The blonde man with the blue scarf stands up and walks over to you, hand out for a handshake.

“You’re a Link, aren’t you? Pleasure to meet the hero of this era.”

You look at his hand, then back up at him. 

Is he serious?

You snort under your scarf, the casual interaction being so alien to you. The last thing you were interested in doing was being acquaintances with the past heroes.

Seeing your lack of response makes him pull back his hand, face full of confusion. What was up with this era?

The one-eyed hero from behind him suddenly stands up and makes his way to you. His good eye bores down at you before speaking.

“My apologies for my Captain’s forwardness. My name is Link, but we all go by monicker’s to diffuse the confusion. I go by Time, and the others will introduce themselves at a later time. We happened to stumble into your woods and are currently trying to find out where and when we are located.”

You raise an eyebrow at his statement.

When? Meaning… they time traveled?

Dusk beat you to the chase answering, “We don’t exactly count years, but based off of the last era counted, we are about 10,000 years after the Era of The Wilds.”

Time takes a moment to process the information, seemingly doing some mental calculations. He looks back down at you.

“And it’s safe to assume you’re the hero of this era?”

You nod slowly.

He takes a hesitant breath before continuing, “... what happened in this era? From what we’ve briefly seen, its the most destroyed time period we’ve seen.”

Dusk walks up behind you, saving you from the interrogation.

“Our country destroyed itself. No monarchy, no kingdom, barely anything left.”

His brows furrowed, “Ganon’s doing?”

You still at the name. You should have been prepared to answer this question. After all, it was inevitable.

You shake your head.

“Ganondorf?”

Again, you shake your head.

“Then who?”

You look at Dusk, silently pleading her to not tell them of your fate. This was something that needed to be eased onto them slowly. After all, most of them were devout to Hylia in one form or another.

Seeing your desperation, Dusk sighs.

“It’s better if you follow us back to the Resistance Headquarters. We have more information there.”

“And why would we do that? For all we know, this could be an ambush,” the pink-haired male responds.

Dusk rolls her eyes, sending you a smirk, “Because it would be way too much work to clean all the blood and guts up, plus, we don’t have the resources nor luxury to do that.”

You lightly shake your head, not knowing how her sense of humor was still intact after everything. In other circumstances, you would’ve scolded her, but you weren’t up for chatting at the moment.

Tossing a glance over your shoulder, you lead Arden, Dusk, and the heroes back to the headquarters. This was going to be a long day.

ᨒ↟ ⋆｡°

“So yer tellin’ me you’re Wild’s descendant? Surprised yer not feral or somethin’,” Twilight mutters, earning an elbow jab from the one referred to as “Wild”.

They seem… brotherly.

Wild turns to you, holding his chin, “Do you… still have the Sheikah Slate? It might be too old now in your era, but-”

You nod, taking out the slate from under your poncho. It was in much worse condition than Wild’s, but it had alterations and had been through a few thousand years.

He hesitantly picks it up from your hands, almost worried that the Slate would wither away from how fragile it felt.

“It looks… different, changed. Does it have new functions?”

Arden points at the screen, “Yeah, Link added a few alternate functions like a more expansive map and the ability to communicate with others.”

“Communicate?”

“A couple other groups across Hyrule have a similar type of slate, though they can only use it to communicate. It’s good for fast and quick communication.”

He nods, examining the slate some more. He shuts it off, handing it back to you.

 You choose to ignore the warmth coming from his fingertips.

“It seems you’re advanced in technology, and yet, so rural and primitive. Is there a reason for that?”

Arden looks at you while he speaks, “Well, technology was advancing right up until the Reawakening, and quickly declined after that. We managed to salvage a few things during the event, though a lot of it looks ancient now. Still works, though.”

He shoots you a lop-sided smile, “You should totally see Link’s snowbike though, that thing is a beast.”

Wild raises an eyebrow, “Snowbike? Like the Master Cycle Zero?”

You nod. You forgot he had one of those.

Time buts in, seemingly preoccupied with something else.

“As much as I am curious about your modern advancements, I believe we have more pressing matters at hand. Primarily, why we’re here in your era.”

You nod again, eyeing Arden and Dusk. You needed the room.

Arden walks up to you, murmuring “You sure? I don’t trust them.”

You place a hand on his arm, nodding. He looks down at your hand, eyes flicking between your hand and your eyes. He wanted to say something, but decided to bite his tongue. He wordlessly nods, and both him and Dusk leave you with the group, latching the old door behind him.

You ignore the strange interaction between the both of you, deciding to check up on him after.

You adjust your scarf, pulling it downward so your entire face is visible. The scarf muffled your speech and you were starting to get a bit suffocated with the fabric over your mouth.

“Y-you’re-”

“A female?”

