#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?

[rovobeam]

Have these before I go sleep

[girlatrocity]

villain kids!!

[googleitlol]

False Hero AU

@rovobeam everything you've been drawing for this hurts my soul and I love it.

SO! 👏 The False Hero AU is all about what would have happened if Macaque won the fight with Wukong on the journey. After sealing Sun Wukong under Flower Fruit Mountain, Macaque continued to impersonate him for a while, travelling with the pilgrims until… well, until the journey ended prematurely. Once he no longer had to deal with that, Macaque was free to do just… whatever he wanted. However, with the Monkey King gone, the world was still in need of a hero.

It wasn't like Macaque planned this all from the start. He saved some villages because, well, he was just in the area. As he did tho, he started to be seen as more and more of a hero. People didn't have to worry about the old Monkey King coming to save them anymore, not when this new one was doing so well!

The attention and praise eventually got to his head, and Macaque began to embrace the role he'd been given. He liked being a hero, having all these people admire him. Wukong abandoned him to join those stupid monks, but now? He had the love of the people Wukong used to protect. Of course, he didn't want all this attention and praise to waiver if anyone thought to look back on what really happened during the journey. Nobody even knew what happened to Sun Wukong after the other pilgrims died, which left Macaque to shape the story and tell the tale of what happened himself.

By the time the modern age hits, everyone that heard of the Journey to the West knows about how the hero Six-Eared Macaque bravely defeated the rampaging Sun Wukong, the Corrupt Sage who thought he was equal to heaven. In this world, it's Macaque who becomes MK's mentor. Unlike Wukong tho, he is a much more active presence in the city, acting as its guardian and local hero instead of going into retirement.

Everything was going well for him! He's beloved by the city he protects, he's surrounded by friends that love and care about him, and he loved them just as much. Sure, he sometimes had to make sure people didn't catch on to the real story, there was still the rare individual that would question the facts– but there was nothing to prove his version of events were false. He even keeps his scar visible so the world can remember what Wukong did to him in their fight. There was nothing to make the majority of people question him, anyway.

…That is, until MK finds the seal keeping Sun Wukong under Flower Fruit Mountain.

It's not like Macaque told the kid about the monster under the mountain, how could he have known not to touch it? Macaque may have been angry, but he wouldn't hold it against his student. However, this newly freed Wukong posed a very big threat. No matter who got in his way, whatever attempts Wukong makes to tell the world otherwise, Macaque would have to make sure his status as the real hero remained intact. This would result in many battles between the two mystic monkeys, and with MK by his side, he often came out on top. Macaque just had to keep painting Wukong as the villain, a demon returning to lay waste to their home. He'd do anything to ensure his version of history was the right one.

And Macaque refuses to let anyone stand in his way.

[greatgoddyke]

but my heart is like a claw machine

[kukuandkookie]

The end of 2024 has proven that 2025 seems to be a huge year for donghua and I’m gripping everyone to give all these donghua besides just the most popular ones a chance!!!:

Link Click, Yingdu arc: releasing December 27, 2024

Nezha 2, sequel to Nezha 2019 aka Nezha zhi motong jiangshi, confirmed for January 2025

To Be Hero X, likely April 2025 release (I hope people will also support the version with Chinese VAs! 🙏)

Lord of the Mysteries, 2025 summer release—accompanied by more good news: the novel has officially entered the British Library and it will also be translated into English by Yen Press

False Memory, series version, confirmed 2025 release

I am making this post because False Memory just released its new trailer and I am very much so looking forward to it! The series started as an indie short before growing into a bigger thing, much like Fog Hill of Five Elements and The Legend of Luo Xiaohei and Alita’s Trial. We’ve thus been waiting a couple years for news so this is really exciting, especially after it recently got a Twitter account!!

Bonuses:

Ya She, released a couple months ago but late enough into 2024 I’d still love for more people to check it out!

