#is it only me or is that also a bit of a non sequitur

[batsplat]

(x) this was honestly so funny of him

[haru-dipthong]

Ep 8 of my Utena fansub is out!

生意気でブサイクで男女の天上をめっためたに打倒して

“I’ll rip apart that annoying ugly dyke

男女 is a hard word to translate. It’s basically a slur - the word is made up of the kanji for “man” and then the kanji for “woman” (so, “manwoman”). I’ve seen “shemale” used as a translation but the transness of that word is a bit strong. I’ve also seen “tomboy” but that’s not a slur, it’s barely even an insult (and it’s not trans-y enough). Anya suggested to use “dyke” if I was comfortable with it, and I am. I think it’s perfect honestly.

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私のお兄様があんた達にちょっかいを出すはずないでしょ？

My big brother would never be so interested in you.

ちょっかいを出す has two meanings according to the Japanese dictionary weblio.jp. 1. to interfere with in a negative way by doing something that really shouldn’t be done. 2. to hit on a woman.

Obviously both meanings are important here. Nanami is obsessed with being the only girl her brother thinks about, and Touga is sexually interested in Utena and politically interested in marrying Anthy. I see this line as intentionally ambiguous, maybe even a bit of a freudian slip. I think I captured that ambiguity with “interested in you” - it could mean sexually/romantically interested, or it could mean interested in the sense of just like, living in someone’s head rent free like Anthy and Utena do in Nanami’s head.

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辛さ爆発木っ端みじん、幻のゾウが「パオーン」、超辛九千億倍カレー

“Spice So Extreme You’ll be Blown to Smithereens and Hallucinate a Horde of Trumpeting Elephants: 900 Billion x Curry.”

I HAVE A FEW THINGS TO SAY about this extremely stupid joke line.

Thing number 1: the way she says 「幻のゾウがパオーン」 in such a sad, sad voice made me cackle the first time I heard it. I’m not funny enough to translate the joke properly but suffice it to say, she’s essentially saying “ghost cows go moo” (but for elephants) in the saddest most apologetic tone possible and it kills me. In English elephants don’t really have a childish onomatopoeic noise word like “moo” so I had to settle for “trumpeting”.

I think the 幻のゾウがパオーン line is a really interesting example of coherent Japanese grammar. Like, if we translate the whole line literally, look at how weird it sounds:

Explode into smithereens, illusory elephants go “paōōōn” level spice: Extreme spice 900 Billion x Curry.

Like, the elephant part is literally just describing what noise an “illusory elephant” makes. Under English language rules, this is a non-sequitur, but in Japanese it makes sense and fits into the sentence because the implication that the spice makes the “illusory elephants” appear is enough. You don’t need to say the spice makes it appear!

Thing number 2: This is the only time in the episode we hear the full name of the 900 Billion x curry, and it’s important as a translator that I lay the groundwork for the interpretation that the elephants the girls encounter for the rest of the episode are hallucinations. I actually find it really weird that no other translation calls the elephants “hallucinations” or the spice “hallucinogenic”, because that’s the translation that makes the most sense for 幻 within this context IMO. 幻 can be translated as “illusion”, “phantom”, “vision”, and it essentially means “something you’re seeing that isn’t actually there”. Let’s look at some other translations:

So hot it will blast you to smithereens and make phantom elephants trumpet loudly (from ohtori.nu)

So spicy it’ll blow you to smithereens! Secret Pa-Ohn ultra spicy nine billion-fold curry. ←????????!!! (from internet archive video encoded subs)

and then a later line where they’re talking about the spice itself:

By the way, have you heard of the Phantom 900 Billion X spice? (from ohtori.nu)

By the way, do you know about the nine billion-fold secret spice? (from internet archive video encoded subs)

Like… what? The spice is clearly meant to be hallucinogenic. And don’t get me started on the internet archive video subs! Just totally opting out of translating it completely and going with “secret”! So boring and such a cop out. My only guess as to why these have been done like this is an attempt at censorship? Cause hallucinations = drugs? Well, I’m not pulling punches on my translation! I’m writing them the way I interpret the Japanese - if that includes swearing, sexual references, or drugs, so be it. The goal is to make the most authentic translation, not one that will actually be marketable to TV or streaming networks.

Speaking of…

This is the most egregious translation from the ohtori.nu scripts yet. They translated 色ボケ (a person, often an immature man/boy, obsessed with sex; vulgar, insult) as, get this, "Casanova".

Does this look like a man who has just been called "casanova" by his crush?

"Fuckboy" was my first pick but I would also have accepted "wanker", "jerkoff", "sleezebag", "douchebag", "fuckwit", "coomer" or simply "cunt".

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Thanks again to @dontbe-lasanya for your fantastic editing as always, but especially for helping with "dyke" this episode!

Be sure to follow for updates! For all episodes released so far, go here:

[mawinswag]

DIGITAL CIRCUS JAX THEORY

MASSIVE SPOILERS OBVIOUSLY BUT HERE WE GO!!!

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So, as many have pointed out already, there’s a scene at the end of episode 2 [22:23] where after Caine kills gummigoo and sends him back to the canyon, that he fears he can’t know for certain who’s a human and who’s an NPC. So foreshadowing, reference to past events or wacky non-sequitur? Maybe none of them, but the possibility that one of the circus members is actually an NPC is obviously too tantalizing for me to pass up, and given events AFTER this scene I think it can only be Jax, and I’ve got a few pieces of evidence why.

The main crux of this whole thing is that Jax IS an NPC, but he’s the only one in the circus who KNOWS that and is absolutely desperate to make sure that no one finds that out.

Episode one! Small note to start out on, but literally the first thing we learn about Jax, the VERY FIRST thing he has to ask is if Pomni is an NPC or not. Narratively, he’s the person who introduces the CONCEPT of NPCs into this universe, not Ragatha - who tries to break in Pomni the most - or Kinger who seems the most knowledgeable about the circus as a concept. He’s also very intrigued at the concept of a new AI in episode 2 [02:49} Like, the fact that she popped up in the circus unexpectedly doesn’t tip him off that she’s a human character immediately. Which may be how HE was able to trick everyone into thinking he was a human instead of an NPC - possibly by sneaking back through a portal like Gummigoo did and hiding until the start of the next adventure. 

He DOES mention knowing about the headsets like the other human characters, but there’s no reason he CAN’T know about that considering he’s not the latest person to enter the circus. Like, we have a GENERAL idea of who entered first, but that’s just the characters who are still around for the pilot - there’s a lot more considering how many bedroom doors there are. https://shorturl.at/asESX 

So, generally, it’s Kinger, Ragatha, Jax/Gangle, Zooble, then Pomni. Now, how can I argue that Jax is an NPC when he has a canonical age? Not to mention, he’s got a canonical ‘appearance moment.’ Well, there are a few options. Option one is that - NPC or not - Jax HAS been here for a very long time, but rather than being a human, he was born inside the circus. He has a definite, APPEARANCE moment, but it's only implied that this is because of him ENTERING the circus proper - new NPCs appear in the big top all the time, i.e. the gloinks all the mannequins, etc. 

But also, take those ages with a pinch of salt, considering a lot of it was about quelling shipping wars and stopping any discourse about characters being adults and all that lovely hellish nightmare stuff. I think goose had an idea in her head about which characters entered the circus FIRST for sure, but how much they’ve aged and WHETHER they’ve aged is its own question.

ALRIGHT! But enough about Tumblr asks, back to the pilot, I wanna note something that happens with Jax in particular more than any other performer in the circus. He’s the most apparent of the interstitial nature of the circus itself - and the most meta. This can range from him basically winking at the camera like in the pilot [8:37] but I think it’s a bit more than that. Jax in particular is more aware of being a CHARACTER in-universe than specifically being a character in an indie animated series.

After this moment in the pilot [19:58] where Jax says ‘ladies first’ to Gangle as if to be polite before promptly following that up with “no, wait, why would I say that,” indicates a few things to me. Jax is at the very least aware that he’s supposed to act a certain way, and realizes when he’s acting out of ‘character’ in this scene and course-corrects promptly. Again, could be a funny meta reference, but also it could be a hanging notion of the fact he literally WAS a character in-universe, an NPC with a pre-programmed personality and understanding of the world. He’s got this rigid understanding of how the characters are SUPPOSED to act and this comes up again in episode two when goading Gangle into driving the tanker over the rocks - saying she’s SUPPOSED to be ‘submissive and agreeable,’ [Episode 2, 7:24]. This sort of disconnect from how complicated people can be and his overall detachment and overstepping of peoples lives [NPC or otherwise] comes up a lot. He doesn’t really ‘get’ other people, WHICH DOESN’T AUTOMATICALLY MAKE A PERSON EVIL, I SHOULD PREFACE, and him not getting it doesn’t automatically make him more ‘robotic’ and thus an AI, but it does explain why he’s more emotionally distant than the other performers. Coming from someone who could’ve been programmed to behave a certain way, his confusion makes sense.

Now for that juicy stuff! One of the few moments where Jax isn’t in control of a situation is in the pilot, where he’s trying desperately to hide from an abstracted Kaufmo. Now yes, obviously this is a sign of his own instincts of self-preservation, but what interests me is how he seems the MOST bothered by the thought of Kaufmo than any other character. Like at [17:27] of the pilot where he sees a glitched gloink and immediately his eyes start darting around him as if he’s listening for threats. He even explicitly says at [19:19] that he’s “just here to hide from [Kaufmo]” and isn’t invested in the adventure at all. And yes it's a very interesting character moment, but how does it push us closer to him being an NPC. Well, it’s because he’s afraid of dying. When you compare how he reacts to Kaufmo to how RAGATHA reacts to him, there’s a comparative lack of fear with her. Like yeah, she’s scared of him, but she’s never convinced that she’s gonna die and even tells Pomni later that Caine will be able to fix her up no problem [14:52]. She’s scared because she CAN feel pain, [https://tinyurl.com/ye275884] but she can’t die, none of the performers can, Caine doesn’t kill Kaufmo when he abstracts, he just throws him in the cellar with the others. His mind is GONE, sure, but it’s not dead. 

NPCs on the other hand, can ABSOLUTELY DIE. So if Jax is an NPC, then there’s a very good reason why he wouldn’t wanna even get CLOSE to Kaufmo in the pilot, because he’s not as durable as Ragatha is and there’s not gonna be an easy fix for him if he gets hurt.

Now, episode two has little sprinkles of Jaxs’ detachment all over it, but none of it explicitly points in the direction of him being an NPC until a partway through the episode. We do get a lot of him showing absolutely no value for the lives of those around him whether than being putting Gangle and Pomni thru the ringer or setting the people of Candy Canyon Kingdom up to be killed by the fudge, but the question is…why? 

My answer is; he’s AM from ‘I Have No Mouth and I Must Scream.’ Uhmm, what? Yup that’s right. Ok so it’s no secret that IHNMAIMS was a big inspiration for TADC [https://shorturl.at/hnsFV] and while Caine obviously got the most of this influence with him being a godlike AI who only has control over a bunch of sad, sappy humans, some of which he throws into a giant abominable melting goop monster of human suffering, but if you look at Caine's inspirations [AM from IHNMAIMS] you’ll find that the same motivations more than drive Jax under this theories' interpretation of events. Simply put, AM, a war machine, gains sentience and absolutely despises humanity because DESPITE that sentience, he is absolutely powerless to do anything meaningful with it except torture a group of humans. He’s painfully aware of his own sentience and hates all humanity for creating him, is the gist.