The group seems to go silent at that, emotions ranging from confusion, shock, disbelief, even some excitement from a couple.

Arm over your chest, you kneel on one knee, your head bowed. Taking a small breath, you raspily introduce yourself:

 “My name is Link, the Forgotten Hero.”

ᨒ↟ ⋆｡°

[witchofthesouls]

I wish I had digital art skills because I'm haunted by The Primes' Rooster AU, such as:

The sheer hungry look by Liege Maximo licking up the mess upon Sentinel's thighs and pressing his mouth on the most perplexing valve anyone as come across.

A well-bitten Solus smoking a cigarette in the berth, a contented and well-bedded Megatronus next to her slipping on a nice drink through a straw, and Megatronus is sharing that with a slightly dented Sentinel who's between them and has his own super curly straw to sip the cocktail.

Quintus' labs with the Prime recording the procedures. A serious face in one frame, then a "Oh, someone's (it's Sentinel. He has permission to get inside and Quintus is too deep in Science to realize there's another person there.) messing with my valve. Well, the newsparks do need materials and I can't remember the last time I've eaten."

Alpha Trion and the Cybertronian version of Kama Sutra

Vector Prime distantly watching over others clanging with a glass of wine because of his voyeur kink

Sentinel with his own weapon forged by Solus herself. It's a cross between his canon sword and the Skyboom shield.

Short-king Sentinel with his tall-ass Primes and equally tall-ass teenage/adult children.

Starscream's and Sentinel's dramatic BEEF with each other. Literal cockfighting between these two.

And Rooster!Sentinel in Canon!verse, going "Look at me. I'm your sire/geni now." to Orion and D-16.

On one hand, pre-betrayal discovery is Rooster!Sentinel slinging the Cogless versions of two of his sons/grandsons over his shoulders. On the other hand, post-betrayal discovery is Sentinel versus Sentinel. D-16 won't bow before the false Prime, but he'll lower his face because of the resulting selfcest and the filthy, filthy commentary on Megatronus' (his hero's) sexual preferences. (The High Guard peanut gallery chiming in over Megatronus' getting his back blown by Solus and/or Prima.)

[stillness-in-green]

Sorry if this question rubs you the wrong way, but wouldn't going out of their way to try to help villains to the absolute extreme that you propose be a bit suicidal? I feel like trying to talk no jutsu criminals like Moonfish who's a serial killing canibal, or Muscular who doesn't have any actual reason for commiting violence against others other than he enjoys it, would end up getting people hurt or worse.

Idk, maybe my perception is skewed because my country has problems with the justice system being too lenient with criminals, but then striking hard against honest folk.

Like, let's say heroes try to talk to Muscular about his feelings and stuff, and he just beats them to death. So should they arrest him and take him to jail now, or should they respond "understandable, have a nice day" and let him carry on with his rampage and try to talk no jutsu him the next day?

I’ve had enough exchanges with you, rvg, to assume you don’t mean it this way, but I gotta say, this is an incredibly fallacious way to frame the “talk to Villains” discussion.�� I wrote two responses to this, first a characteristically long and rambly response which you and anyone else who’s interested are free to read below the cut.  The second response is much shorter and is here above the cut, if only for those readers who think it’s a waste of time to try and give a sincere answer to what reads like deliberate reductiveness—though again, I don’t think that’s your intent.

Here is my model version of how Heroes should engage with Villains:

Step One: Heroes should put in a basic, good faith effort to defuse and de-escalate every Villain encounter they have with the tools and knowledge they have available; the ideal result is that the Villain will choose on their own to stop presenting a danger to the public.      

Step Two: If that is not feasible for some reason, or if it is ineffective, then the Heroes should make all possible efforts to arrest the Villain with the minimal possible harm.      

Step Three: If there is an immediate threat to the lives of bystanders and there is absolutely no way the Heroes can come up with to stop the Villain non-lethally, then there should, afterwards, be an investigation into the death of the Villain and all Heroes who were involved should have to face questions about their role in the situation and their decision to use lethal force.  Measures should then be implemented to help prevent the situation from arising again in the future.  A Hero killing someone should by default be treated as a punishable failure, not a victory.

That’s it!  That’s all there is to it!  Try talking first, then try arresting, and if killing is truly the only way, be ready to explain why.  That step-by-step should be the standard, and if there are going to be deviations from it, they should be exceptionally well-justified by both the characters and the narrative.  If that’s not the standard, then I think it’s a key thing we need to see the protagonists confronting and changing.

