#hori is really not a good writer

[mikeellee]

In regards grooming in MHA...I remember a comment in the BookTube where the person said how the words "gaslight, grooming and mansplaning" are being parrot careless. I agree. The fandom collectively agrees AFO groomed Shig but...

Gromming is a form of control someone through sex...so, that could open a dangerous door of AFO bad touching baby tenko, which we can all agree is too much. (I know some people write fics like that and not judge, write what you want)

So I think AFO didn't groom him...rather, I think we are dealing with persuasion and AFO took prey on Shig when he was a kid and highly traumatized. It wouldn't be hard to convice Shig of anything in that time.

But here my issue....AFO had 0 reasons to do this.

I know some will say "he did bc he hates Nana" which I have to reply. "Why? The woman is dead. Her family is dead...why take Tenko in? If he wants to torture AM he could have lead clues to where Tenko Shimura is and...then either kill Tenko or show AM how Shig has fallen"

As far I can tell, AFO had no reason for take him in at firsts seasons. Think this way, had Shig dead in the invasion....you honestly think AFO would care? Honestly think it would affect his master plan?

But even with persuasion...we have to take account how Shig never change. "Characgrt development! MVA!" I say no! He got hotter but didn't change at all.

Compare Denji from Chainsawman with Shig. Denji IS A REAL GROOMER VICTIM...he is allowed to question and to say no. Shig wanted destruction of all in chapter 1 and still goes with this idea(well, AFO snatches his body now but you get the gist) he didn't change.

Which is frustrating bc he had chances to do introspection - introspection is not an excuse to show sad backstory- and wonder what he wants. Hell, if he wants to be a big baddie...could do on his terms.

Which brings me on another topic.

Shig has no motivations or ideals. Look at DC Joker, yes I think he is overused to death and is not as that good as people think but...his motivations are usually to make Batman kills him or to show how one bad day can change a person forever.

Hate or love it. Those usually are his motivations in some stories.

Now ask yourself what Shig wants?

.

Exactly! We don't know. He wants destruction for some reason. Shig is claiming for genocide "Kill all heroes" in an area where a large number of people are heroes can be seen as genocide.

For no reason.

He wager a war for no reason. And he had no end goal. Like, say he murder every hero in Japan- orphan their kids and make more people miserable- then what?

More destruction? He wants to destroy the world literally?!

See how that is contrive. And is even dangerous how LoV is going along (and happily) with this.

Hori made his villains black and white but at the same time, made them too dumb- AFO is incredibly dumb. Yes he is power and evil but also dumb- and thought the best course to remedy this is...give the villains sad backstories.

Sad backstories don't null their crimes. Can explain but if the character is gleefully ready to cause a war and murder thousands....sad backstories became null.

Also....I have to bring this up...in this war, with all destruction Shig caused, can you be sure he didn't killed another family with a cute dog?

This thought never even cross his mind.

[inkykeiji]

OMGGGG DID U SEE THE SPOILERS TOUYA MIGHT STILL BE ALIVE

bnha manga spoilers

i saw the summary, but there was nothing in there that made me think of him at all??? either way, if he is still alive that’ll be a huge disappointment—he deserved to die a helluva lot more than tomura did.

i’ve said this a billion times before but dabi/touya is such an important + special character to me and i love him to absolute death, so i was really hoping he’d get a well-written ending: something that befit him and his entire narrative arc; something that made sense and ended his story well, even if that meant a tragic ending with him dying. i’ve mostly given up on that hope now, seeing the way hori has decided to go about all of this, but it is still disappointing (◞‸◟；)

[hypermascbishounen]

Well, probably because Greed's character arc led to that moment organically and closed in a natural way, that also lined up with fma's themes and story. So even when it was not necessarily expected or mandated and was tragic, it was still emotionally satisfying as a character conclusion.

Vs. While dying was always a possible conclusion to Tomura's arc, the way it was executed comes across as a cheap and anticlimactic shock death, bc it just unceremoniously cuts off not only Tomura's storyline - leaving a lot of emotional threads with Tenko, the Shimuras, and his side of the AFO plot, just kinda frayed - but also helps trash-can a lot of bnha's own themes. It doesn't work as a tragedy, because it throws the audience out of the story, with a sense their time was just wasted.

There's just too much build up around Tomura that suddenly feels like it goes nowhere in hindsight with this conclusion. And worse, it makes entire aspects of bnha in general feels like they never mattered. This isn't just a problem with Tomura when it comes to bnha's ending, but he's at the center of it - that the power of reaching out is repeatedly sold to the audience as worth it and necessary for a better future, and then literally is not the solution to the problems posed at all, the end, with no explanation for why the story would conclude on a really obvious and boring lesson.

Ofc we know that reaching out isn't always realistic and doesn't always work in real life. We live in the real world. That's not a profound or satisfying revelation, because the audience is not naive, and this ending despite seeming to be a mature, sobering, or "realistic", is actually the more infantalizing ending compared to everyone surviving imo. Bnha did not build up to a cathartic tragedy about the futility of trying your best, so it didn't earn this ending, and it falls pretty flat.