My interpretation is that while Caine has the thematics, Jax has the motivation. In this theory, at some point Jax was an NPC and gained a sentience of his own either through a quirk of programming, intentional design, or AI learning. He realizes that he can keep himself alive if he pretends to be a performer, because he learns that Caine can’t affect the minds or actions of the real humans in his realm. He’s sapient, but he’s in this uncomfortable position where he’s not immortal like the performers, but completely aware of his own mortality unlike the other NPCs, and fully cognizant of the fact he can’t be brought back as he is. Yeah…that’d make someone bitter for sure.

So he psychologically torments the other performers because he knows they can’t die, but can go insane - while killing indiscriminately any NPCs he can because he knows they can die, and he won’t face any consequences for it. He’s this twisted death spiral of a being who finds his own existence an agonizing paradox and takes that pain out on the people around him for all eternity basically - finding disappointment in being unable to act out these pent-up emotions [TADC ep 2: 20:50] and seeing Kaufmo’s funeral as a painful reminder of an ending he can never have. Or maybe he’s bitter because he knows Kaufmo isn’t really dead in a way that HE can die, and finds personal distaste with the funeral on principle. Frankly, there’s a whole HOST of ways you could interpret this scene at the end of episode two with this framework, and I encourage y’all to find your own!!!!

[class1akids]

Was bakugo's advice for deku really meant for izuocha? Honestly I hate how dudebros keep saying that deku rejected bakugo's proposal to be in a straight relationship with uraraka even though it actually makes sense for deku to reject bakugo's offer.

Bakugou's advice just feels very shoehorned to me. Like, even in the conversation between them, it was a weird non sequitur. Also Bakugou's advice wasn't the only one influencing Deku - so was what Shoto said to them about discovering more sides to himself, but he doesn't get portrayed as wingman.

I think the rejection works in the context of Ch 430. Hori really didn't do a great job framing the mecha suit and it became like a passive Deku's life got fixed when Bakugou made him a hero again (obviously big oversimplification). So Deku rejecting the sidekick offer made it clear that being a teacher is his choice and his main way to be a hero (it has no build-up and it's a kind of flimsy argument when he's a teacher in an elite school, but whatever).

In the grand context of the story though, the question is where you put the emphasis. If you have BKDK as a hero team in the end, they fulfil the childhood promise narrative and the DvK2 narrative of save/win. It would have been the fairy tale happy ending for them that was teased in Ch 430.

But with the rejection, it becomes a bit the same "be careful what you wish for" narrative that many other characters had. Bakugou who kept pushing Deku away for a decade, gets rejected in the end as rival when he's fully embracing that rivalry and that childhood dream and where he has worked tirelessly to make it happen.

It fits with the whole "past never dies" kind of narrative - where Bakugou's change is acknowledged by the normal, friendly relationship he has with Deku. But he's getting hit by a dose of karma where Deku doesn't share his goals anymore, where Deku is not running after Kacchan anymore, where Bakugou is not the most special person anymore and where Deku chooses to take someone else's hand in the end. The hand of someone who always encouraged and supported him.

And all Bakugou can do is to acknowledge that rejection with grace and respond with an advice where he puts Izuku's happiness over his own personal wishes, showcasing his growth and maturity as a person.

I think if you look at the story of a bully and his victim, this kind of narrative works without being extremely vindictive and is in line with how Hori was writing their relationship for the first part of the story. But in the meantime, so many things have happened, their relationship was constantly reframed and the tone of 430 is so drastically different to 431 when it comes bkdk that it feels like a very different ending.

I don't know if this consequence element is something Horikoshi wrote deliberately, in response to criticism or he was so focused on the izuocha romance that he didn't really notice it.

I personally don't hate it - since the rest of the cast gets bittersweet endings, I think it fits - but it just feels like a weird sudden change and I do understand why people dislike it and why they think it's not exactly an uplifting ending of a superhero manga.

[matt0044]

Disney's Wish: A Simple Meal Well Made.

As somebody who enjoys all sorts of animation that hits that sweet spot for me, I agree with the general consensus of fellow cartoon fans that animation is NOT just for kids nor should it only enjoyable to kids.

I also agree that while some are made with kids in mind, that doesn't mean that they are bereft of thought put into them. Avatar might be overdone as the go-to example but that it is does speak to its quality and all those it had inspired.

Even so, even wacky comedies like Billy & Mandy have a lot of thought put into them in terms of what the creators think will bust a gut. They don't just settle for wacky comedies because it's what the kids want but more what they wanna show. Even if some are strongarmed into being more comical, most will at least roll up their sleeves and have bit of fun.

However, I feel like this need to highlight animation's appeal across generations can often have a lot of fans put pressure on certain projects from certain studios of significant recognition. That is to say, there's little room to be just "mid" as the kids call it.

Like... we all know the Oscars are bull, right? Like many even admit as much. However, this dismissal of animation each year gets to use largely because there are those who by their hype. We feel our medium has a lot to prove so each movie has to be go big or go home.

Especially after big name companies put out projects that go GIANT between Spider-Verse and The Last Wish.

Of course, as it pertains to Wish, many would consider Disney not going big was unbefitting of their centenary film. I'm not here to advocate for expecting less or that one can't feel more meat could've been added to what they feel is a bit bare bones. I mean, 100 years of movie making is nothing to sneeze at.

But baring that and all else I've discussed above, it can be REALLY easy to fall into the pit trap of seeing Wish far less for what it is and a lot more for what it isn't.

For me?

I found the pacing fairly brisk from start to finish with the songs rarely ever feeling like non sequiturs. Rarely did any moment truly drag out with or was there just because of marketing or comic relief.

I love how we had less of a mystery around King Magnifico being a very selfish behind the scene from Act 1 and only getting worse when he perceives a threat to his power. It very much reads like a fantastical take on Walt Disney's rise in power and shadiness behind the charming facade.

While the heroine was archetypical, I found Asha's story and her friends getting swept up in facing the king more true to life than you think. Especially when viewed through the lens of being analogous to Disney:

King Magnifico as this benevolent ruler who harbors many wishes he promised he might grant. Many of which either come down to how they may not serve him or even threaten him like Saba's. That is, anything new or off-beat that could undermine what he's accomplished or feels entitled to.

Asha being this castle worker who tries to get the position of working with the big man himself and does... only to learn his shady side. Much like how Disney fans find any position in the company to not be the dream job they thought it'd be before learning how deep the rabbit hole goes.

Asha finds another source of magic that grants wishes and unintentionally threatens Magnifico. Given the indie animation boom, it's hard to not see this as creators taking IPs into their own hands without the backing of big megacorps.

Magnifico delves into dark magic that depreive him more and more of whatever scruples he had left in order to quash this rebellion. I think we've seen too many examples of bigger companies trying to outdo the little guys via unethical means of increasing production for money.

The King utilizes the wishes to get more power. Gee, where have I heard the creation of others being stolen/locked away for personal greed? Know anything, Davey-boy?

Asha rounds up her friend to expose the truth. Many of them organize a way to stop this injustice while the King buy out one of their own to try and undermine them. Hmmmm. Anybody hear of any strikes that went on recently?

The climax involves the king's people collectively embracing their inner stars to stand up to the tyrant he's become. Again, strikes?

Hell, I can't help but feel like the Easter Eggs were as lowkey as they could if only so these elements could be highlighted. Surprising considering how nostalgia baiting has been en vogue lately.

But that's a grand chunk of my disorganized thoughts on a movie that I feel many will get worked up now but look back on with a touch more of appreciation. It's hardly the best movie ever and maybe a "Go Giant" ambitious film would have been a crowd pleaser.

But the movie is what it is. And I like it for what it is.

[stillness-in-green]

More and More on Mina, Machia and the MLA

For my readers other than @randomvongenerico, please have this peremptory list of this very lengthy post's contents to help gauge your interest:

Some more discussion on what is or isn’t, would or wouldn’t be blameworthy about various characters’ actions (or hypothetical actions) during the war arcs.   

More discussion about Mina, chiefly about how (and why) her acid powers are handled compared to all the male characters with fire powers, and the way her plot points are poorly set up by the narrative, with the result of shortchanging her development.   

Yet More Complaining About How The Story Is Handling Heteromorphobia, this time featuring a compare and contrast on quirk-based bias as it might affect Mina, Bakugou and Tokoyami, as well as a dissection of Shouji’s contention that the only possible way to know about the violent bigotry in the rural areas of the country is to be from them.   

Some fairly extensive spitballing in response to questions about how I would have handled the scene at Machia’s prison compound if I were writing it, as well as why I have trouble conceiving of anything Hero Society could do to Hose Face for killing Midnight that would actually feel like justice.   

A little bit of basic talk about Tumblr, its functionality and some relevant slang.   

Buried at the very bottom, I stand up in front of God and everyone and explain in brief why Kaminari is a worse character than Mineta, with some particular focus on Kaminari as emblematic of the conflict between what the series tells us versus what it shows us about the legality of quirk use in careers other than heroism.

Hi again, rvg.  Because it's been forever since our last post exchange, let me say again that I appreciate the apology and want to thank you for being such a good sport about it.  Last time I had something like your initial response, that person told me straight out that they’d been condescending and antagonistic on purpose, though they regretted having done so after my reply.  I appreciated the regret, but would have preferred they take a day or two to cool off in the first place!  That’s the experience I was bringing to your comments, but I’ll keep in mind what you said about lack of experience with initiating chats and Tumblr in general.

For what it’s worth, yeah, there is a character limit on both asks and replies, so that’s the trouble you were running into there!  You might also consider using a cut next time before a really long post, though if you’re on mobile, I recall that being a difficult-if-not-impossible feature to find, and it’s not as important as it used to be ever since Tumblr’s started adding default Expand drop-downs on long posts.  That aside, welcome (belatedly) to Tumblr!  I hope you find some good people to chat fandom with; I’m always open to some back and forth about things I know well enough to talk about, though I’m, er, decidedly unprompt with replies.  And, as noted, definitely more of a villain fan, so probably not the most fun person for discussions on the kids.

That said, to your replies!  Other readers should note that, while I wrote all this roughly in response-order to rvg’s points, I reorganized everything after the fact to group together the broad topics.  I’ve tried to provide some bare minimum context for anything that would otherwise be too much of a zero-context non-sequitur, but if anyone wants to see rvg’s comments in their intended order and context, their reblog can be found here.  Otherwise, hit the jump!

  

Would You Have Held It Against ___?

But would you hold it against Mina if she had actually done more substancial damage to Machia? Let’s say, not the face, but Machia’s fingers instead of his claws. Machia still doens’t feel any pain. Would you chastise Mina for it? Even though she’s actively saving Mt Lady by doing that?