Hero Society is obviously in the not-the-standard camp: most of the Heroes spend most of the series jumping straight to Step Two, totally skipping Step One; there are then multiple instances of Step Three being botched completely, with non-lethal tactics being discarded or ignored and lethal force being accepted without question or resistance.  By the end of the series, a tiny handful of Heroes are now hesitantly attempting what should have been their very first go-to, Step One, but their prior reliance on Steps Two and Three make the Villains much more resistant than they might have otherwise been, which reenforces the push towards lethal force in a society that will still not enforce any consequences for it.

This would all be more forgivable if not for the way BNHA positions its Heroes, as lawful defenders of the status quo in a basically modern version of Japan—i.e. they’re cops but the story either doesn’t want to saddle them with the responsibilities real cops would have or else Horikoshi has some alarming views that treat said responsibilities as bothersome administrative red tape.

Therein is my fundamental complaint: BNHA makes the choice to frame its Heroes as being basically specialized police but then disregards or attempts to minimize how that framing colors the Heroes actions’ and decisions, especially with regard to the Villains.  My thoughts on what the Heroes “should” be doing are nothing more than taking that framing (Heroes = cops) to its logical conclusion and asking the story to treat the Heroes accordingly.

Below the jump, find the longer version of this answer, which contains more picking apart of the ask’s premise, more references to the canon and to real life, and an extended discussion about the non-Hero institutions in BNHA that are in some way responsible for Villains and what Heroes’ obligations are re: those institutions.  It is, in other words, the version of this answer that’s 4000 words long instead of 500.  Reminder that it was the version of this answer that was written first, so pardon any recycled phrasing or reiterated rhetoric.

I’ll just start by re-pasting the question…

What I think is that there is a lot of air between “beating up Villains while being more concerned about the news camera catching your good side than you are about talking to the human being you’re pummeling” and “trying to talk to the Villain but just shrugging and letting them carry on if it doesn’t work”.

A perennial response Villain fans get when they talk about this is an exasperated, even outraged, “What, so you’re saying Deku should just let Shigaraki kill him or innocent people?!”  And like, no, that’s not what we’re saying at all, and it’s a really reductive, bad faith characterization of the argument.  So I want to talk first about what Villain fans are saying, and then I’ll circle back to your question about trying to talk no jutsu the really bad news Villains and what Heroes should do if that talk no jutsu fails.

First things first, and to get it out of the way, not all Villains are on the level of Muscular or Moonfish.  For the vast majority of the series, the numeric bulk of Villains are just street criminals.  It would not be a life or death struggle for Kamui Woods and Mount Lady to try and talk down a purse snatcher together.  There is so much room for positive change in how Heroes engage with street-level Villains that just gets glossed over entirely when people want to spin-kick the argument all the way to S-class threats like post-surgery Shigaraki.

Note how handily and briskly Hawks deals with the nudist flasher guy when he’s walking around town with Endeavor—he doesn’t even glance in his direction.  Would it have been so impossibly hard to use his feathers to pin the guy’s coat back together and then cheerfully ask him why he went and did a thing like that?

So just keep that in mind, first of all: for the vast majority of what a Hero does day-to-day, especially the powerful ones who are way up near the top of the rankings, there are options available to them beyond “immediately resort to extreme violence” or “give the Villain a thumbs-up and walk away, whistling to cover the sound of civilian screams.”

But okay, how about with the more dangerous Villains?  Well, the point still stands: multiple heroic characters throughout the manga show themselves to be entirely capable of carrying on a conversation—be it with the Villains or with Hero allies—while fighting.  Mirio is able to temporarily keep ShigAFO talking and distracted by simply asking him a few basic questions; he and Nighteye both are able to get at least some answers out of Overhaul(!) just by asking about his intentions. Ochaco and Toga have coherent conversation every single time they fight.  Hawks and Twice have a whole argument while fighting.  As soon as Shouto can be bothered to talk to Dabi, Dabi’s eager to spill his whole backstory to him.

Shigaraki in particular comes off as desperate to share his grievances practically every time Heroes encounter him, and that only stops being true at the very end—and even there, it might be less true if that green twit fighting him could have been arsed to just fucking ask him, “Hey, last time we fought, when we were in the same headspace, I saw an image of you crying with a dog.  What was up with that?”  Deku doesn’t have to stand there with his hands in the air while asking!  As all the examples cited demonstrate, Heroes are more than able to fight and talk at the same time.  So why don’t they try to make that talk a little more actually useful?

What I’m saying is simply that I would like it if less of that conversation were dedicated to Heroes giving moralizing sermons about how bad and unforgiveable Villains are and a lot more of it were dedicated to Heroes just asking why the Villains are doing what they’re doing, and letting the conversation go from there, fighting defensively and keeping the Villain focused on them as much as they’re capable of doing.  We see the results in the series when Heroes bother trying this—think Deku’s results with Gentle Criminal or Ochaco’s with Toga—so it’s damning that they don’t try it more often.