The truth is, despite the veneer of "reality" this very very literally is "and it was all just a dream!" as a conclusion, lol. We were enjoying a vision, and it ended in "no none of that was relevant actually the end". There's a reason It Was All A Dream is typically advised against, and it's not because it's "silly", it's because it makes the audience feel their time was wasted, bc the conclusion undoes most of the build up to it in most cases. That's why it's usually reserved for surrealism, or stories with consistent themes of time being wasted in itself.

Greed's death, meanwhile, is the theme of fma, and is immediately echoed in the following climax. The theme of fma is Truth, and the truth that Arakawa is selling to the audience is that human connection is the meaning of life. Greed breaks his code of never lying in order to give his life for Ling and everyone else, because Ling matters even more to him. He was searching for the feeling of human connection his whole life and when he finds it he realizes it's genuinely worth giving up his semi-immortal life to protect. He realizes he is not inherently selfish, and commits to an ultimate sacrifice, which is a strong character arc and conclusion for someone called Greed, even if it is tragic.

But more than that, the following series of events is on the same theme: Father's ultimate sin that sends him back to the hell from whence he came, was his eschewing of connection to others in favor of trying to elevate himself above everyone to control them, and avoid being vulnerable. Ed passes the final test of the gate of truth, by giving up his gate and ability to do alchemy, because he doesn't need the power when he has his friends. Hoenheim also gives his remaining life to the children he wanted to be there for, and wants to outlast him, because his love for them matters most. That is what full metal alchemist is about. That's why it has a strong and satisfying ending. All roads led to this, and it was the authors message to the audience. The truth is human connection.

By comparison, the equivalent of Greed's scene in bnha by narrative position is actually not Tomura's death. It's Bakugo's resurrection. That's the big emotional turning point set up that should lead into the rest of the final act. Bakugo being revived is narratively satisfying, because it's perfectly in line with the themes and his character arc. Bakugo goes all out against an opponent he knows could beat his ass and gets his heart exploded, but it's ok because other people reach out to help him and Bakugo no longer feels like needing saving is shameful like he used to. He integrates what he's learned from Midoriya, and the story actually set up this pay off. It would make no thematic sense to actually have Bakugo just die here.

And that should have been the prelude to an even stronger echoing of themes in the following series of events, the same way Greed's sacrifice does in fma. Unfortunately, that is not what happened. For whatever reason - probably a thoroughly misguided sense that audiences just want to be surprised more than they want a coherent narrative - Hori decided to swerve down an honestly tepid and thematically jarring ending. Things end not with a bang but a whimper, and instead of satisfaction, even cathartic tragic satisfaction, much of the audience will be left feeling vaguely dissapointed, like the point to them being there was missing. In conclusion, Hori left his story feeling like he had nothing to say to people with it, which is a shame because people were really invested in what he was already saying!

I'm super sick right now but I want to put this out there maybe somebody with more energy can take a crack at it

I love Fmab and I've been subconsciously comparing mha to it as the story goes on (afo and father, how well they execute their overalls themes,comparing Roy and Endeavor's atonement arcs, etc) and something that struck me is the similar aspects of the final battle (ie everyone coming to help defeat the big bad, the final punch, the protagonist giving up a power that meant so much to them) and something that struck me is how greed's death compares to Tomura's obviously they're different characters and have different roles in the narrative but both have their bodies possessed by the big bad, both actively help weaken the big bad to aid the protagonist and both die. But greed's death is so much more satisfying as an end to his character than Tomura's, it's so much more impactful.

Idk there's definitely something to expand upon there something to sink your teeth into but I'm too sick right now you guys get what I'm saying though right? Pls I really wanna talk about this with somebody 🥺

[theloganator101]

The Great BNHA Review: We Live in a Society

The world of fiction! The place where everything in the story happens. So when you're worldbuilding there are many things to take into consideration to make the world of your story feel alive.

From the people that inhabits it, the cities, towns, villages, and locations the characters live in. And even having a set of rules to follow to avoid plot holes and help the world they live in make sense.

Much like how despite technology being more advanced compared to real life, yet still not being able to have flying cars or advanced robots. Those kind of things can sometimes break immersion in the story, and as a writer you would want to avoid that as much as possible.

HOWEVER! The world BNHA takes place in doesn't make a lick of sense when you think about it for more than thirty seconds, and the foundation of the world breaks the more you think about it.

Case in point, UA!

I think at this point we all can agree that UA wasn't an actual school and instead a glorified boot camp to train child soldiers to fight. And for a series called MY HERO ACADEMIA!! There's hardly any academia in it at all.

Apparently Hori didn't wanna bother with that part of the series and being forced to write "boring" scenes and just get back to the exciting battles. Like where're the scenes of the class studying for their latest tests? Where're the scenes of the kids doing their favorite activities? Where're the scenes of them bonding with their superiors?

WHERE'S THE FUCKING ACADEMIA PART OF THIS GOD FORSAKEN SERIES!?!?!