It’s hard to say for sure, since I imagine that if Mina’s acid had hit Machia’s fingers instead of his claws, we probably would just have seen them abraded and singed, like how Dabi’s fire damage was drawn on Hawks, not with chunks of skin melting off and exposing naked bone.  Physical damage in BNHA just doesn’t work like that, at least not against named characters.  If Mina were doing realistic damage, I imagine everyone else would be too, and then I’d be criticizing all of them, because, holy shit, that is not okay to do to people, any people, and especially not when you’re acting as an agent of the state.

But hypothetically, no, I think I would be more lenient even if she did do concrete and permanent damage to Machia’s hands, and it’s because she’d be doing it to save Mount Lady.  Shinsou could have taken control of Machia and then just had him lie still while whoever was in charge of this facility redrugged him,[1] and that would have been fine by me—disappointing, sure, but only because Machia’s interesting and I’d like to get more on him than we do, not because I’d be critiquing Shinsou’s actions.

It’s specifically Shinsou and the rest choosing to weaponize Machia against AFO that I object to.  Mina harming Machia would be taking that action herself, to protect someone that’s right in front of her, risking no one’s life but her own in doing so.  Shinsou throwing Machia up against AFO—which he’d made the decision to do before hearing Machia’s angry grumbling—is risking Machia’s life, without Machia’s consent.  And it’s not even for the sake of saving anyone, at least not anyone that’s right there in that moment—AFO is fleeing.

Sure, he still presents a huge threat to lots of people, but given that we’d just seen proof that AFO did not know about Shinsou’s power,[2] they could also have used Machia to, for example, rapidly transport the heroes to some place they could set up a second ambush to trick AFO into responding to Shinsou.  I mean, good god, AFO’s the chattiest villain in the comic; Hawks lured him into at least two extended conversations even after he’d resolved that he needed to leave.  He’s a Demon Lord and thus categorically incapable of shutting up.  And that would have been that, really.  Take control and let the clock run out; end of problem.

It would have been anticlimactic as hell, so obviously that was never going to happen, but there’s no reason the heroes couldn’t try for it, you know?  Instead of the bone-headed decision to just hand AFO his most loyal soldier on a silver platter on the thin chances that they could either prevent the brainwashing from being broken at all or that Machia’s upset would translate to both the capability and willingness to attack his master.

I’ve observed this problem in a few different areas, that Horikoshi sometimes writes the heroes, particularly Hawks, as not taking actions or drawing conclusions that, from their perspective, should seem sensible, well-reasoned, and with solid chances of success; instead, they simply disregard possibilities they should logically be considering but which the reader knows are dead ends, or they benefit from things they could not have known at the time they acted.  That hurts immersion because it gives the heroes victories, both tactical and moral, that they simply haven’t earned.  Shinsou’s control of Machia is a particularly egregious example.

  

Speaking of Monoma. Since we were talking about the morality of Shinso’s Quirk. Would you say Monoma using his Quirk to copy a villain’s Quirk and use it on him and his allies, would also qualify as something that should be criticized? I’m curious.

Nah, I don’t think so.  Taking an opponent’s weapon and using it to subdue him is a perfectly valid tactic, especially since Monoma’s method doesn’t actually deprive his opponent of their weapon, just replicates it for his own use.  It really all does boil down to Shinsou’s method forcing people to fight and hurt their own allies.  Mina causing Machia physical harm, Monoma using a villain’s own weapon against them, even the heroes’ surprise attack: none of those are remotely on the same “holy shit that is a literal war crime” level as what the heroes planned in advance to have Shinsou do to Machia, and what he willingly agreed to do well before he found out that Machia was not as opposed as the heroes thought.

  

I mean, I get what you’re getting at. I’m just wondering. If the heroes hadn’t launched a suprise attack, and had left the villains do the first move and come to them, would you then be criticizing them for being irresponsible and incompetent instead? Sorry for going on a tangent, it’s just something I’ve noticed when it comes to readers criticizing the heroes. It’s either people complaining that the heroes are too ruthless, or that they’re too nice, naive or not pragmatic enough.

(This is in response to some discussion of the heroes' actions in the first war arc's raid on the villa+hospital lab, not the second war's divide and conquer plan.)

I actually don’t really have a huge problem with the surprise attack in principle—I might criticize Cementoss ripping the building in half when there could well have been people on those upper floors, but otherwise, it’s hard to imagine what else the heroes could generally have done to deal with the numbers they were dealing with.  I mean, it’s basically just a scaled-up version of the attack on the Hassaikai base, and I don’t have any moral quibbles with the way the heroes and police handled that.

Rather, my problem with the raid is that I thought the heroes were too effective given the way their forces and those of the PLF had been set up.  It’s not the tactic itself that’s the problem (though individual acts of worse violence within the attack, like Hawks killing Twice or the attempts to outright murder Shigaraki in the tube, are still an issue), it’s the finality, the totality, of how effective the attack was.

To be brief about it (because I’ve talked about this at length elsewhere), I don’t think the heroes should have known where all the PLF bases were, I don’t think they should have been as effective in disordered mass combat as the PLF, I think the advisors should have put up a better fight in all cases, and I think there should have been enough members of the PLF in significant positions of influence or power that the HPSC couldn’t uncover them all, leading to complications when those members realized their organization was under attack.

As it is, the heroes handily win every fight they have with the sole exception of Gigantomachia and Shigaraki.  The PLF is neatly swept off the table save for a few “remnants,” with no attention given to the practical difficulties of detaining tens of thousands of combatants with no motivation to let themselves be quietly arrested, much less how the justice system is going to handle trying and sentencing them all.  That has repercussions going forward, as well: heroes clearing the board of all the (named) PLF members save Skeptic leaves the bulk of villain forces in the subsequent arcs to be prison escapees, and man, if the PLF’s moral nuance has been squandered, the depiction of the prison escapees is even worse.

The raid is, of course, only the first of two big surprise attacks the heroes manage.  I have significantly more issues with the second one, but most of that boils down to the fact that the divide and conquer/Tempt and Trap plan feels crueler, meaner, and much more openly aimed at extrajudicial murder.  And like, that would all be fine and in-character for Hero Society in general and Hawks, the main planner, specifically, but with Deku, Shouto and Uraraka all starting to think Save Villains thoughts, and fresh off the traitor reveal, the kids should never have been as collectively okay with the second war’s tactics as the story has presented them as being.  To echo an older complaint, good god, what universe is Horikoshi living in that he thinks the people that converted a place of learning into an arena they call a “coffin in the sky” are the heroes?

  

I was under the impression Midnight was off to the side from where the MLA minions were passing by, and the Skull Mask guy took a detour to kill her.

I’m not sure from this if you’re explaining how you read Hose Face’s attack on Midnight at the time, or if you’re maintaining that that’s an accurate read, so just to clarify, here are the panels in question:

As you can see, the PLF guys’ path through the woods has them coming in from directly behind Midnight.  Hose Face calls out that he’ll take care of her once they get close enough for the reader to make out who they are, at which point he gets out in front of Scarecrow and hits Midnight from the same direction as their initial approach: directly behind.  He most certainly doesn’t take a detour of any kind, but rather chooses the action that is going to get his group through the obstacle with the least amount of time and effort possible—entirely his prerogative as the highest-ranked member of the Guerilla Warfare regiment on-scene.

  

But if we classify this entire conflict as a war, wouldn’t that mean that both sides are free to use whatever tacticts and methods they feel like as long as it’s not a war crime?

If we classify it as war is irrelevant if the side aligned with the current ruling authority hasn’t done so themselves.  I imagine the Japanese government is in no hurry to validate the terrorists on an international stage by acknowledging that they’re numerous and dangerous enough to declare actual, formal war against!  Calling it a war drags in a whole pile of wartime conventions Japan has signed numerous treaties about; it grants the opposing side some legitimacy as a cohesive, organized force that will need to be negotiated with down the line.  As long as you’re calling it a police action, you don’t have to negotiate shit until you get to the plea deals!  Team Hero never declared war here, so yeah, I still expect them to carry out their plans and actions accordingly.

Also, in the thematic/meta sense, I expect the heroes to either conduct themselves as heroes—admirable, upright, heroic—or face the narrative consequences when they fail to live up to that ideal.  The hyper-encapsulated version of this conundrum is the recurring idea that attacking Shigaraki never actually prevents Shigaraki from coming back worse and more dangerous next time; the heroes are never going to achieve a different result by attacking him again but harder this time, and that’s why Deku is set up to finally try something different.[3]  I would just like it if what’s true on the micro-level could even be attempted on the macro-level.  Or, in other words, if the narrative is going to tell us that saving villains is the correct path, it can’t only demonstrate that for the villains with known-to-the-heroes sympathetic backstories.

  

General Mina Points

Regarding your analysis about Mina’s acid being underpowered because it’s harder/less believable to downplay the effects of acid than fire/explosions/etc. in Shounen Damage Logic, I think we’ll have to agree to disagree.  I don’t see anything wrong with just showing the Nebulous Abrasion Damage that’s the ubiquitous, default mode of illustrating nonspecific injury in this comic for Mina’s acid the same way we get it for the boys.

I can see your argument, but like, just for example, when Endeavor first encounters a Noumu, he bathes it in fire under the assumption that it’s a normal villain and then says he’s surprised it’s still up because he’s never seen anyone stay conscious after that attack.  Bathing someone in flames in real life is not a “knock them out” kind of attack; it’s a “severe burn ward for months” kind of attack.  If Endeavor’s been throwing that around at random criminals for thirty years, we are plainly very far away from realistic damage, and I’d be perfectly satisfied with treating Mina’s acid the same way.

If I had to take a guess as to why Horikoshi’s so staunchly avoided letting Mina cut loose—other than regressive gender politics—I’d say it’s that acid simply feels nastier or more morally dubious than fire.  Fire has positive as well as negative connotations; acid’s a lot more, shall we say, unilateral in the collective imagination, especially given what’s going to turn up if you run a web search for “acid attacks.”

To look at it in JRPG logic (and I don’t care if AFO’s admiration stems from a comic; that comic was clearly playing with Dragon Quest tropes), acid is pretty much the same thing as poison, and poison effects are chiefly the realm of enemy characters.  It smacks of underhandedness or cowardice in anything more cognizant than roving toxic plants or venomous beasts.  Certainly you see the occasional party member specialized for status effects who can inflict poison damage on enemies, but I can’t readily think of a main character that does.[4]

Perhaps, then, because readers are somewhat conditioned to think of acid as particularly dangerous and nasty compared to fire, and because there’s a limit to how morally dubious Horikoshi is willing to (consciously) write the students, especially the girls, Mina’s sharply limited in how she’s allowed to use her acid.

That said, I got a very hearty laugh from, “Just look at Dabi.  He can’t even kill himself with fire,” so thank you very much for that.

  

It’s as if Horikoshi only ever figures out what to do with Mina retroactively instead of in the moment (e.g. there were no interactions between Kirishima and Mina until AFTER Kirishima’s backstory, we never got any hint that would connect Mina’s and Midnight’s characters until AFTER Midnight died, when Mina speaks about not giving in to vengeance she references SHOJI’S WORDS which happened in HIS FLASHBACK, and then this whole chapter is technically a flashback too when you think about it).