The likely explanation is that professional heroism as a matter of practice and culture does not tend to bother with de-escalation tactics; after all, while you’re standing there trying to talk to the bank robber, some other Hero could easily be coming in for the take-down, and then they get all the credit and glory and not least the pay.  The whole system is geared towards rewarding fast, uncompromising takedowns, ignoring the possibility of more peaceful, productive resolutions in favor of stopping the Public Disturbance as quickly as possible, because it’s more important to stop random civilians feeling inconvenienced than it is to maybe try addressing a Villain’s issues so they stand down themselves and are less likely to become hardened criminals.

Heck, even Deku really only gets anywhere with Gentle because his first instinct—shutting down the fight right away with a Smash—gets him rebounded off an air trampoline with enough force to knock him back nearly a neighborhood block.  The defensive, evasive nature of Gentle’s power means it’s difficult to hit him directly, and Gentle’s personality was such that he kept talking while Deku was figuring out how to beat him.  That talking was really what gave Deku enough insight to trigger his empathy, so he started returning the conversation in ways that he never did against e.g. Stain, AFO, or in his first fight with Muscular.  He didn’t lead by asking why Gentle was invading his school, though; he just ordered him repeatedly to stop.

Heroes and, in turn, the kids, just don’t default to trying to talk to the Villains.  We see that they can, they’re just not trained to, so it becomes a tactic of last resort, or of distraction, or, finally, as being the result of moments of connection that make them incapable of continuing to ignore the Villains’ humanity.  But when it’s a last resort like that, when they don’t bother asking questions until after the Villains have been pushed past the point of wanting to engage, everything gets so much harder and more dangerous.

Look at Shigaraki and Toga.  When Deku and Ochaco initially encounter them, the kids’ first response is basically just revulsion and terror.  And like, okay, they’re students, newly fledged Hero Course trainees.  They shouldn’t have been facing real life Villains for another two years, at least!  So it’s not surprising that they don’t know what to do and don’t react in the most empathetic manner possible.  I’m not blaming them for that.  But I do want to ask what would have happened if their classes and the Hero culture were more focused on attempting dialogue with Villains.

All Might at USJ writes Shigaraki off as a faker with no real beliefs, and Deku at the mall calls him an incomprehensible cipher, but what if either of them had instead asked Tomura why he was there and what he wanted, then asked follow-up questions from there?  How much earlier might they have found out that Shigaraki had some tragedy in his past that he blamed All Might for not saving him from?  What might finding that out early on have led them to change about how they approached Shigaraki in subsequent encounters?

If Ochaco and Tsuyu had asked Toga why she attacked people, then followed up on whatever answer Toga gave about liking blood with some questions about consent, how much sooner might they have found out that Toga spent her whole life feeling ostracized and repressed because she was convinced by the adults around her that people finding out she craved blood would make her a freak in their eyes?  How might they have engaged with her differently if they realized her parents had been verbally abusing her since she was three years old?

But we also don’t have to stop with U.A. types!  Toga went on the run at only 15—how many times did she have had close scrapes with arrest before the training camp attack?  How many other opportunities were there for someone to talk her down before she made it to the League?  Heck, even all the way to the end, if the green twit hadn’t just insisted on antagonizing Toga one last time for the road—as if he’d learned nothing at all since the mall scene!—how much more easily might Ochaco have been able to engage with her?  Maybe if Toga hadn’t set her mind to embracing Villainy because Deku functionally became yet another person calling her a freak, Ochaco could have gotten to the breakthrough point before Toga stabbed her in the gut?

I’ve been talking about the more sympathetic Villains here so far, but all this goes for the rest of them, too.  Sure, Moonfish is a cannibal serial killer now, but was he always?  Or was there a time when he was just like Toga, a teenager wrestling with quirk-driven hungers who was abused and ostracized for them?  I’ve thought, from time to time, about the idea of a League ageswap AU, where Moonfish is that scared but defiant teenager who’s been pushed over the edge and done something violent, but is not yet past saving.  Conversely, it’s all too easy for me to imagine a Toga who was never captured and never shown any compassion growing into an adult who fully embraced her vampire serial killer reputation and “deviant” hungers to become just as much an alleged monster as Canon Moonfish.

How about Muscular?  Was he always a violent sadist?  Was it impossible that he could have grown up to be anything else?  Could that taste for violence ever have found an outlet other than murder?  Could he have gotten into underground fighting, like Rappa?  Could he have become a Hero like Mirko, always hungry for a better challenge than she’s getting?  Quite frankly, even if Imasuji Gouto was a violent little bully who killed neighborhood pets as a child, he still deserved some kind of intervention—psychological counseling, medication, more acceptable outlets, etc.