Scissor Seven, another one that’s had its newest season out for a while now, but I assume that for those who have Netflix, it hasn’t been officially English subbed or dubbed yet. We’re also still getting trailers for its game!:

I Am What I Am 2, released Dec 14, 2024 in China!

Reminder that Mo Dao Zu Shi is now on Crunchyroll! They may have removed it from Tencent’s donghua YouTube channel for this, so definitely go support it if you do have Crunchyroll!

Some children’s donghua have also recently released, including news of the new Balala the Fairies season and the other magical girls show, Rainbow Crew! The latter is confirmed for an official release in English.

The Yi Ren Zhi Xia game is also coming soon to global, and Fox Spirit Matchmaker even updated their OP recently after quite a long time of silence.

And speaking of silence, even the long-awaited SVSSS donghua saw some movement recently!?

Now if I could get a confirmed 2025 release for White Cat Legend season 3 (and maybe God Troubles Me and Lie Huo Jiao Chou and Fei Ren Zai and All Saints Street and The Legend of Luo Xiaohei and Wo Jia Dashixiong Naozi You Keng etc…)), I could die a happy man (gender-neutral)—after watching all of these newly released donghua shows and films and seasons, of course ahaha. 🙏

For more news and info on donghua, you can check here:

There’s a bunch of new donghua information in the above document that came from 2024, even though they don’t have official release dates yet! Including but not limited to:

The announcement and PV of Call-Up Girls, based on a baihe manhua

The announcement of a Nirvana in Fire donghua, based on the danmei novel with a famous cdrama adaptation (with the manhua having recently gotten an official English license via Aloha Comics)

Trailer and announcement for 《向火而生》, based on Shui Qian Cheng’s danmei novel Blazing Armour

More announcements for Jing Wei Qing Shang, based on the popular baihe novel

Trailer for The Story of Rong Song, a spin-off of the famous Big Fish and Begonia movie

and many, many more…!

Hope everyone can join me in watching more donghua for 2025!! :D

[sugawara--san]

i feel like for those eight years bakugou was nervous about asking deku to work together and he confides in todoroki because 1. he's their mutual bestie and 2. he's wonder duo's biggest fan. and todoroki has to constantly tell bakugou not to worry and that they know him best and he's obviously gonna say yes. only for that cursed day to come and bakugou calls todoroki to vent and he answers the phone like "see i told you he was gonna say ye-"

[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

[tw1l1te]

𝖋𝖆𝖑𝖘𝖊 𝖍𝖊𝖗𝖔- 𝖈𝖍𝖆𝖕𝖙𝖊𝖗 𝖙𝖍𝖗𝖊𝖊

Author's note: Sorry this one's a bit short! Finals and work are killing me :<

ᨒ↟ ⋆｡°

You sigh heavily once you shut the door, the interaction leaving you more stressed out than before. You could already sense the dynamic you were going to have with them, however long they ended up staying in the village or being involved in your life. 

You were beneath them.

You could sense it, the way some of them almost looked down at you, judging you by the information you gave them. But, frankly, you didn’t care. This is your era, not theirs, so you were going to fulfill whatever purpose you had your way.

You walk through the path that lead deeper into the woods, eyeing the cottage on the edge of the forest. It was already getting dark out, the sky a dark shade of periwinkle.

Walking up to the door, you knock lightly calling out to the woman inside, “Impa? You there?”

“Y/n! Come in, come in!”

You opened the door to find Impa hunched over a map in front of her small fireplace. Closing the door behind you, you walk up to her to see what exactly she was looking at.

“Heard some family has come to see you.”

“They’re not my family. I’m not even remotely related to them.”

“Your spirit says otherwise. Have you told them?”

“Yes. Well, the important parts at least.”

“Lying will just end up making things worse for you, Y/n.”

“I didn’t technically lie. They just happened to not ask certain things.”

“I see.”