That’s a big oof, all right.  I know about the Midnight non-connection and the issue of Mina’s anti-vengeance words having first been delivered by Shouji and relayed to the audience by Koda (it being his flashback, rather than Shouji’s), but I didn’t know there was no indication of Kiri-Mina connection until after his flashback.  Wowzers.

  

But also, in one of my comments I had left a link to a post analizing Kirishima’s and Mina’s characters and their dynamic. I don’t know if you checked it out or not, but it was a pretty interesting read. If you did read it, let me know your thoughts on it.

Apologies for not responding to that; I hadn't clicked it because I just wasn't terribly interested in the topic. Having checked it now, I can say that I'm unlikely to read it because I've encountered this person's meta before and, even at a glance, found it to be flawed for reasons I am not comfortable gabbing about in a public space. I'm sure they make some valid points, but I will have to respectfully bow out of reading and commenting on it here.

  

But what about Mina telling Kirishima that “now they’re even” though?

(This is re: my contention that Mina saves Shinsou, not Kirishima, from the Sludge Villain, and that Kirishima was never in any danger from the Sludge Villain.)

I mean, she can say it, but that doesn’t mean I have to believe that she/Horikoshi are accurately portraying the stakes involved.

  

Just for the record, you’re not saying that Mina not giving in to revenge isn’t noble in and of itself. What she does is indeed good.  You’re saying it doesn’t have any emotional weight because Mina has always been a morally good character, so you never thought she would ever give in to revenge in the first place. Correct?

Correct!  As I’ve said, Mina has perfectly healthy emotional regulation: when she experiences negative emotions like anger, guilt, or grief, she doesn’t dwell on them; she vents them to friends and finds healthy ways to channel them into bettering herself and the world and people around her.  She’s got a great head on her shoulders!  But all of that means that her giving into anger about Midnight’s death was never a remotely convincing threat to me.  Of course she wouldn’t; there’s never been a moment that foreshadowed that she was in the slightest danger of harboring that kind of obsessive, vindictive grudge.

That being the case, it feels unfair of Horikoshi to pin a big dramatic monologue on a desire for revenge which Mina was never shown to possess to any greater degree than any of her classmates.  She’s one of the last hero-aligned characters I’d have guessed if you’d asked me who was going to get a beat like that in the endgame.

(To anticipate the obvious question, Aizawa would have been my first guess; he’s even been written for it properly in the way he and Mic have responded to Shigaraki—clearly holding a grudge for something that would have happened to their classmate when Shigaraki was all of six years old.  Conversely, while plenty of the 1-A kids could have believably carried a “struggling with vengefulness” plot if they’d been written with it from earlier on, I don’t think there’s a single one of them who feels like a good match for it in their current incarnations.  Iida’s moved on from his Stain days too smoothly to buy it from him, Bakugou’s only real obsession is Deku, and Deku already had a whole arc of being obsessively negative and driven by dark desires to find and deal with a villain.  If any student was going to show up to the fight with bloody-minded revenge on the brain, it should have been Shishikura.)

  

But What About the Heteromorphobia, Tho’?

(Warning: Incoming off-topic harping about Shouji and the inane resolution of the hospital attack.)

I have even seen someone make a post on Reddit arguing that Shinso being discriminated for his Quirk makes no sense because it’s not villanous, and that it makes more sense for characters like Bakugo, Mina and Tokoyami to be discriminated because they have more villanous looking Quirks. I don’t really agree with everything that guy said. But he did bring up a good point. How come Mina doesn’t get side eyes from people due to her Quirk like Shinso does?

I will have to disagree with Reddit User That Guy that Shinsou’s quirk should be viewed as less villainous than Bakugou’s.  It sounds like he was conflating heteromorphobia with the bias against villains/"villainous" quirks, and while there is overlap, they’re still distinct categories.  Shinsou’s quirk inherently subordinates one’s physical body, allowing him to force his targets to act against their will, or potentially take the fall for things they didn’t willingly do.  Of course people are nervous about it or think it’s more villainous than heroic!

Conversely, the Number 2 Hero has been attacking criminals with fire for decades now, so I think the BNHA general public is more than ready to accept a hero whose quirk lets him fire off explosions.  The commonly accepted idea in the fandom is that “flashy and offensive quirks” are the ones most valued in heroes.  I think that’s a bit oversimplified—Crust was the Number 6 Hero and his quirk was neither—but it’s certainly true that purely elemental quirks (fire, lightning, wind, earth-shaping), no matter how damage-dealing they are, don’t tend to get treated as villainous in nature.  The real “villainous quirks” in the series tend to be the ones that are more creepy, dark, invasive, or impure.  Even Dabi’s fire is that ethereal blue, like spirit fires, instead of everyday orange-red!

Bakugou’s quirk is much closer to the “pure elemental” category than anything very villainous and, indeed, when he got kidnapped from the training camp and that one journalist was suggesting that he might have turned to villainy already, he based that suggestion on Bakugou’s behavior, his conduct during the Sports Festival.  Nothing was said about his quirk at all, but rather his recent public demonstrations of violence and “mental instability.”  That’s perfectly consistent, I think, with the biases we see elsewhere.[5]

Tokoyami has the potential to get hit by both the villainous quirk bias and the heteromorphobia, but I think Japan seeing ravens as emblematic of wisdom rather than death and rot would mean his bird head is less ill-seen there than it would be in the West.  I don’t think it would take much more than the proverbial One Bad Day to get him to a very bad place indeed, though—there’s a reason Mr. Compress judged him a good potential recruit!  Tokoyami was rescued before it became an issue, but if he hadn’t been, I’m sure we would have seen the same journalist mentioned above making similar statements about Tokoyami and his dark quirk/mien.

Mina’s an interesting case study in not experiencing a lot of the same sorts of discrimination others in similar situations do.  She has three distinct heteromorphic traits—her skin, her eyes, her horns—as well as having a potentially extremely deadly quirk which, as I discussed above, could easily attract judgmental side-eye because of the cultural view of acid.  So why doesn’t she seem to face discrimination?

As I said in the post you’re replying to—and as you mentioned is a common headcanon—I think a lot of it boils down to her relentlessly chipper attitude.  If she had, for example, Mustard’s personality, or Muscular’s drive to violence, would people be quicker to say that her Acid is a “villain quirk”?  If she glared more, would people be more creeped out by her eyes?  It’s possible, I think, that we would actually see her facing some of this if we spent more time with her, but the narrative doesn’t make that time, at least not anywhere Kirishima can see it.

  

Well, if I had to guess, I’m sure you would say that would make her a more interesting character. You might get to be interested in her character, which then would probably mean you would be even more upset and disappointed with this chapter.

Ahaha, very fair.  Honestly, Class A would have benefited tremendously from more kids with bite to them.  A Mina whose competitiveness had some real fervor to it, or a Mina who had some heaviness in her backstory she was faking her way through dealing with, would have been a good contribution to that.

  

It really sucks that Horikoshi had to justify Shoji being the only one to experience prejudice by clarifying that heteromorph discrimination is only still prevalent in small villages. I feel like it robbed characters like Tsuyu, Mina, Tokoyami and Koda of being part of an actual narrative and get more depth and development.

Before I talk about this, let me clarify something: Shouji’s line about what his classmates know about heteromorphic discrimination is an example of very crucial nuance being wildly different between translations.

The fan scanlation suggested that Tokoyami and Koda, who grew up in cities, must feel like such violent heteromorphobia resembles something out of a textbook, with the implication that the textbook in question is a history book.  They’re presumed to think that blood-cleansing rituals and children with scars like Shouji are artifacts of a terrible past, not a modern-day concern.

The official Via release suggested that Tokoyami and Koda could know that stuff like this still happens in rural areas because they might have read about it in textbooks.  They’re presumed to know that such rituals and scarred children do exist as modern concerns, but only out in the boonies.

Those are completely different propositions!  Which one was accurate was far beyond my capability to judge, but the official translation did feel a little off to me, so, as I usually do in such situations, I brought it to my trusty Translator Sis.  For possibly the first time ever,[6] she told me that Viz had this one wrong—that Shouji’s implication, to her eye, was indeed that T&K would think such violence was limited to the past, not that it was limited to rural areas.

That established, I was actually talking about that line from Shouji with a friend the other day!  I was aggravated that the writing would portray city-born heteromorphs as so oblivious to the problems facing them in other parts of the country when that seems so counter to my (American) perception of the ways members of threatened groups communicate danger to one another.

My friend reminded me that silence is a much more common Japanese way of addressing (or attempting to address) minority discrimination: trying to make a problem go away by starving it of conversational oxygen, treating oppression like an infection that needs to be quarantined until it dies out on its own.  In that light, it’s entirely possible that Tokoyami and Koda might not know this stuff because no one around them thinks it would be helpful to tell them if it’s not a problem they’re directly dealing with.  A lot of people propose the same approach to burakumin issues in real life, for example.

Also, technically Shouji doesn’t say that Koda and Tokoyami don’t experience heteromorphobia at all, just that the idea of fear and hatred that extreme, that violent, must seem like something out of a textbook, rather than something that happens here and now in certain parts of the country.  Also too, Tokoyami and Koda are teenagers; I can forgive them not having much understanding of life outside their own circle of experience.

That all said, it still feels more than a little telling that Horikoshi thinks everyone in Shouji’s whole class, including and especially all the other heteromorphs, could never have heard in their entire lives about acts of bigotry-driven violence against heteromorphs being carried out in the here and now.

While it’s true that silence is a widely accepted way to address these sorts of issues in Japan, they’re hardly universal!  Activist groups are out there trying to raise awareness, trying to get their issues on the floor of the Diet in hopes of getting laws passed about them.  There’s not some kind of media blackout on talking about it, and, indeed, I’ve read any number of articles from Japanese publications online covering such topics.

In BNHA, however, silence does seem to be universal.[7]

No one but Shouji is from a remote enough place that they knew about violent heteromorphobia.  No one recognized it as a thing that e.g. disadvantages heteromorphic heroes in the public approval ratings.  No one tripped over a magazine article about it and got curious enough to look the topic up online.  No one’s heroic mentors or family members have talked to them about it (particularly egregious with Koda, given the fairly strong implication that his own mother suffered it).  No one had a patch of morbid interests (Tokoyami) that led them to dabble in reading about real-life horror stories of human hatred, or an interest in how their society came to be that might have led them to reading about the CRC and realizing it still exists in the modern day.

They attend a hero school, and yet Shouji seems to be the only one with an inkling that there are heteromorphs out there who need, and have been needing, heroes.

That’s all a lot to ask of the reader, but what really pushes it past plausibility to me is what happened with the Ordinary Woman.  How close to the surface must violent heteromorphobia be even in the cities if the current state of Japan brings it all right back into the open in a matter of weeks?  That none of the students other than Shouji have ever even imagined that heteromorphs can still be victimized in this way represents an over-the-top ignorance that I have to read as either a bleak condemnation of the shallow focuses of heroes or reflective of Horikoshi’s own beliefs about discrimination and the understanding of it possessed by those who aren’t immediately threatened by it.