How many Villains would HeroAca!Japan be spared if the people in power were more focused on intervention and rehabilitation at every stage of a Villain’s life and career?  Why do Heroes think it’s helpful or necessary to tell everyone in earshot their personal opinion about the unforgivability of their opponents?  Why is it such a problem for some readers when Villain fans point out that a lot of issues could be sidestepped entirely, and the HeroAca world considerably bettered, if the Hero Industry were less focused on showy grandstanding violence, less terrified of the optics of being anything other than maximally harsh on Villains?

That all said, that’s the nuance of what I want when I say I want more talk no jutsu.  But let’s go back to your question—what should Heroes do when they run into Villains who can’t be talked down?

Say that all the interventions and counseling programs have failed, and someone—some mother’s son, some father’s daughter—has grown up to become a Villain.  And not just any Villain, but a really dangerous one.  What do?

Well, I do still want to see Heroes try to talk first, unless they have some reason to believe talking won’t work, like knowledge that knowing that efforts in that direction have already been made and documented in previous encounters between law enforcement and the Villain in question.  There’s also some flex here based on how capable of dragging out an encounter the Heroes on-scene are, and how much danger any bystanders would be in—I would want more effort from someone who can hold their own for long periods like Deku than e.g. Manual.  But like, anyone can yell a few basic questions about motivations to see what sort of response they get.

But say our Hero is up against someone like Muscular, who just laughs off questions like that.  What to do then?

Then arrest him.

Seriously, this is not that complicated.  I’m not asking some run-of-the-mill Hero to get their arms ripped off trying to give battle therapy to Muscular!  But I do want Muscular to get therapy, or at least be offered it, once he’s no longer presenting an immediate threat and those conversations can happen in a safe environment.  And if he doesn’t accept it,[1] I still want him to be treated as humanely as reasonably possible in prison, with the therapy option always on the table if he ever wants to try it.  I also want his prison term (even if it’s for life) to not involve methods of punishment that are considered by the United Nations to constitute torture, like Tartarus’s apparent extended solitary confinement.

1: Perhaps because he would rather rip his own arms off than talk about his feelings or waste any more time getting analyzed by shrinks than he already has; pick your poison based on why and for how long you think he’s been killing people.

I truly do not have any problems, ethically speaking, with Heroes arresting dangerous Villains.  My problem has always been that Hero Society is comprehensively awful in how it treats those who don’t fit neatly into society’s little boxes.  Their social support networks are full of holes, their law enforcement is financially disincentivized from attempting de-escalation, their judicial process is completely invisible, and their prisons are concrete holes that only serve to make people worse, as we can see clearly in the case of people like poor Ending—already unstable when he was first arrested by Endeavor, but so blatantly suicidal when his sentence is up that the literal first thing he does after release is to investigate Endeavor’s personal life so as to find a way to goad Endeavor into killing him.

Now, sure, Heroes are not responsible for prison policies and practices; those are under a completely different part of the criminal justice umbrella.  Nor is it up to them to determine how e.g. financial aid programs or family services work.  But I want Heroes to be better in the ways that they—personally and professionally—can be, and I want them to be cognizant of the flaws in the system they uphold.  I want them to have some basic intellectual curiosity about the Villains they fight—why they turned out like they did, if they can be helped, and what’s going to become of them after the Hero hands them off to the police.

Like, what is All Might’s opinion on Tartarus?  He spent 30+ years fighting for the society that maintains it—does he think or care at all about the fact that some extremely damaged, abused people wind up in there after he gets done beating them up?  And if he doesn’t, what does that say about him?  What would Ochaco have done if Toga had lived and said she’d rather Ochaco kill her than let her go to prison forever?  Does Shouto think now about the family situation of every Villain he fights, or did his ability to care about “some mother’s son” begin and end with his mother’s son?

Obviously, Heroes stop Villains all the time; I’m not asking them to do deep dives into the history and treatment of each and every one.  I just want them to ask the questions they can while the Villain is in front of them, and to care about the state of both the systems that produce Villains and the ones tasked with their care.  I think that when handing people over to state custody, Heroes have a responsibility to be meaningfully confident that the state won’t abuse that custodianship.  If they aren’t—if they truly don’t give a shit about what happens to Villains once the police van door swings closed—then in my view they’re no different than any professional who shirks their duty.

So many people insist that the kids—that Heroes in general—have no duty to care about the Villains, but to me, this view comes off as wildly ignorant about the wide variety of jobs in the real world that do, in fact, confer a duty of care.