You both stay quiet for a moment, basking in the embers of the small fire. Fire was a necessity in this day and age, considering how you almost never feel warm enough now, regardless of how many layers or how many fires you have. Impa stands up, setting the map down on a nearby stool.

“Care for some tea? It’s spiced, so it’ll warm you up some more.”

“Sure, I'd like that.”

She hands you a carved cup full of tea, the rivulets of steam dancing on the surface of the liquid. Blowing at the tea, you take a small sip, the warm drink soothing your throat and warming your chest.

“It’s good, Impa, thank you.”

She nods in thanks, sitting back down on her chair. Her face looks worried, though you anticipate her discussing what’s on her mind. 

“Y/n there’s activity at the Northern edge of the forest. Presumably, followers of Hylia have found our encampment and want to gain access into our underground archives south of the village. I’ve already communicated with Arden and the others. It’s best you leave at dawn in order to cut them off. We can’t risk any discovery, not now.”

You stare at the tea in your hands as she tells you this, already in the process of formulating what you need to bring and what tactics you should use.

“It’s also best if you travel by foot to avoid any technology tracking or excessive noise, especially with Hylians. You and I both know they have better hearing than most.”

You know what she was hinting at with that statement: an accident that had occured during your travels a couple years ago. 

She scootches up to you, hands on her knees.

“We both know we want to avoid conflict and move towards a peaceful future. We can’t do that if our entire village is massacred and stripped bare of records and families. I’m sorry I have to ask you again, you know I can’t promise it’ll end anytime soon.”

You smile sadly at her, nodding at her words.

“I know. I’ve come to terms with that for the most part. I just… hate having to get rid of her servants, knowing they can be saved from her manipulation and control.”

She nods, reaching for your hands. Despite years of training and combat, her hands felt so comforting and warm. Something you’d never expect from an old, hardened woman.

Sighing, you place the tea down, looking at Impa.

“I better go. I promised the… ancestors I’d find them a place to rest for the night. I’ll converse with the rest of the team before tomorrow to make sure we’re well prepared.”

You take a pause, walking towards the door. Looking back, you whisper,

“Thank you, Impa.”

~

You made a straight bee line back to the main camp, hands balled into fists to contain your nerves. You couldn’t wait, all of you needed to leave now. 

Hylia’s followers were unpredictable, and you knew that if you didn’t leave soon, the camp would be dead by dawn.

You finally see the main cabin in view, panting lightly from trekking in the snow. Pushing the door open, you immediately start looking for Colin, Arden, Dusk and the others. The heroes could find their own damn house, they were more than capable of that.

Speaking of, you could feel their eyes on you, no doubt curious as to why you were in such a rush. Time and Wars were already standing up, making you curse under your breath. Finally spotting them in the far corner of the room, you walk over.

“Arden, we need to leave.”

“What? Why? Impa gave orders to leave at dawn-”

“You don’t know them like I do, Arden. They’re fucking unpredictable, their going to kill everyone here if we don’t move now.”

“Who is?” Wars asks, a few feet behind you. You jump slightly from the unexpected presence, recomposing yourself quickly.

“No one. Just nightly patrol.”

Arden gives you the look, which you just glare at him. Now was not the time to invite new recruits.

“We could use their help, Link.”

“No, we couldn’t. They’re staying here.”

Wars scoffs, settling a hand on his hip, “Says who?”

You look him dead in the eye, already tired of rambling with everyone. You throw up your arms in defeat, wanting to get this over with.

“Fine, fine. You lot can come but you follow my lead, got it? I don’t want any casualties tonight.”

He nods, satisfied with your answer. He relays it to the others, some of them looking less passionate than others, but agreed upon nonetheless. 

Turning back to Arden, you mutter “Meet me at my place in half an hour, we leave in an hour. Finish up here and get whatever you need, I’ll make sure the others are equipped and ready.”

He nods, the others agreeing alongside him. The plan was set.

You start speed-walking towards the entrance, not waiting around for the men to follow you. You had shit you needed to get done.

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[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-

[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?