You can't just name it My Hero Academia and only give us 20% of what the show is called! It just feels like false advertising at this point!

Also about the whole child soldier thing? Yeah let's go deeper into that.

Why are we relying on TEENAGERS to fight in these big battles and save the world when they've only been in hero school for a single year? That's literally like forcing teenagers to discover a cure of a disease when they've only taken a year of biology class!

And yeah, I get it, it's an anime so it's expecting you to suspend your disbelief, and they already had experience with fighting villains before so it would make sense to recruit them. But again, these are fucking teenagers and we shouldn't be relying on them to fight battles the adults should be able to handle!

This is one of the biggest problems of having your story take place in a world similar to modern real life, because here adults actually gives a shit as to what children go through and knows it would be fucked up to send them to fight in war! And the excuse of it taking place in Japan and thus how they do things is different compared to most countries is NOT GOING TO CUT IT!

These grown ass adults should KNOW bringing kids to fight in a war is fucked up and should NOT be encouraged! But since they're so desperate they choose to get them involved! The only exception to this is Rock Lock since he already knows this!

Okay, let's step away from the whole child soldier thing and focus on something the story never gave us introspection of... the fact that we never got to see how quirkless people are really treated.

It's explained that 20% of the population is quirkless, so almost a quarter are born without it. And from what we saw of Izuku's life with it, discrimination must be a common thing in their society. So it would make sense to explore that since it's tied to the main character's backstory and how he's going to make things better for others like him.

... Except that's not how it goes.

We never get to see how the life of a quirkless person is like, we never get to canonically see Izuku interacting with someone like him with the only exception being Melissa. But the thing about her is that she grew up on an island and her father a respected scientist, so it's kind of difficult to tell how the quirkless life is like if this is the only example we get... and it's not a good one.

But wait! There is a canon major character that was also quirkless like Izuku! And it's Yuga Aoyama. And how did the story treated him?

Oh it was revealed real late into the story with no awareness and treated him like shit for being an unwilling traitor, then replace him with Shinsou who whined and complained his way into the Hero Course.

Uhh, what the fuck?

And the worst part about all this is that Izuku has no reaction or acknowledgement whatsoever! He doesn't sympathize or feel less alone, he doesn't comment or say anything about this! So it's like what's even the point!?

Oh don't worry, we'll come back to this whole Izuku not acknowledging his past later in the review! But there's one more thing I wanna talk about in this world.

Is how blatantly biased society is to the Heroics occupation.

From what we've seen and learned, people are not allowed to use their quirks in public. And that the only way would be able to legally use them is to have a provisional license... which is only obtained if you're training to be a hero.

Uhh, but what if you don't wanna go into heroics? What if there is a person who wants to be a comedian? A layer? A construction worker? What if they have quirks that they think would help them in their jobs? Would they get in trouble if they tried using their quirks on the job? Is the Provisional License exam the only way to be able to use your quirk freely? Is there another test people can take to get one if they don't want to go into heroics?

Yeah you see what I'm trying to say here?

Since Hori's so focused on getting to the next big battle that he barely thinks about the world BNHA takes place in and leaves holes in the process. The world of BNHA feels more like a dystopia where heroics is all that matters and that anything else is boring and not as interesting. And since the world itself is so flawed, that I don't feel immersed into it at all and all I have are these questions on how things are run.

So in the next part, we'll be taking a look into the themes and messages the story tries to tell it's readers... but oh boy, did it really fumble with it's messages.

[linkspooky]

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

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

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

Hawks looked into the league of villain's pasts.

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

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

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

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

At this point it really feels like either:

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

or

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

Do you feel differently or the same?

Hello, friend.

I definitely share your frustrations.

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

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

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

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

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

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

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

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

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

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

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

To quote this post:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[pikahlua]

The biggest critique you ignore is the one where horikoshi did not write the story well, and then people show examples of stories that tried to do something similar and actually did it well. People act like horis story is 100% unique and it can’t be compared but that’s a literary lie. Every story can be compared. Hori is not a good writer(or atleast he was and he himself proved otherwise with this ending) people wrote stories like him way better. That’s how we know if something is good or bad, is when u compare it to other things. Horis decisions In a vacuum aren’t bad, he can write a story with his personal beliefs infused in them, that does not mean that all of sudden it makes it a good (Keyword) narrative or can be shielded from critique. He can kill shigaraki,he can even kill shigaraki and believe he should die, but one can critique the way he did it and the way he set up the ending and how incongruent it was with the rest of the series. I suspect you haven’t gone out of ur way to read nuanced measured takes on the ending and just read twitter comments. I don’t blame u for that either, u aren’t obligated to, just don’t pretend like u do.

No I don’t really go on Twitter anymore. I just see long ass complainy posts on my dash that think what they say is universal and objective and yet when I drill down into it there are no concrete examples of what they’re talking about nor any specific critique of the writing I agree with. In fact usually the argument they give is just a vague “it’s rushed” with no actual explanation of why they think that. But I’m sure when YOU write your vague as hell nonspecific complaints in this ask, anon, you have very specific things in mind you just don’t feel like telling me, right? What other reason would you have for not providing me a link to any of these critiques you claim are out there that I’m just not putting in the effort to find?