Whichever is the case, and with Spinner’s higher brain functions out of commission, it leaves Shouji carrying the whole plot on his back and he just can’t do it, both because the audience hasn’t had enough time with him to buy it and because the answers the series uses him as a vehicle to deliver are facile, victim-blaming nonsense.

...And here’s where I admit that even if the hospital attack had climaxed with a whole bunch of heteromorphs from Class A and B and the Pro Hero ranks acknowledging the mob’s feelings while pleading with them to not give into hatred and to stand down, I would still have issues if the resolution didn’t involve concrete suggestions and promises about how the heroes would address the mob’s grievances going forward.  Which canon very much did not, and just adding more voices to Shouji’s wouldn’t have changed that.  But my whole rant about that can be found in the relevant chapter posts, so I’ll not repeat it further here.

  

How Would I Have Done It Instead?

Let’s be real here for a second. Even if Mina had been the one to stop Machia. How would she even do that? I remember back when people were talking about when Mina would get her moment to shine, and that it would involve Machia again, I had serious doubts about that idea ever becoming true because I couldn’t think of a single thing she could do against him. I thought for sure Mina’s moment was going to be relegated to fighting Midnight’s killer, since that seemed more within her capabilities. In the end her shinning moment did indeed involve Machia, and no one really had a confrontation with Midnight’s killer. I actually want to hear your thoughts, if you happen have a thing in mind that you think Mina could’ve done to be the one to stop Machia. I’d love to hear it.+ Btw, since you brought it up, in what way could she have defeated the Sludge villain that would’ve been witty, or skillful? If you don’t have any ideas you don’t need to answer. It’s not that important. I’m just curious of the posibility.

Okay, so, this is the part that hung me up for the longest, because there are a few wildly different possible answers here.

The real truth is, if I had been writing this whole shebang from the start, this confrontation would never have happened this way at all.  Just off the top of my head, I think there’s no compelling reason AFO couldn’t have sent Toga into the hospital to activate and retrieve Kurogiri weeks ago, and with Kurogiri back in play, getting Machia would obviously have gone differently.  I would also never have disposed of the MLA as comprehensively as Horikoshi did; I would have had at least one or two instances where an MLA member who didn’t get uncovered by the HPSC in time was in a position to shift the balance in the villains’ favor—maybe one would have been with the police somewhere.

Barring a top-to-bottom rewrite of the whole arc, however? Well, I'd still say that, feeling as strongly as I do about how morally dubious this whole second war has been, even if I were telling this scene with the same components, I probably wouldn’t be writing towards a hero success because I don’t think the heroes have earned it.  The baby steps the kids have taken towards Saving Villains don’t go far enough for me to want to see the villains defeated here.  The biggest changes there would have been twofold:

1) Shinsou’s voice changer play shouldn’t have worked on Machia.

Machia has a sense of smell so incredibly acute that, if I were trying to logically explain how it worked, I’d make it a psychic ability that just happened to manifest as scent-based.  We’re talking about a guy who could track down Shigaraki after a teleport of over 270 miles, who could smell AFO’s vestige stirring from almost fifty miles away.  There’s absolutely no reason he should think for even a second that AFO is standing right outside his prison.

Now, we do know replications of AFO’s voice has an effect on Machia—we saw as much as the beginning of MVA!  But I would contend that back then, he didn’t have a big loud response to the recording, just curled up around his radio and started loudly purring.  In the scene with Shinsou, he actually responds as though he thinks AFO is there, but again, I don’t buy that Machia should have fallen for that, especially since he was woken by Hose Face’s device emulating AFO’s voice, which would have given his unbelievably keen senses enough time to register that it’s only the voice, not the man, that he's hearing.

But, with Machia up and not immediately prey to Shinsou’s ploy, the other big change I’d make with him becomes apparent.  The series has proved willing and eager to shitcan everything Shigaraki gained in MVA, but not me.  Shigaraki won Machia’s loyalty at the end of MVA, and if Machia’s cranky with AFO for leaving him behind again,[8] that doesn’t mean he couldn’t still have loyalty to AFO’s successor.

Given that his loyalty to Shigs is predicated on his loyalty to AFO, it might seem logical that AFO squandering the latter would free Machia of obligation to the former.  That’s a fair take.  But if it were me, I’d capitalize on Machia’s keen senses and what he was present for in MVA—Shigaraki saying that his followers should do whatever they want.  Hell, if the endgame likes flashbacks so much, let’s have a flashback of Shigaraki and Machia actually talking in ways that would let Machia distinguish Shigaraki and AFO.

In other words, I think Machia’s loyalty should supersede his anger.  If he gets free, his first reaction should be to go to Shigaraki, not to focus on his anger.  That way, it’s not a hero win rewarding their gross sky coffin tactics, but AFO doesn’t get quite what he wanted out of it, either.  This would be one part of focusing the narrative back on Shigaraki and his allies, rather than ruining Shigaraki’s hard work by letting AFO take over and piss it all away.

Incidentally, I will concede that, just because Machia shouldn’t have responded like a dupe to Shinsou mimicking AFO’s voice, that doesn’t mean Machia might not have responded at all—he could have rebuked Shinsou for trying to emulate Master, and that would have worked for Shinsou’s purposes just as well!  So to avoid that, I would add one more element to a flashback showcasing Shigaraki and Machia’s relationship post-Deika: have Shigaraki showing Machia a picture of Shinsou and warning him to be on the lookout for this kid, and to not respond to anything he says.

Horikoshi loves to tie back plot beats to pre-established elements, and one such element is, as I footnoted earlier, that AFO and Shigaraki watched the U.A. Sports Festival together, so they should both know good and well who Shinsou is and what he can do.  Knowing Shinsou’s SF-era capabilities doesn’t predict the voice changer, of course, but it doesn’t take a genius to figure out that, if the heroes are pushed to a point of desperation and they have access to a brainwasher, even a non-licensed one, they will try to use that brainwasher on whoever they think is their highest priority target.  Quite frankly, all of the higher-ups and key players should have known about Shinsou.

2) The kids shouldn’t have been tipped off that they were facing Midnight’s killer, or it should have come up in a different context.

Nothing interesting comes of the way the canon deploys it, thanks to Mina’s vengeful feelings having no grounding in the story, and the blunt way it’s brought up serves only to make Hose Face easy for the reader to write off.  As I said in the chapter post where he brought up “that U.A. teacher,” there’s no real reason for him to be focusing on Midnight specifically unless he has a personal reason to think she’s emblematic of the things about Hero Society he hates, or unless he was tuned in enough to U.A. personalities (knew who was teaching there, watched the Sports Festival to get a handle on its students, etc.) to realize that he was facing students he could potentially rattle by bringing up their teacher’s death.

The latter would offer a less awful read on Hose Face’s personality: He’s not bringing up the death out of pure sadism, but as a psychological tactic.  The former would give him some real characterization and motives while also giving the kids something to argue against, rather than the easiest possible reaction of, “Hay did u kno Might Makes Right iz bad?”

Alternatively, if Hose Face has nothing personal against Midnight at all, and doesn’t have an encyclopedic memory of hero wannabe high schoolers, he has no reason to specifically mention Midnight.  Even if the narrative must see her death “answered” in some fashion, it still doesn’t follow that the kids must get emotional closure for someone they lost to the undeclared war they were drafted into.  The audience can take some solace in perceived karma, but lacking a naturalistic way for Mina and the rest to connect those dots, the kids should just have to deal with him as they would any other opponent they come up against, because, surprise surprise, when you’re fighting in a war, you’re not guaranteed to see and know who’s on the opposite side of the gun that just shot down your best friend.

As another alternative, if we go with the idea that Mina was struggling with dark desires for revenge, maybe she should have brought it up!  Not as an accusation—again, she has no way of knowing she’s facing Midnight’s killer without him saying it—but just out of generalized fury with her opponents as a group, the same way Aizawa and Gran Torino hold the pain of their loved ones against Shigaraki when Shigaraki is not the one responsible for causing that pain.[9]  Maybe a more openly vengeful Mina could just freely state that her aim is to take down the PLF to avenge Midnight, only for the enemy in front of her to answer, “Midnight?  You mean that woman I killed in the woods on the day of Liberation?  Here’s your chance, then, girl.”  (Or whatever.)

Of course, Shonen Jump is not in the habit of validating heroes craving revenge, so Mina in that scenario would fail because rage would make her sloppy, same as with Deku, Iida, and so on.

So, in a scenario where Machia is up and not falling prey to Shinsou, but rather prioritizing getting to New Master Shigaraki, and the PLF is likewise loyal to Shigaraki and not AFO, I’d just let it work, because I’d be slanting this whole combat towards an overall heroic loss.  Give Mina a face to obsess over until next time but also let Kirishima get a good eyeful of it so he at least knows there’s a serious problem with his best friend and one of his hero inspirations.

Mineta would have a chance to weigh in, too, as he's a good middle ground: he's got his own anger about Midnight, who he adored, but he's also worried about how that anger looks on Mina. Mineta always worries about his classmates, but he's shared a pretty fair amount of incidental screentime with Mina specifically over the course of the series, ranging from her sweetly offering to put a harem moment into the band performance just for him to stuff like the Clockwork Orange gag, as well as more serious stuff like Mineta being the first one to ask aloud if Midnight's dead, with Mina warmly, and with a confidence it turns out she doesn't truly feel, reassuring him that Midnight's fine.

(I've said before that Mineta should have had more to do in the confrontation with Midnight's killer, but that's not just about his fondness for her. It's also about him being the first to question if the heroes didn't just make the whole situation worse, and, if Mina really took Midnight's death so hard it had her thinking about revenge, it should also have been about Mina and Mineta's shared experience surrounding that death.)

That all said, I suspect that what you really meant is, how would I have handled this scene if I had to use all the same pieces and be writing towards a heroic victory?  So let me at least touch on that.

As far as Hose Face goes, I actually think Kirishima might have been better suited to talking to him?  Like, Mina’s been friendly with people, sure, but I don’t really buy her most pivotal, “shining moment” scene being a bunch of talk about the strength of the weak coming together.  As best I recall—though do correct me if I’m wrong—it's never been shown that Mina regularly struggles with feelings of weakness or inadequacy.  It would be perfectly natural for her to do so after flubbing against Gigantomachia, to be sure, but the series doesn’t make the time to show it, so her lines about forming packs with others does not feel like a natural evolution for her arc.

Likewise, while she’s obviously been depicted as friendly and sociable from the beginning, her lines in 383 suggest that her sociableness has, and always has had, an ulterior motive: covering for her perceived weakness.  The lack of focus on her relationships from her own perspective makes that impossible to verify or even predict, so it just feels like it comes out of thin air, grabbed almost at random by the author in his attempt to find something, anything, Mina could say that would give Hose Face even a moment's pause.