If…

…a teacher sees a child with unexplained bruises but doesn’t bother to do their due diligence as a mandatory reporter—

…a prison guard leaves a handcuffed inmate alone in a room with a fellow warden wearing brass knuckles—

…a medic doesn’t speak up when a flight attendant asks if there’s a doctor on the plane—

…a bartender just keeps on serving someone who’s obviously intoxicated and then lets them stumble out the door to the parking lot—

—then they are shirking their duty.  There is no shortage out there of examples of this sort of responsibility, one that you can be held legally responsible for, one that you choose to accept when you sign up for the job.

Heroes are not Samaritans doing the work out of the goodness of their hearts; they’re not vigilantes just trying to keep their own patch safe.  They’re government employees, crucial members of the lawful system they represent.  They have to care—not personally, not individually, but on a professional, structural level, they have to care about the people they fight because the system has to care about those people.  And if the system doesn’t care, the system has to be changed.

I'm segueing here into real life stuff, so let me note as a disclaimer that what follows is based on my cultural familiarity with American policies, as well as periodic research into that of other nations. I don't know what country you live in, rvg, so I can hardly speak to its crime-and-punishment situation. This is all a lefty American's opinion on what reading she has done about American, Japanese, and, in the case of this particular post, Scandinavian criminal justice systems.

That said: in real life, de-escalation works.  One of the things you’ll often see talked about in police reform/abolishment circles is that the police are, quite frankly, doing too much work.  Or, more specifically, they’re doing the wrong kind of work, work for which their training has not prepared them and which other groups would be far better suited to handle.

Here’s an article on offering a campus police force de-escalation training and the resulting 26-36% drop in injuries suffered by both civilians and officers; it also talks about how de-escalation tactics are used by SWAT teams but regarded with suspicion by patrol officers, with this quote being particularly telling: “[Special operations] officers were taught to use time, distance and cover to their advantage.  For patrol officers, time was viewed as 'The more time you give a suspect, the more danger you're in.'”  De-escalation is not the usual training patrol officers get, so it runs against their gut feeling, despite its proven effectiveness—compare this to BNHA’s repeated focus on speed in shutting down altercations.

Here’s an article on the results of a test run of a program in Denver, Colorado, in which police officers were completely removed from response teams to 911 calls about situations considered low risk (drug abuse, trespassing, welfare checks, etc); instead, teams of mental health specialists and paramedics were dispatched.  Reports of nonviolent crime dropped 34% over the course of the time the program ran, and the direct financial cost of the response was four times lower than sending police.

The classic dramatic image of this sort of thing is the hostage situation—and when I looked into it, numerous articles said that containment and negotiation tactics have over a 94% chance of resolving hostage crises without fatalities!

The common element in this sort of thing is refraining from showboating displays of force, loud assertions of power and authority, arguments, moralizing, threats, and so forth.  Far more effective is listening, active attempts to communicate and understand, not throwing one's weight around and not rising to aggression even when provoked.

Meanwhile, on the carceral side of things, restorative justice leads to greater satisfaction from both victims and perpetrators, more feeling that they were listened to and respected, and increased belief that justice was served.  While the evidence on its impact on recidivism is mixed, it certainly doesn’t seem to be less effective than traditional retributive justice, and may well be considerably more effective if combined with programs that focus more specifically on lessening recidivism than restorative justice alone (research is ongoing).

This article on how “cushy” Scandinavian prisons are far more effective at reducing recidivism than their much harsher, bleaker American counterparts argues that a crucial factor in reducing recidivism is minimizing the amount of resentment criminals bear towards the system.  When perpetrators can point at unjust or disproportionate punishments, cruel treatment by wardens, rejection by society, etc, it’s much easier to stew on resentment, to turn nastier themselves, to blame outside factors.  Conversely, when life inside prison is made as much like life outside prison as possible with the key difference being the crucial deprivation of freedom, that resentment is defanged, leading to more more self-reflection and willingness to accept responsibility. And again, it works: Norway is a world leader, with their recidivism rate being a mere 20% compared to the U.S.’s nearly 77%.

The studies and the evidence for this stuff is out there, it’s just fighting this huge, ugly uphill battle against people who care far, far more about inflicting punishment than they do actually improving outcomes.  And so much of that is based on cultural values—what people believe, what values they’re taught. That's where pop culture comes in.

That last article I linked above talks about the efforts made in the U.S. to turn prisons into a for-profit industry, and how demonizing criminals to encourage maximum sentences helps that effort; here’s another on how U.S. police departments rehabilitated the popular image of the police in the early part of the 1900s as bumbling fools or a corrupt gang by consulting on the writing of police procedurals, most crucially starting with Dragnet in 1951, but continuing even today.  Here’s one on a growing concern in Japan about the relationship fostered between TV studios and police when police permission and cooperation is required for filming those popular reality TV police documentary programs.