[deusvervewrites]

Wish Carefully AU: practically, the abusive Shinso's childhood is 100% fanon as if he was raised in such an environment without support, would his parents actually support him and pay for him to go into UA? And then there's the fact that we see more emotional and mental scars of school bullying on canon Izuku than for Shinso(even if Hori didn't write it well enough). If he was canonically a villain then this fanon would make sense. I just blame the writers wanting to write an Izuku 2.0 childhood but even more worse than canon for Shinso and wanting the angst without working out the details.

I think the core issues is that Shinso is pessimistic while Izuku is optimistic, which means how they interpret the events in their lives and how they respond to it is how they'll differ. I wouldn't really doubt that when they were younger(both having Brainwashing), when people responded to say "let's be friends and just don't use your Quirk on me without permission", Shinso interpreted this a people not liking him for his Quirk and would likely use his Quirk on other without permission while Izuku would be happy to have friends and ask for their permission to use his Quirk on them. Since Shinso was a full-blown jerk prior to his character development, he just didn't had enough empathy and introspection to realize what he needed to do to improve himself.

And the thing is that their society is one that is obsessed with Quirks so if the WC Izuku is still obsessed with Quirks and understanding on how they work alongside with this good-hearted and selfless nature, his friends are more likely to respond positively for his help than Shinso's selfish nature. And then there's the fact that Shinso only assumed what Izuku's life was like and excluding the OFA situation, he could've thought that Izuku was a late bloomer who did go into weight training a year prior to UA instead of having super strength at birth due to actual body limitations due to the Quirk.

This really gets to the heart of the issue. Midoriya wants to help people. Shinsou, at the point that Wish Carefully starts, can't muster any motivation beyond "the heart wants what it wants."

[mha-grievances]

Hey y’all, still alive 😂. I wanted to ask you a quick question about Endeavor: what caused him to be abusive?

It can be argued that Endeavor and Katsuki are parallels of one another, two power hungry individuals who treat everyone around them like garbage before growing from that mindset. Katsuki was a P.O.S when his quirk first developed, but do we ever see what made Endeavor go down such a terrible path?

Unlike Katsuki, who was shitty from the day he was born, Endeavor’s beginnings were actually very noble.

Copied from the MHA wiki:

“The death of Enji's father deeply impacted him, causing him to blame it on his weakness and leading to his desire to become a strong hero, to the point where he chose the hero name "Endeavor" to reflect all his hard work and efforts.”

Endeavor’s initial reason for being a hero was very similar to Izuku and All Might’s in that he wanted to help people. However, the quote does note that Endeavor specifically wanted to be a “strong” hero, and so I can see why he would be jealous of All Might’s success.

Still, I find his line of thinking to not really be fleshed out well. We never see the process that made him go from well intentioned hero to abusive father.

As a writer, Hori struggles with character progression and development. I’ve ranted a lot about why Katsuki’s development sucks both on this blog and my other one, so I’ll just focus on Endeavor for now.

Whereas Katsuki feels like a speedrun attempt at character development, Endeavor honestly feels like two completely different characters.

In the beginning, you have him framed as a devil, a corrupt and abusive man whose only goal is to be number one. He’s cartoonishly terrible, but also realistic in the sense that a lot of abusers are just terrible people for no reason other than selfishness.

Once his character journey happens, suddenly the severity of his actions are downplayed to make him seem more human. He never meant to hit Rei, he just (somehow) accidentally pushed her.

Now, I know that Endeavor’s seeking atonement, so his change in personality makes sense there, but instead of Endeavor’s character feeling like it progressed, it feels like Hori swapped him for a different character.

I think showing why Endeavor changed from a noble hero to a selfish abuser would’ve made this shift work better (also Hori not retconning his actions, but that’s a different post). We would’ve seen that there was once a good person, but that person has been warped beyond recognition. When Endeavor finally comes to his senses again, it would feel more natural. Obviously, I’m not saying that Endeavor needs to be sympathetic or anything like that, he is an abuser after all, but as a character who’s essential to the themes Hori wants to tackle, he should feel like a fully fleshed out character rather than a character that has been swapped with another.

[super-paper]

What was the point of Chapter 419 with AFO giving Tomura decay and being involved in his life since he was born, besides generating AFO is behind everything and Kotaro gay affair memes?