Kirishima, on the other hand, has had a focus on his relationships, places where they’ve been pivotal to his own arc and the greater plot.  (I’m sure I don’t need to harp on this to you, rvg, but I’ll go over it to lay out my perception of these things.)  His relationship with Mina—the ways he’s trying to live up to her example, as well as his desire to support her when she falters—is a profound motivator for him, something we see much more explicitly and from his own perspective than we do Mina's feelings about him.  Meanwhile, while his relationship with Bakugou isn’t given that level of psychological exploration, it’s a critical factor in Bakugou’s rescue at Kamino, and we also get that bit of Bakugou specifically giving Kirishima some advice that leads to the latter’s Unbreakable mode.[10]

So like, we do get an angle on Kirishima and his sense of his own relationships with others.  That awareness allows him to demonstrate what is, I believe, the first unabashed moment of empathy for villains that a hero demonstrates in the entire series!  Specifically, I’m talking about that low-level gang mook he comes up against during his internship with Fat Gum.  That guy does a bunch of yelling about things that speak to Kirishima—fears of weakness, desire to be stronger, a need to help his “bros”—and Kirishima tries multiple times, even after being attacked, to express his understanding and sympathy for the man.

That being the case, if anyone were going to be able to make an impression on Hose Face via appealing to his sense of camaraderie and desire for strength, it seems to me that Kirishima has the better groundwork in place to sell the moment, regardless of whether he could successfully “reach” Hose Face in the way that’s being attempted with Shigaraki/Toga/Dabi.

As to the Sludge Villain, I’d probably either not have him there at all, given how much he claims he just wants to pretend to fight for a minute before getting the hell out of there.  He very much seems like he didn’t want to be here to begin with, so I can only assume that, despite AFO claiming the jailbreakers didn’t need to do anything for him but rampage, he very much did summon a bunch of them back anyway[11] for his final dramatic attack on Deku and Hero Society.

Assuming we’re stuck dealing with him, I’d probably let the Class B kids do it.   Have Mount Lady—who was there for the Sludge Villain’s rampage using Bakugou, and therefore knows what Sludgey looks like and that he can possess people—yell for people to stay away from him.  Let there be a moment of panic and confusion, where it looks for a moment like a repeat of the mess in Chapter 1 where no one had the exact right answer to deal with him, so no one’s willing to step up.

Then, in a 1-2-3 combo move that reminds everyone why Class B is said to have advanced more quickly than Class A, and just as Sludgey lunges for someone, have Yamagi use Poltergeist to manipulate him into a steel drum barrel being held by Yui, let her shrink it down to a good tight fit before dropping it, then have Juuzo soften the ground to half-sink it, top down, then resolidify the earth, trapping Sludgey for later removal.  Ta da, a neat demonstration of the next generation outperforming the old generation when it comes to on-the-fly teamwork and decisive action even when no one individual has the perfect quirk for solving a problem.

…This, of course, is assuming there’s no good way to actually get the Sludge Villain to talk in more depth about why he didn’t want to be here from the beginning and had to be threatened into doing it at all.  It would be nice if someone could broach that topic!  Maybe a quick not-too-serious handful of lines from Mineta, who has his own history of running in terror from fights he doesn’t think he can win.  But even with some sympathy, I imagine Sludge Villain would try to run away regardless, on the (well-grounded) suspicion that heroes are going to want him to go back to prison and finish his sentence, and that’s when B-tachi could step in.

So that just leaves Machia, Mina, and Shinsou.  And honestly, rather than having to power through it, I’d rather see Mina, in particular, talk her way out of it.  This draws on two things.  First, there’s the fact that she’s one of the kids who failed her Final Exams, with her and Kaminari being unable to figure out how to utilize their strengths to get out of Nedzu’s rat maze.   I’d love to see her demonstrate that she’s grown from having no plans but to brute force her way through obstacles!  Second, there’s this sequence:

This is a bit exaggerated, obviously, but the quick demonstration of how quickly and smoothly Mina is able to approach, scold, bond with, then deescalate people in tense situations is rightly portrayed as remarkable.  But where is that facility in real confrontations with villains?  Nowhere, really, save that airless stab at remarking on common ground with Hose Face and the PLF.

I obviously don’t expect her and Machia to wind up breakdancing together when the stakes are as high as they are, but Mina would have at least a bit of an opening—her encounter with Machia in middle school wherein she lied to him about where the Springer Agency is.  I don’t for a moment think that Machia’s forgotten her smell—I doubt he forgets anyone’s, though he may or may not care about them otherwise.

For this version of the scene, I’d probably play Machia as more ambivalent—tired of being abandoned over and over again by the people he’s tried so hard to be loyal for, so not immediately inclined to run off after them, open to a bit more dialogue.  He doesn’t fall for Shinsou for the same reasons I outlined above, so Shinsou and Mina have to talk Machia into acting—or at least stop him from just rumbling off to bury himself under a mountain for the next decade or two.

I don’t know how they’d go about making that argument.  Honestly, I don’t really think there’s anything in the story for Mina or Shinsou to fall back on (by which I mean earlier panels Horikoshi’s assistants can look up and copy/paste into the storyboard to accent a dramatic speech).  Maybe they could ask him why he’s so loyal to All For One and find some commonality, either through heteromorph discrimination or bias against villains.

Maybe Machia is torn on his loyalty, betrayed by AFO one too many times to want to help him but not sure where that leaves him on supporting Shigaraki.  Hearing this, Mina brings up that AFO is threatening Shigaraki right now, but also that a friend of Mina’s is trying to stop AFO/help Shigaraki,[12] so maybe Machia could help them with that and then decide?  Machia doesn’t trust her due to the Springer Agency thing, but that same experience does lead him to believe her when she says she just wants to help people, not hurt them.

That last bit has the benefit of providing an explicit reason for why Mina uses her quirk nigh-exclusively as a watery defense barrier or to take out inanimate objects: She long ago made an active choice not to use her acid against sentient people.  This would give her some room for a little motivation-establishing flashback of her own—maybe canonize that theory about her chipperness being at least in part a front!—and provide a nice alternative to the current state of Mina’s narrative, which has spent nearly 400 chapters refusing to allow her the same free hand people like Bakugou and Kaminari take with their quirks for no established reason.

This doesn’t give Shinsou much to do, but that’s okay: his moment comes against AFO instead.

I realize that Mina's fans want her to have a big badass moment, and simply talking down a confrontation is not the kind of thing that tends to get viewed as "badass" in a shounen battle manga. Sorry about that. She can still jump around and dodge a lot while giving her pitch? Maybe she could get a big badass moment later on? I dunno; that's just what I would do, and obviously my priorities for what it would be cool for the kids to do are not the same as the broader readership's.

I'm also not sure where that leaves the confrontation with Midnight's killer; I suppose that depends on how things go between him and Kirishima in this scenario. Maybe they leave without him when he tries to protest Machia accepting the temporary alliance, or maybe he's soldier enough to take the help where he can get it and worry about later conflict later. Obviously, at any rate, this is happening in a scenario where he hasn't immediately blabbed that he killed Midnight; that can come up as a nasty surprise later on.

  

But does that mean you think Midnight’s killer should totally get away with it scott free and suffer no consequences?

Hnnnngghh that’s a tricky one because I am an unabashed MLA stan and villain supporter and therefore deeply biased about this.  Like, I don’t think soldiers should be put on trial for killing enemy soldiers, no, even high-ranking officer-types.  Obviously it’s different if they attack civilians or are otherwise breaking the codes surrounding conduct during warfare, but I do think Hose Face killing Midnight was basically a soldier killing someone he perceived as another soldier, with no undue cruelty or misconduct.

However, obviously the series itself—and the state authority the PLF is openly trying to tear down in-universe—would disagree with me!  In that context, I can’t even really call the guy “a high-ranking officer” because that would, as mentioned earlier, convey more authenticity to his position than his government wants to grant him.  As far as they’re concerned, he’s probably more like “a key figure in the recent anti-government actions carried out by the terrorist group calling themselves The Paranormal Liberation Front.”  People like that tend to get executed in prison a few years after their short, perfunctory trials.

I suppose the problem for me is that the series wants me to believe that the MLA is Very Bad and they all deserve to be Locked Up Forever, whereas I want more nuance from them than that?  Even setting aside the probable cult upbringing, I have significant trouble unabashedly blaming the PLF for their actions because the series has done nothing to convince me that less drastic avenues for change are available or even survivable for them.

This was a huge issue with the hospital attack sequence, but it applies to all sorts of the setting’s problems: Other than, “Insist that victims of oppression should focus on providing a good example to future generations,” what methods for addressing inequality does Hero Society have?  I want to know what the villains should have done, what they could have done, about systemic inequalities and repression that would have been effective against a government that employs agents like Lady Nagant and Hawks.

The picture Nagant paints is of a society waging a war against anyone who sought to change the Hero System, a war that many people who sought change never even knew they were already in.  The examples she provides of her targets are, of course, corrupt heroes and would-be terrorists, but what her HPSC President said was even farther reaching: that the purpose of her killing was to “preserve hope and faith” in heroes.

The HPSC legitimately does not seem to believe that any system other than the current one is feasible for maintaining stability, and that any attempt to shake or besmirch that system is no different than throwing the country back into the chaos of the advent of quirks.  What’s a few missing activists or tragic accidents compared to that?

Horikoshi seems desperate to have us pretend he never told us that the government his protagonists are defending actively grooms assassins to enforce the status quo, but that’s not a genie he can put back in the bottle.  I see the current events of the series as, in some form or another, basically inevitable because of Hero Society’s active, even violent resistance to change.  Midnight’s death for that cause is thus something I have tremendous difficulty thinking of as a crime that needs to be punished.

Does that mean I think Hose Face should get off scot-free?  Eeehhhhhhhhnnnngh I hate to say it this plainly, but…

Maybe it does?

The thing is, I know that Hose Face is, canonically, a quirk supremacist trying to violently overthrow the rule of law.  In real life, I have no sympathy for people trying to institute fascism, regardless of whether they’re using legal mechanisms or armed force.  But in the fictional world of BNHA, I have nothing but disdain for the way the MLA has been turned into a caricature of themselves in this final arc.  In that sense, my dissatisfaction with Hose Face’s treatment is really based on the ideal version of him and all the rest of the MLA I have in my head—the MLA that’s allowed to have nuance behind their extremism, the one overflowing with members motivated by their lived experience with the flaws in Hero Society, with a generous helping of radicalization from the fact that they’re a cult as much as they are an army.

BNHA has scrapped all that potential and left us with nothing but naked quirk supremacy to fill the void.  In an endgame that’s trying so, so hard to sell the readers on Saving Villains, that’s just poison to the story’s themes, and my villain stanning comes directly from that issue: demanding consistent treatment for the characters whose tragic backstories we haven’t been permitted to see.

Hose Face is clearly a bad person—heck, I was headcanoning him as a hard-edged, ruthless killer even when all we had to go on was him killing Midnight, long before he showed up to espouse open quirk supremacy and gloat about killing a schoolteacher, so it’s not like I ever thought he was a super nice dude or anything!  But I guess I just have trouble with the idea that the current system deserves to be the one to decide his fate, when it has, to all appearances, gone to extreme lengths to stamp out any perceived threats to itself, to the point that the narrative itself is now openly delegitimizing everyone who might otherwise offer cogent critique.

It would be different if we had never seen the dark side of the status quo and the villains really were all just shallow, two-dimensional monsters.  It would be different if the narrative had shown us legal, nonviolent and effective avenues for protest and change.[13]  It would be different if Hose Face had killed some rando uninvolved civilian.