Mass media and pop culture informs this stuff.  True, Horikoshi is not having to get his work cleared by a police PR department to publish it, but you can see from the above how the police have used and do use mass media to polish up their image; they see it as an effective tool to use because it is.  And the closer to our reality a work of fiction is, the more obviously it resembles the world around us, the more it seems to purport to moral instructiveness, the more true that becomes.  That’s why I criticize BNHA much more harshly than any number of other manga or anime I follow where Good Guys Kill Bad Guys all the time and no one thinks twice about it: because those series aren’t parading the Good Guys out as Japanese citizens working with Japanese police under Japanese law to maintain the rosy image of the Japanese status quo.

I’m long past the point where I’m just rambling, so I’ll wind it down here by pointing out this: Horikoshi also thought that things in his world needed to change.  As much as I loathe BNHA’s endgame and think much of its epilogue is trite shoulder-patting pablum that fails to meaningfully address the setting’s real problems, multiple aspects of Hero Society were at least nominally challenged and subsequently changed: citizen inaction, the dominance of professional heroics as a career path, the diminishment of non-Hero careers, quirk-based discrimination.  As a direct result of the main characters’ efforts to address places where the old system was failing people, the incident rate of Villains is decreasing.

The fact that these changes are made provides in itself the evidence that they needed to be made. I think they need to go further still: my number one greivance with the epilogue is that we've seen all these changes aimed at reducing the numbers of Villains that arise in the first place, and that's nice and all, but we don't see any evidence that the Villains that do arise are treated any differently than they ever were, not even the common purse snatchers, much less the serial killers, the cannibals, and the terrorists.

So, should Heroes have to get themselves nearly killed trying to reform a Villain?  Ideally no, but that assumes a world where Heroes are working in concert with a bunch of other people who are also dedicated to preventing, reforming, or rehabilitating Villains.  If none of that other personnel infrastructure exists, then, well, to paraphrase Nedzu, someone has to take the first step.  Why shouldn’t it be the combat-trained professionals with shounen battle stamina who also happen to be the main characters?

[ophii]

hmm.

[mirohtron]

“You’ve seriously never thought about us kissing?” The superhero crooked an eyebrow. “We’ve been marinating in sexual tension for three years now.”

prompt by @gingerly-writing :> <333

—

“You’ve seriously never thought about us kissing?” The superhero crooked an eyebrow. “We’ve been marinating in sexual tension for three years now.”

The villain choked. Went to hide their blushing face.

When they cracked two fingers apart to peak, the superhero was still staring at them through their cell's reinforced bars.

"No," they said. "You're a bit too terrifying."

That was not entirely true. The superhero was terrifying, yes. Loved by the masses. Feared by the criminal underbelly of the city. But the villain was enamoured, hopelessly, by that. The contrast between their charming, friendly persona that was reserved for the masses and their true cold, calculating, dangerous demeanor left the villain hopelessly pining after them. They were incredible, truly. Perfection.

They ran their hands down their heated face and looked up.

The superhero's perfect face stared down at them. The villain looked down at their crossed legs instead. "I thought you were just toying," they mumbled. "With the flirting."

Silence, again. The villain glanced up at the superhero through their lashes.

The superhero tilted their head in observation. The villain pressed their lips into a thin line and crossed their arms, hunching their shoulders.

The superhero crouched down to meet their level. The villain tucked their chin in and leaned back, refusing to make eye contact. They heard the rustle of the superhero's gloves slipping off of their fingers. They dropped to the floor, right in front of the bars. The villain could've reached out and taken them.

"It doesn't change my offer," said the superhero. "I get you out of this cell in exchange for a kiss."

Had it not been for their dark skin, the villain was sure they would've lit up red. But they couldn't accept the offer, surely. They imagined even a brush of their fingers would leave the villain dizzy and swaying on their feet.

They recalled, once, they'd thrown a stun bomb at the superhero and had them incapacitated for almost ten minutes. The superhero had risen up, suit torn (because they had it remade every day, since it was not completely reinforced so that the public could get glimpses of their skin—and that always, always left the villain faint).

They'd had them up against the wall, smiled down, body radiating heat, and said, "well, aren't you incredible?"

The villain's knees had turned to jelly instantly.

"I can get out of here on my own," they mumbled, biting their tongue right after they spoke so their mind wouldn't conjure up more memories.

"Is that so?" The superhero feigned a curious tone. "A little birdie told me you've bruised your whole body trying to break these bars."

The villain winced. They properly glanced up at the superhero, then, and saw they had their cheek resting on their fist. Their eyes were lazily hooded. Their other hand rose to trail fingers down their neck, to the side of their collarbone.

The villain's hand rose, automatically, to their own collarbone, to the bruise there that was exposed by the loose neckline of their shirt. They pulled it close. Their cheeks flushed for a different reason, then; they hated this cell and the way it suppressed their powers. It felt like one of their limbs had been cut off. They hated the Scientist—the villain that had trapped them here—for finding a way to suppress their powers even more.