I still believe Hori could have pulled this off if he hadn't veered completely off course after 419 because a LOT of Tenko's (and AFO's) arc revolves around the concepts of "identity" and fantasy vs reality (Like, just scratching the surface: AFO attempting to escape from his reality through fantasy, Tenko angrily attempting to pull away the curtain of fantasy and expose the cruel reality of their world. AFO using "reality" as his source of power by claiming its victims for himself, Tenko using "fantasy" as his power by offering those same victims a dream and the promise of an "escape" from their painful reality. "Shigaraki Tomura" as the fictional construct that both AFO and Tenko are attempting to insert themselves into, for both different and similar reasons-- Tenko because he decides to embrace the fact that he killed his family and uses it as evidence that he was "born evil" and "wanted them to die" as a way of explaining his existence. AFO because he wants to escape from the reality that he murdered his brother, while also escaping from the reality of his origin as a helpless infant who no one would look at no matter how much he cried. Blah blah blah etc etc when I say u have to read AFO and Tenko's arcs as a set instead of getting angry at AFO for "inserting himself into Tenko's story," I really do mean it lmao).

Like, MVA aside, Chapter 115 in particular set the tone for Act 2 and HEAVILY foreshadowed what Tenko's arc would end up being about:

(lmao ya'll there is so much evidence in Act 2 that points to the idea that Hori really did want to write a deconstruction of your typical hero story. like, the framing of this panel with Jin angrily turning the TV off when they start talking about "focusing on the positives"????😭I get so sad when I think about the mha we coulda had)

(Side note: Jin was just so so so good as both a character and as a device meant to introduce the reader to MHA's concepts of identity + how a "hero/villain" identities are frequently used as crutches to stop a person from breaking apart under the weight of their trauma

..... which of course makes the fact that Hori rendered his death pointless in the end all the more upsetting :/)

(Pictured: AFO and Tenko fighting over the role of Shigaraki Tomura)

(this scene where Jin talks about the importance of knowing "who u really are" immediately transitions to a scene with AFO, btw. lmao)

((As an aside: 115 is another shining example of how Hori is definitely a competent writer, bc it manages to set up pretty much the entirety of Act 2 + its themes up in just 15-17 pages-- which is all the more reason why the extremely poor quality of MHA's conclusion is so hard to swallow. I definitely don't believe in blaming the editors/publishers alone for how things turned out, but all the same, I do think there was some executive meddling from behind the scenes bc of how rushed and disjointed the epilogue ended up being. It's not the quality we're used to, not by a long shot, and you can tell as much by reading pretty much any chapter before 423.)) /tangent over

ANYWAY. To me, it ways always pretty obvious that AFO was more or less grooming Tenko to be his perfect ~Demon Lord~ OC-- the idea of treating a real person like a fictional character is something I find pretty terrifying + it's something that further emphasizes MHA's metafiction elements, with Tenko being trapped in a role that was written for someone else. I feel that there was adequate build up to AFO being "the author" behind Shigaraki Tomura, specifically-- and it all seemed to be leading up to a point where Tenko would be encouraged to break free & finally take control of his own story ("I needed to hear those words" -> "Those guys (the villains) need a hero, too" -> "You CAN be a hero" "Uh, whoopsie??" 🥲🥲🥲)

Sadly it ends up amounting to nothing because..... Tenko isn't even allowed to fully process the implications of his birth/life and how this has influenced his actions/beliefs/"dream" before exploding, a core scene between him and Nana gets offscreened, and our MC never even bothers to react to the revelation that Tenko's life was scripted. It renders a HUGE part of Tenko's character arc almost completely pointless because we get no actual resolution/pay off for everything that was set up. Like, so much of the finale + epilogue just feels like Hori was going down a check list of plot points/parallels he wanted to include before putting MHA out of its misery, rather than building up to them naturally-- and it's just sad it had to end this way, bc, well. It didn't HAVE to end this way. Hori had all the ingredients necessary to make something truly wonderful, but he didn't use them.

[doodlegirl1998]

This is pretty much my reaction to the BNHA 430 leaks.

Following that, I don't actually hate the idea of Izuku becoming a teacher to inspire the next generation but the way Hori and the other writers go about it is poorly executed (what a SHOCKER, am I right?). It feels so forced to make Izuku all sad and lonely that he can't be a hero anymore. But like...there are examples of characters who either have weak Quirks or Quirks they can't rely heavily on and they can fight.

Aizawa-This discount version Kakashi and Kalego (from Iruma) can fight off villains and Nomus with his magic scarf even when he can't erase their Quirks.

Little Aizawa Jr. (aka: Shinso)-The only student that Aizawa took the effort to train properly because we all know Shinso before that, he relied heavily on his Quirk. After a few months, he can use the magic cloth just like Aizawa.

Stain-Yeah, he's technically a villain but the point still stands due to his reputation of killing several Pro Heroes. His Quirk allows him to temporarily paralyze enemies by licking their blood but you know, you gotta be able to fight to even do that.

Himiko Toga-Another villain but still worth mentioning, this discount Mystique can only transform into a person physically by drinking their blood (only able to copy the Quirks of those she has a strong connection with) but she is shown to be good at knife combat, being able to beat a Pro Hero (though we don't know how strong Rock Lock really is).

There's probably more but the biggest one I'd like to mention is known other than Knuckleduster. He is literally in the same position as Izuku (having lost his Quirk) but he still remains a hero despite this, his sense of justice not wavering. Heck, KD is basically what Izuku should've been, both in the beginning and in this epilogue (just not as violent and tactical).