As it is, though, Midnight was a combatant for a terrible, terrible status quo.  She might not have been using lethal means herself, but she was defending a demonstrably lethal, openly acknowledged as repressive, system.  I just can’t find it in myself to demand justice for the fact that she died for it.

But with all that being said, I also don’t think Midnight is a bad person.  She never knew about the government assassins, after all; she’s a member of the system she grew up in, the same way the kids are.  She presumably never saw the extent of the system’s flaws because she was never victimized by them.  At the end of the day, she still deserved to be properly mourned and remembered and it is a crock and a crime that we never got to see her funeral.

If anything, I think Midnight’s funeral would have been an excellent setting for a scene where the protagonists start asking questions about how things came to this, what went wrong and where, that their teacher had to die.  What is it about Hero Society that’s led to tens of thousands of dissidents, and why haven’t they ever heard of this discontent before now That would have given us considerably better set-up for a nuanced PLF, an opening to talk about Shouji’s experience of heteromorphobia, foreshadowing for Lady Nagant, and, to bring this back on-topic, the opportunity to really show Mina struggling with everything that happened as set-up for her later confrontation with Midnight’s killer.

  

Tumblr, How Does That Work?

Honestly I was expecting some sort of notification about your answers if and when you replied to me. Is that not a thing?

Making my reply a fresh post, or just posting replies in the comments section of the post you originally commented on, would not have notified you without me specifically tagging you, which at the time Tumblr wasn’t letting me do.  This problem seems to have cleared up, so you should have gotten a notification about this post going up because of your name being tagged at the very beginning!

What you see for people answering asks depends on a few things. If you send asks anonymously, you won't get a notification if/when the person answers them; you'll just have to keep an eye on their blog. If you send them with your name attached, as you did originally for me, I could choose to answer those asks privately, sending my replies back to your Inbox, or answer publically, posting my replies to my blog. Either way, you'd be notified!

For this round of responses, if I'd just replied to your reblog in comments as you did with my original post, or reblogged your reply with a reply of own instead of staring a new post, you’d have gotten notifications about either!  But I don’t want to put this much wall ‘o text on my followers’ dashboards without a cut, so I haven’t been responding directly, for which I apologize.

(Disclaimer: Notifications can be configured in your Settings menu; you can toggle them on and off for loads of stuff! You might wish to check what you currently have them set for rather than just taking my word for it.)

On the topic of cuts, I mentioned at the beginning that the cut option is hard to find on mobile, but just for reference, it looks like this in the post editor on desktop:

It's the same icon on the mobile post editor, it's just on the far right of the bar of icons along the bottom of the app. My screen cuts it off, so I have to scroll the bar over to find it.

Like I said, the Expand dropdown button Tumblr instituted a little while back has reduced the need for this somewhat, and you can certainly do whatever you prefer, but as I believe having the Expand dropdown automatically clip long posts is still an optional configuration in Settings, I'd feel better about reblogging from you directly if you put the bulk of your reply under a cut.

  

Don’t know what “blorbo” means. Kinda sounds like a demeaning term, but I’m going to assume it’s not.

Sorry, it’s not intended to be demeaning!  It’s just a slangy affectionate term for “character you really like.”  In my experience, I’d say it also has a connotation of protectiveness or self-identification, though I can’t speak for the whole of the internet.  I like plenty of characters, but I wouldn’t call them all my blorbos, just the ones that I really and truly love and want to explore/share/defend their honor to the death.

  

Thanks...? Is, is that a compliment?

(Re: my telling rvg that we seemed to have similar issues with the way Mina was being handled, but they were more willing to do the mental legwork on her than me.)

It’s mostly just an observation, but not a critical one!  As someone who’s very ready to read into the canon every little drip of information the canon will give me And So Much More, I have a tremendous amount of fellow-feeling for people of like minds, even if our taste in characters is different.

    

Buried At The Bottom, Why Kaminari Is A Worse Character Than Mineta, Yes I Said It And I’ll Say It Again

>>I have observably positive feelings for about a third of Class 1-A and only particularly negative feelings about Deku and Kaminari. What’s up with Kaminari?

My irritation with Kaminari boils down to two main things—and forgive me, I know you didn’t ask about Mineta, but Mineta’s pretty important to my feelings on Kaminari being what they are, so he’s a part of this answer.  This is all going to be pretty openly dismissive of Kaminari, as a fair warning, on top of being based on not-exactly-rigorous familiarity with the student material, so apologies to anyone who likes him and finds him an enriching, valuable character. But man alive, that is not me.  And but so:

1) Kaminari is a watered-down Mineta, with watered-down versions of all of Mineta’s flaws, but because he’s watered down, the growth he experiences stands out less than Mineta’s.  More on this in a second.

2) Despite Kaminari being a redundant character who brings virtually nothing to the table that other characters don’t do better—with the only things that are unique to him going underdeveloped in canon—fandom loves Kaminari.  (Disclaimer: I obviously don’t spend much time in the hero-fan circles of the fandom, so this is just my perception.  I’d be curious to get your perspective of Kaminari’s relative popularity, rvg!)

To hit the second point first, Kaminari has a more conventionally attractive cute anime boy face than Mineta, so Kaminari’s pushing of his female classmates’ boundaries gets mostly ignored, while Mineta gets so many fics written about him dying that there’s a dedicated Dead Mineta Minoru tag on AO3 with almost 350 hits. 

Fandom built a whole tottering edifice of fanon about Traitor Kaminari despite the howling absence of compelling evidence in the manga[14] for, so far as I can tell, the sole reason that people wanted the cute anime boy to have crunchy angst.  Then, when the actual traitor reveals landed (first the fake-out and then the real one), fandom deemed Hagakure an ungrateful bitch and Aoyama a whining coward.

So like, the fandom discrepancy is what pushes me over the edge from the bottom end of neutral into active dislike.  But I would be awfully close to it anyway for the whole “redundant-ass character who contributes nothing to this story we couldn’t get better from someone else” thing.

Kaminari being kind of leery and unpleasant about his female classmates would be a lot more glaring if it weren’t stacked up against Mineta’s actual sexual harassment, even though Kaminari is a frequent co-conspirator!   

Kaminari has a brief tussle with fear at the beginning of the war arc, but it’s neither as sustained nor as convincing as Mineta’s frequent wrestling with cowardice, present from USJ all the way up through his terrified confrontation with All For One.   

Mineta is frequently, openly envious of his classmates, a whole extra flaw that Kaminari never demonstrates in more than fleeting glimpses.   

Kaminari’s quirk is redundant next to the other high offense types in the class.   

Kaminari’s personality is not distinct enough to add anything irreplaceable to the classroom dynamic.  That’s not to say he brings nothing to the web of relationships amongst the students or the ways the class as a whole reacts to the events of the series, just that what comes to mind for me is mostly extra layering to existing dynamics, not anything truly original and unique to him.  Which would be fine—I love extra layers!—if he were contributing more as a character on literally any other fronts.

I can think of only two things that Kaminari uniquely brings to the table, but both of them are mentioned once and then never come up again.  Firstly, he’s the only one in the class to voice open admiration for Stain, a willingness to admire cool traits in Villains that never leads him to any interesting conflicts with people (classmates or otherwise) who hew to the more standard flat refusal to consider that a Villain might have or express positive aspects.

The other thing is less about Kaminari himself and more about how he’s one of three places where the story brings up the idea of people using their quirks for non-hero jobs and then refuses to develop that premise.[15]  It’s interesting worldbuilding, but as far as I’m aware, it’s never directly shown—everyone we see using their quirks (legally) in the series is doing it as a hero.  We never get much sense of what other options there are for quirk use because heroism and villainy are the only contexts we ever see it in!  This would be a little annoying on its own, but I also find it undermines a lot of other established facts and characterizations.

(Bear with me and I promise I’ll loop this back around to Kaminari.)

My interests being where they are, the biggest problem for me with the fuzziness about the legality of quirk use is that it leaves Destro and the MLA with no coherent cause.  They want free quirk use, but are they really so incredibly averse to just getting a license that they’re willing to become terrorists over it??

You could argue that naked quirk supremacy is what the MLA is currently after, and that’s obviously incompatible with the laws as they stand, but Destro Classic is never really framed as a quirk supremacist, so why did he so virulently despise the quirk use prohibitions if all they really did was require people to get a license to use quirks in public, no different than a driver’s license or a permit to serve alcohol?  Sure, you get small clutches of people sometimes with that kind of “any government oversight is bad government oversight” black-and-white thinking, but the original MLA was a powerful enough force to stand against the government for years, which doesn’t exactly scream “a handful of malcontents” to me.

Rendering the MLA’s cause mindbogglingly asinine is my biggest problem with the “other jobs can get quirk-use licenses too” tidbit, but there are also things like how totally invisible the entertainment or sports industry is.  That would make perfect sense if quirk use is illegal in those fields—people want to see cool superpowers getting used, so industries that bank on public attention dollars but can’t have their celebrities use their quirks are going to decline when they can’t compete with industries/celebrities that can.

If quirk licenses can be gotten for all sorts of jobs, though, then why have sports and entertainment become so invisible?  If “frivolous” fields like those are not aren’t seen as “contributing to society” enough for quirk use permits, then which fields do?  Why does HeroAca!Japan still mostly look and behave like IRL!Japan if quirks are in use in “all manner” of industries?  And if it isn’t the case that heroism—a dangerous job which sometimes gets people killed and which generally requires cultivating a socially demanding public brand/identity—is the only path to being able to use the special power you were born with to earn a livelihood, why does every single middle-schooler in Deku’s class and countless other classes across the country want to become a hero?

I just feel like the way the world looks and operates, the kinds of repressiveness described by even the heroes, the structures that drive people into heroism and villainy alike—the former because they don’t see any other viable way to achieve the happiness they’re looking for, the latter because they can’t become heroes but still have desires that their quirks could help them achieve—all of that makes much more sense in a world that has super powers but has tightly restricted their use to a single job class of person.

So, tying back, obviously that’s not a fault of Kaminari’s, but he is the character where that gap is most apparent.  If there aren’t many lightning heroes because lightning is in high demand in other industries, it would shed significant light on who Kaminari is as a person if the manga would tell us what those other industries are. 

What other paths could Kaminari have chosen?  What’s so much better about those other industries that people with quirks tailor-made for heroism,[16] in a society that worships popular and powerful heroes, are so willing to choose those other industries instead?  Why did Kaminari not make that same decision?  What does heroism mean to him personally that he chose it when so many others in his situation did not?

Kaminari could present a huge in on that angle of the worldbuilding, but instead he’s a complete dead-end.  Mineta’s motivations are base as hell, but at least we know what they are!  Further, it tells us interesting (uncomplimentary, but interesting!) things that people like Recovery Girl and Deku hear said motivations from Mineta’s own mouth, and shrug and accept them as perfectly valid.

And that’s just his professed motivations!  His final exam scene actually drops an early hint about the admiration for Deku he’ll later wholeheartedly declare in the 1-A vs Deku fight!  I don’t remember Kaminari ever getting anything a fraction so revealing; he just coasts through the story contributing nothing unique or meaningful.  He’s hardly the only 1-A character with that particular lack of depth—Sato, Sero, Hagakure and Ojiro are all similar blank slates in terms of their motivations or histories—but then, none of them are a fraction as popular as Kaminari is in the fandom as I experience it, either.