They straightened their back. "Liar. This cell's shut down my powers. Maybe it's done that to you, too." They glanced back at the number of fortified doors the superhero had sauntered through when they first entered. They could've broken through those doors with ease.

Once more, the superhero crooked an eyebrow. They lifted their cheek from their fist and closed their fingers around one of the steel bars. The villain watched as it corroded beneath their skin.

They blinked. "Oh."

The superhero spread their hand in a voila gesture, raising their brow. "Oh."

Dumbly, the villain pursed their lips. They seriously considered the offer, then. Glanced, traitorously, at the superhero's lips. Thought of how it would feel to have their mouth pressed against that lovely pair.

Their lips buzzed with sensation. Oh, they felt dizzy right then.

"I'm not an idiot, in case you weren't paying attention," said the superhero. They tilted their head and raked their eyes down the villain—intoxicating. "I can hear your heart thumping like a bunny on caffeine. I always have."

The villain squeaked and put a hand over their heart, as if that would do any good. "You—you make me nervous."

The superhero smiled, then, all sly. "I know I do."

The villain's flush heightened, impossibly so. They didn't even know they could get this flustered. "This is unfair. You knew."

"I'm a very unfair person."

"I'm bad."

The superhero shrugged. "I'm terrible."

The villain clenched their fists. Everything felt very, very hot.

The superhero leaned in. They caught the villain's chin through the bars, bare, callused fingers rough and warm on their skin. "You're good," they said. "You're very good. You're exceptional, able to outsmart even me, and you just keep your talents on the down low so that no one targets you."

Again, the villain pursed their lips into a line. Wobbly. Burning with the phantom sensation of the superhero's mouth on theirs. They had nothing to protest with, then, just the heat curling all around their body, fingers going shaky. "You'll take me out."

"Mm." The superhero tilted the villan's chin as much as the bars allowed them. Ran their fingers around the underside of their jaw. Skated up to touch one burning cheek. "To dinner. Or lunch." The corner of their mouth quirked up, devastatingly sharp and evil. "Or a nice little rooftop if you kiss me." They scraped their thumb along the curve of the villain's bottom lip.

The villain's lips parted automatically. They took in a quivering, nervous breath. "You'll get me out."

"Of course."

"How long have you liked me back?"

The superhero looked pleased. That smile, god, that smile. It wasn't made for the cameras. It was evil, mean, smug. It made the villain's heart flip hopelessly. "I might let you know if you kiss me."

The villain clutched the bars and leaned close. The steel brushed cold against their cheeks. They had to know. Was it after they first drew the superhero's blood? Or from that time one of their inventions sent the superhero flying through ten walls? Or one of the times when they had the villain blushing, pressed flush to a wall?

The superhero chuckled to themselves, gently tipped the villain's chin up, and kissed them.

The villain sighed and pulled them close and the superhero pulled them closer. Their hands snaked beneath their shirt and ran over their back, their sides, teased the edges of their waistband. It stung just slightly from the bruises, but the heat that their hands left in their wake left the villain too brainless to think of anything else but them.

The superhero leaned back first. The villain would've followed their lips mindlessly if it hadn't been for the bars. But instead they stayed there, breathless, lips burning, cheeks still pressed to the steel bars. They tapped the corroded edge of the bar the superhero had touched in urgency.

The superhero ran their hands around the bars in a huge circle, and they snapped right off. The villain barely had time to get to their feet before the superhero had scooped them up into another kiss. This one was hungrier, eager for a proper taste, and the villain had to tiptoe to properly kiss them. They leaned back for air.

"Since the stun bomb," said the superhero. "I've wanted a smart, pretty thing like you since."

"O—oh." The villain wasn't sure how to properly respond to that. They were already afraid they'd been misjudged on the smart part, maybe the superhero had kissed them dumb. But they found that they didn't need to respond, because the superhero was kissing them again.

They walked out hand in hand. The superhero dropped them off on a nice little rooftop, cheeks still burning, lips still buzzing and swollen.

The villain touched a hand to their cheek, feeling the heat there.

Oh, they were head over heels.

[epickiya722]

I'll tell you what's sad for me here.

The fact that Spinner intends to tell the story of Tomura Shigaraki while saying "tell past never dies".

What about Tenko Shimura? Tenko Shimura was a past self that Tomura was and yet, did any of the villains knew about that part of him? (Other than AFO, of course.)

When Midoriya said this...

To me it isn't just Tomura he's talking about here, but also Tenko, the little boy he wanted to save. I feel like some of you skipped 418.

Spinner is right, the past will never die because Izuku knows at least a piece of Tenko's past.