Just imagine seeing adult Izuku (an ACTUAL adult-looking Izuku) in class teaching his students and encouraging Dai and after the day is done, we see him in a new costume fighting some petty criminals off the streets. He then monologues (INTROSPECTIVE, a word the writers kinda forgot about for Izuku), saying that despite losing his Quirk, his drive to help people has not gone. He's continued to work out, gaining about 5-12% Full Cowl levels of strength as well as support gear from Mei (honestly, I'd rather see these two together over Ochako. Or even Melissa. They would have Izuku's back far more than his classmates).

Hi @ultimateemerl 👋

That was my reaction to the final chapter too.

Also I agree, I would have loved to have seen Izuku as a Knuckleduster-esque hero (using support gear from Mei and Melissa' support Industries) doing teaching alongside this to show that even after losing OFA, he can be a hero.

Having Izuku waiting on All Might (and Bakugou 🤢) to save the day with the Iron Izuku suit felt OOC and forced. At the beginning of MHA, Izuku would have found a way to act as a hero himself rather than wait on outside help.

Speaking of that, how and why did none of Class 1A act to help Izuku during this time? Especially when Momo, Iida, and Shoto have the funds to do so, and Momo has her creation quirk?

How did Izuku seriously get left in the dust for six years by his classmates and friends (aside from the odd text) because they're "so busy" when now there's a bloating of heroes and a decrease in villains? I sense some fake friends who left Izuku in the dust as soon as he could be of no further use to them.

So yes, I would also prefer to see Izuku working with Mei and Melissa over Class 1A as a collective at this point.

[ofmermaidstories]

i just wanted to say as a long time reader i'm so happy to hear your thoughts on the ending, because i feel like so many people were very "this is the worst ending ever and it ruined the series" or "this ending was perfect and anyone who disagrees just didn't understand the story" when i think neither is really true at all lol... like it's okay to take what you need from the ending and agree and disagree with certain parts! no perfect story exists because if it did then writers would stop writing! but i'm still so excited to see where your love of the series takes you in the future, and i'm grateful that you share your work with us always :) i hope you have a good week!

i love the series too much to swing blindly either way. 🥹 and i understand/can see perfectly how like, there’d be readers who’d be upset with the wrap up, or otherwise feel the knee-jerk reaction to defend it from all criticism. 🥺 i’m not one of them though. 🥹 hori achieved what he set out to do (tell a very specific story about a boy learning what it means to dream, and the cost and responsibility of gaining and losing them), there’s just some pot holes on the road to it. 🥺 and maybe they could’ve (should’ve) been addressed, maybe easily, maybe not (maybe it’s a problem for when the road was first built, in terms of foundation or missing approval plans, maybe) but the road still works. we still get there in the end. 🥹

i had fun the entire time, even with the complaints lmao. i agree with you, anon! like, i don’t think perfect creators/writers exist. we all have blind spots, or biases that otherwise skewer what we try to achieve. i think flaws make creators and their creations interesting!!!!!! if anything i think that tells you more about them and their work than the things they get right does. The way Hori protects and almost babies his hero boys—his men—from their consequences, lmao, like he’s almost too scared to truly hurt them in the long run? He always just shies away from saying things outright—things are always left just open enough that he can back peddle later on, fix things. The complete dry lack of romance, despite him taking pains to hint at it and the way it’s guarded among Ochako and Tsyu like some precious, girlish secret. 💀 Idc what anyone says about that last one, I don’t believe he’s deliberately subverting expectations—I think he’s just bad at writing romance (that isn’t unintended 💀) and also a coward, lmao.

But that’s the stuff that’s fun! It’s fun to pick it apart and then it’s fun to piece it back together either by writing fic or trying to find fics that have like, the fix-its you want. 🥹 Hori’s flaws and deliberate gaps are what makes it the perfect sandbox we know and love. and i think he knows that, tbh—there’s so many tiny things he hints at, throughout the story, that we just never get full explanations of. The UA robot uprising, lmao. The cyberwar after the kids leave school, mentioned in this last chapter?? The fact that he’s plotted out the past users lives, and is just kinda like—eh, yeah, i’m never gonna tell. LOL. Maybe what I keep calling cowardice is just a misjudgement of the lines he draws for himself, in the sand. 🧐🥺 I guess we won’t know, lmao.

i’m waffling. Anon, I hope you’re having a good start to your week. 🥹 Thank-you for being so nice, specifically with your last words—there’s a lot I wanna write for MHA!!! I’m excited to start something new that gets to play with what Hori left for us. 🥹 Like Lili said in her earlier ask—I’d like to write them a hundred other happy endings, too. 🥹

[mikeellee]

You know, I'd like them and I think they are thr least insane villains in this damn story. But...I dont get their motivations.

Ok so La Brava looks up to Gentle and wants to help him. Ok.

What he wants to do? He invades the UA bc ?????

It felt like filler but is not. Also how he made money to pay for everything(unless he steals it) like, clothes and cameras don't grow in trees.

I think he should have target HC instead of UA and then you can have Izu and Gentle have a chat.

My opinion here.

He just feels ...a filler. Stans shout how he is a proof villains can be redeemed...when not really, if he got a break of Tartarus...is bc of a war and not sure if his crimes will be forgiving. Hm, considering HC is dead has one guy to oversea everything this could very well lead to some surviving villains either vanishing or being forgiving (proofing they arent with Shig)

But doubt Hori will touch on this.

[inkykeiji]

CLARI pls pls tell me you read the new my hero chapter i will cry pls pls speak on this topic

i did! i found it quite disappointing. it felt cheap and lacklustre. it felt like it had no meaning at all—which is exceptionally upsetting considering the way bnha started out and the messages it originally seemed to be pushing/portraying. also the absence of closure for tomura is really upsetting, tho i think we might still have a chance for something in that regard in the next chapter or so (sometimes hori likes to end a chapter on a cliffhanger and then use the next chapter to flashback and explain, so).

at this point, it feels like all i can hope for for dabi is a mediocre ending. i’m not even hoping for a well-written ending anymore (even tho he more than deserves it >.>) i just hope it isn’t bad. but yeah! pretty let down with the whole thing, but unfortunately not surprised ._.

[anti-katsuki-lounge]

Saw someone saying that most people in the "bnha critical" hashtag mostly just "suck deku's dick" instead of actually criticizing the story. The same person also had another post basically saying that the reason why midoriya gets treated so poorly by the narrative is because every other character's traits were "erased(?) to make up for midoriya's bland character*" * I don't remember their exact words, but they said something similar to that

Those two posts gave me such a headache that I blocked them immediately

I really hate it when people say this.

I’m going to be honest, as someone who likes Izuku, there’s things you can definitely criticize about Izuku’s character. I think that he’s far too naive in certain situations and doesn’t get called out for it much. Him trying to see good in Overhaul is one of those instances. I think he suffers immensely from selective intelligence. He’s supposed to be great at thinking on his feet yet it takes him very long to realize that he could be throwing more kicks. I also think that as the story progresses, he becomes far less creative with his quirks. You get some rare moments like him using Black Whip from his mouth after being inspired by Tsuyu, but we rarely get these moments of his intelligence anymore. He’s also not allowed to really reflect on his past, so he’s extremely stagnant in regards to his views about things such as his quirkless past and the bullying he’s suffered from Katsuki.

However, Izuku isn’t a bland character. The problem is he has a bad writer. We could’ve seen more of his and Ochako’s relationship. Unlike many other relationships, the two are built around the idea that they constantly have each other’s backs. I wanna see more of this. I wanna see more of them bonding. Maybe Ochako asks Izuku for some hand to hand combat training. Maybe Izuku learns more about Ochako’s life/ her hobbies and tries to plan things for them to do that they both enjoy. Maybe they can have a heart to heart about constantly being underestimated and being a part of a group that is looked down upon (Ochako being poor and Izuku being quirkless). With Tenya, maybe the two can study together. Tenya’s great at retaining information but Izuku’s better at being creative, so they can help each other there. They could talk about their feelings of anger and how they feel they have a large legacy to uphold. With Shoto, we can have Izuku and him explore what a normal healthy friendship is like. We can have them confide in each other about the abuse they’ve been through and about their relationships with their moms. These are things that could easily be explored with a character like Izuku and Hori has set up the building blocks of Izuku’s character that allows for these things to be explored. The problem is that Hori doesn’t do any of this. We’re expected to believe that the DekuSquad are close knit with each other, but we don’t see them interacting in anything that isn’t related to heroics. We don’t see much of Izuku’s creativity anymore. He has numerous quirks, but even if some overlap with the others, there are cool combos a hero nerd like him could come up with, but instead Hori would rather have him do the exact same things over and over again. The way Hori writes Katsuki also hurts Izuku’s character. Outside of the first chapter, Izuku’s never allowed to show anything other than fear and admiration for Katsuki. He’s never allowed to be unique or else he’ll utterly surpass Katsuki in something (Katsuki’s latest B.S power up is an example of this). He’s not allowed to reflect on Katsuki’s bullying and the effect it has on him nor is he able to hang out with anyone without Katsuki being nearby or involved.

Long rant, I know, but the point is that while there’s certainly things you can criticize about Izuku’s character, most of the issues with Izuku doesn’t come from being a bad character but from being written by a bad writer who prioritizes other things over developing his MC

[theloganator101]

Finally talking about Dabi

So time and time again I've expressed how Dabi is my favorite of the villains and how much I hate how the narrative completely screwed him over. So now I'm going to talk about him. Spoilers under Read More.

So let's start at the beginning. His real name is Touya Todoroki, the oldest of the Todoroki siblings. When his quirk came in he got excited and wanted to make his dad proud, but soon it all went downhill.

He wasn't born to be resistant to his own flames, and thus giving him burns. Endeavor stops training him as he keep telling him to give up, but Touya refuses.

As the years went on the resentment for his father telling him to quit grew, until he reached his breaking point. Ending with his quirk going haywire and assumed to have been killed.

... Only for it to be revealed that he was Dabi the whole time.

That's pretty much the gist of Dabi's past and it could've been a compelling and complex story. Yeah what Dabi does isn't right or okay, but you can understand what led him to taking this road of becoming a villain.

Now, any good writer would use this to their advantage to write a really good plot from here. Such as having it revealed that Deep down Dabi still cared about his family and part of why he wanted to expose Endeavor was to help his family out of that toxic environment, even if he can't be with them.

Endeavor would be forced to face consequences and his family realizing that this reveal was a blessing in disguise... that they can finally be a happy family without the abuser to keep them on leashes.

...

But then you remember that the author is Hori, a guy known for propping up his worst characters and handling these kind of plots poorly.

What he did instead, was have his own main character tell Dabi that Endeavor has been changing and that makes everything he has done in the past more forgivable! And the whole thing about him revealing this information is framed as he should've kept his mouth shut as poor widdle Endeavor is receiving for it by the public.

So this is LITERALLY saying that abuse victims should keep their struggles quiet since the abuser is "Changing" and to just let the past be the past!

HOLY FUCKING SHIT HORIKOSHI!! WHAT IN THE EVER LIVING FUCK ARE YOU TRYING TO SAY HERE!?

It angers me that THIS was how Hori decided to write this part of the story! To write Dabi off as a non caring insane psychopath who only wants destruction when the building blocks to make this a much more compelling story about a family escaping their abuser was right there!

Dabi! My man! You deserve much better than this!

[justatalkingface]

Everything Changed When The War Arc Attacked:

Or, why do I hate the War Arc so fucking much?

At this point, eh, why not? Writing every day is supposed to be good for improving as a writer.

ECWTWAA is a simple, quippy line that holds all of my festering loathing for watching MHA gleefully hurl itself off a cliff once the War Arc happened, and, much like someone jumping off a cliff like an utter moron (or the Air Nomads after the Fire Nation attacked), it has never truly recovered.

*sigh*

In retrospect, MHA had been going downhill for a long time before that point, and a lot of it was something I noticed unconsciously, but didn't quite rise to me really paying conscious attention to it, beyond a few notable points (*cough*, Bakugou, *cough* FuCkiNg NIGHTEYE), but as my brain was somewhat in the off position as I read, I was still enjoying the ride, even as it bumped; the enjoyment was as much, if not more, that I used to enjoy it more than the actual content, but there was enjoyment.

If MHA before The War Arc was a somewhat imperfect roller coaster ride, the only way I can describe the War Arc is if the roller coaster ride abruptly ended in the side of a cliff, only somehow dragged out for months of slow paced agony. I watched, in vaguely real time, as Hori systematically trashed the last foundations of his story, the swan song of one of the best, most interesting characters in the series, toss aside the sudden yet exciting development of it's main villain, and escalate to a higher gear than ever before the constant work to protect some of the most vile characters, including said mass murdering villain, from even the slightest criticism by sacrificing everyone around them, as well as the very integrity of the story, to the alter of, 'They're not that bad, honest! Don't hurt their little feelings, you bully!'

And, I watched him finally finish the lobotomy on his main character, permanently ripping away what remained of his original personality and intelligence, leaving an empty puppet, a Deku, with the singular purpose of driving the story faster, and faster, and faster towards that thing that Hori seems to crave above everything else now: The End.

Freedom, freedom from the strangling chains of a merciless Jump schedule, of a plot long grown too complex for him to manage, or for him to even want to try, and from the burden of writing characters and stories he so clearly seems to despise, for some reason. And if they only way he feels he can get it is by burning everything he's done down to the ground, well, Hori's clearly more than willing.

In all honesty it became obvious that, in all of MHA, he only actually liked six things: Endeavour, Bakugou, body horror, dramatic, flashy fight scenes with flashy super powers, attractive women in minimal clothing and vaguely fetish-y torture scenes on attractive women in minimal clothing.

These things, from that point on, are the only things he has spent real, actual time on, developing, giving focus to. Everything else, everything else, is rushed, pushed constantly forward by Deku, the puppet, as he runs from plot point to plot point as fast as he can, never allowed a moment to rest, to reflect, to really think at all, all in the name of progression as empty as he has become.

In all honesty, it was a needed, if unwanted, shock to help me realize the truth, but at what cost? At what cost is this clarity? The joy is gone now; once I dropped my unconscious acceptance of the narrative, everything I had been ignoring came to me a rush of horrified realization, even the most mild of flaws became glaring, and now reading the early chapters that got me into this story in the first place is just... hollow now, like I'm watching my old self enjoy them, rather than enjoying them myself, and I can't help but be both jealous and vaguely contemptuous at the innocent pleasure that person had.

I'll admit, I'm being more dramatic than I'd like to be, but... I've said this before, I'd been reading MHA for years before this point. Years of enjoyment, interest, and focus, and it's all ash to me now. I'm somewhat bitter about it.