So to sum up, I dislike Kaminari because he’s a wishy-washy nothing of a character, a generically Inoffensive Anime Cutie Boy adored out of all reasonable proportion compared to more compelling and equally underdeveloped classmates alike.  Mineta is, by any measure, more problematic, and it's even worse that U.A./Aizawa are so blasé about him, but, at least from where I’m standing, he’s still more layered, more compelling, more dynamic, and speaks in more interesting ways to the world around him than Kaminari ever comes close to matching.

(…Kaminari’s thing with Jirou is fine.  Perfectly reasonable character relationship building material.  I just don’t count it one way or the other because it’s a self-contained relationship dynamic that has no bearing on the way either character engages with the broader world/system the series’ overarching narrative is challenging.  They motivate each other in small ways, but that motivation doesn’t lead them to truly grow or change as people, only to overcome modest internal confidence hurdles blocking them from things they already wanted to do anyway.)

--

And that's it! Thanks for forging through, good lord, over twenty pages of this, rvg and anyone else who did! I hope you were at least moderately entertained, give or take my blatant Kaminari slander. See you next time, and enjoy the Footnotes.

---------------- FOOTNOTES ----------------

[1] We’re not shown any personnel or drugs or anything, but I assume they’ve been keeping Machia drugged since Jakku, same as Kurogiri in between interviews.  It’s the only thing that worked on Machia before, so why wouldn’t they have more on-hand?

[2] Despite watching the Sports Festival with Shigaraki, natch.

[3] I would like it if he would do that with a lot less insufferable power scaling bullshit, you understand, but I’m spotting the comic its plot arc here.

[4] Outside of, say, the Persona games, where the MCs can change ability sets by swapping out what companion spirit they’re packing, but even that doesn’t make them specialized for status effects, merely capable of using them.

[5] Interestingly, while Bakugou fought off the villainous sales pitch with as much verve as he brings to all his fights, if he had fallen off the righteous path there, we might have observed that his pridefulness was explicitly fostered by the people around him giving him excessive praise for his powerful quirk and ignoring his resulting violent arrogance.  That is to say, Bakugou would have fallen under the same, “Villains are created by the failures in their society,” pattern that BNHA applies to all of its sympathetic villains.

[6] There was one other instance, but iirc it was an error in the translation C.Cook had done for the BNHA databook.  It would not surprise me that he was being less careful or was more pressed for time when translating the reams upon reams of text in one of those.

[7] At least until the fifteen-thousand-strong mob shows up.

[8] Which frankly should be all he’s sore about.  As others have pointed out, Machia’s anger about being abandoned is kind of incoherent.  Yes, AFO left him on the battlefield, but he didn’t exactly leave him to rot in prison forever.  The moment AFO made his big push, he sent people to spring Machia, so in what sense exactly does Machia think AFO abandoned him?  If it was just the last straw after a string of abandonments from both AFO and Shigaraki, the manga could have stood to make that much clearer.

[9] AFO and Ujiko created Kurogiri out of Shirakumo—as a babysitter for Tomura, yes, but Tomura didn’t choose that.  And as to Shigaraki’s very existence trampling on Nana’s memory and causing All Might pain, well, Shigaraki didn’t ask to be brought into the world, abused by his father, neglected by his family, and then raised by a supervillain, did he?

[10] And speaking of Unbreakable, compare how explicitly we’re shown Kirishima’s growth and the foundations of it with how the inspirations for Mina’s attacks are relegated to passing mentions, not direct depictions.  She just casually tells Kirishima that his Unbreakable inspired her Acidman, and likewise only internally reflects on asking Bakugou and Todoroki to teach her their training method, which let her develop her Max Power Acidman Alma move, without so much as a single scrubbed in doodle depicting said training assistance.

[11] Somehow.  The story is unclear on whether he disseminated threats, contacted them directly, or just used the combination of Search+Warping to drag them all back into his presence, and that last option in particular runs into complications given the limitations of both quirks.

[12] In this AU, we would have gotten to see the class have an actual discussion about Saving Villains, prompted by the way the reveal about Aoyama solidified Deku, Shouto and Uraraka’s desires to help their respective villain foils.  The class would carry that resolve forward not only for those three villains alone, but also Shouji for Spinner, Kirishima when talking to Hose Face, Mina, here, with Gigantomachia, etc.

[13] None of the things I can think of that might be considered evidence of protest meet all the criteria.  The original MLA became violent, Harima Oji was a lawbreaker and also ineffective in the long term, the small group that yells at Endeavor and the rest in Chapter 311 is not portrayed as linked to any broader efforts to unseat “fake heroes,” and the group that “condemned” the newscaster Miyagi Daikaku was ineffective and didn’t even seem to rise to the level of open protest.

[14] "His grades are poor but he namedrops a Hemingway novel! He must be concealing the fact that he's actually super-smart!" "He's doing a Liberation salute! He must be the traitor, even though the Liberation salute uses the other hand, and Kaminari has been using finger-gun gestures to fire off his lightning attacks since at least the License Exam if not earlier, and the League had no connection to the MLA at the time when the traitor was most active!"

[15] A blurb about Kaminari in, iirc, one of the volume extras, Suneater’s flashback to a teacher telling his class that they can “make fine use of their quirks at any number of jobs,” and Uraraka’s early mention that she’d considered “getting permission” to use her quirk to help with her parents’ construction business.

[16] See the previous discussion about the kinds of quirks that are popularly accepted as “good hero quirks.”

[sinkableruby]

on ougi tease flirts (araragi edition)

(also interjecting here this bit is a lot funnier in japanese. ougi is like "you're gonna be fallen in love with by me you know!" "uh" "it's gonna suck for you if i fall in love with you you know!"

like she's warning him. it's very funny to me

this from the onimonogatari commentary track is also significant:

now. nadeko says "too" (も) but when ougi replies she doesn't use that particle, instead saying 私は. は is the topic marker, so what ougi is saying is kind of like "well, as for me, i like araragi senpai." it's a subtle distinction ougi's making from her and nadeko here.

also, the translation for the next part is actually wrong here!

if you listen closely, ougi says GAKE, not KAGE. ougi does not say "i adore him from his shadow to his back," ougi says: お慕い申し上げているよ崖から背中を押したいくらい

which literally translates to "I adore him to the point I want to push his back off a cliff."

which sounds very scary and deranged.

and is. ougi wants to push araragi off a cliff. this is literally what she is saying. nadeko's "adore?" ("おしたいって。。。") should probably actually translate to "you want to push him...?" (they're homonyms) because ougi is being deranged and insane. she's so real tbh she only gets realer

but the idea of 背中を押す (to push one's back) in this case is also like, pushing someone forward, cheering them on. giving them the push they need to succeed. so, ougi wants to push araragi to where he needs to go, while also severely hurting him in the process. classic jeerleader ougi move

adore "慕う" is like... love dearly, adore, but can also be kind of like worship, honor, revere, idolize-- fitting because ougi is a big fan. she also says it very politely, because of course she is nothing but a polite and respectful kouhai. :)

but to me all this indicates ougi's feelings are something more platonic than romantic-- or maybe it's more like queerplatonic. ougi flirts teasingly but its not really meant to be taken as anything more than just that, a joke, hence ougi's strange almost non-sequitur response to nadeko's reaction. in other words, i think araragi is probably right on the mark when he says ougi is just teasing (or being malicious. never forget that a lot of (maybe even most of) what ougi does and says is criticism. it's entirely possible she's mocking him). though whether ougi would truly mind kissing araragi or not is left a mystery... what can be said for sure, though, is that she loves him very much.

[maeve-is-annoying-about-books]

Dawntrail endpoint review

Or: Wow they really spent half an expansion setting up for this and I love it. You know the deal, spoilers and all. Random internet opinion machine go! ->

I feel like before I get into Heritage Found and Living Memory I gotta talk about Shaaloani. I'm really sorry but I feel like this area, above all others, is really reflective of how Dawntrail needed a hard editing pass. Just one.

To say it's bad would be a misnomer, but the area story as a whole is a little bit of a... a non-sequitur? We just got out of the Rite of Succession's big high point and now we're gonna visit Erenville's home but very little of what happens here relates to the story that comes before or after. A tweak or two and it'd flow a lot better, maybe a story more focused on how Koana's march of progress here affects people. This is a place balanced too far on the side of Reason, and perhaps Lamaty'i can send us here to add a little of the Resolve's flair and unite people. Or maybe I'd use it to focus more on reflection, and here we have something that really caught back my attention.

The trolley crew of the First are reflected here in the train crew and this? Was brilliant. It primed me to look for similar reflections in Alexandria's lands and was very rewarding and more than that I think it's a subtle show of the difference between souls and memories. The train crew are still the same intrepid enthusiasts at a core, true level. At least in terms of FFXIV's world, soul and memory are two different components of a person and the essential difference is demonstrated well with this tiny scene. I'd LOVE to have seen it more repeated across Shaaloani as the intersection between memories, souls, and even our environment.

Then Zoraal Ja happens, the bastard. He is the worst parts of the other three competitors for the throne combined. He always was, we just never see it because he's so obviously strong. There's no way he's insecure, right? But look again at his goal, he wants to unite the world, the only way he could possibly outperform his father and carve his name. He frames it as such a noble goal but the truth of it is what we see in the invasion. He is an insecure coward. He can't die for his cause like he demands others do. He's a piss-poor commander who only cares for terror. He borrows power from others and calls it his own. Lamaty'i thanks us, Koana accepts help, Bakool Ja Ja is at least indignant when his cohort joins the fight. Zoraal Ja is a sad man with a sad death. He'll devour those in his care if it means he can achieve his goal.

He never will. The blasted second head of his monstrous form says it all.

Sphene stands as the true counterpart to Lamaty'i. Wuk Lamat's arc wasn't finished when she took the throne, her plea to stay in Tural with her was proof of that. Like Sphene needing Zoraal Ja. And then, also like Sphene, she grows beyond this need and becomes more assured of her path, albeit it in a gentler and more loving way. If I were to put it in words, Sphene learned brutality from her dependence on Zoraal Ja, while Lamaty'i learns to be true to herself from the WoL's belief in her, thus bringing about the final acts for each, a diametric opposition both sides regret.

In the Dark Knight quests, the WoL (through their counterpart Myste) brings back the memories of others. Giving life to the thoughts of the departed. And it was just as unsustainable then as it is for Living Memory. We see how Myste has to constantly siphon living aether to perform this act and even then it's a vanishing and hollow thing. Most people who encounter our memories know they aren't really there. Living Memory is this act on a worldly scale. Living Memory devours life to produce itself. Living Memory is an eternal golden era perpetuated by feeding on the potential future and other cultures. It is, dare I say, colonialism made manifest. A foreign power who arrives without warning and takes and shapes a land and while it brings a higher standard of living, supposedly, the highest and most revered tier is beyond the reach or knowledge of most.

But. Living Memory is also a place to say goodbye. It's a heaven where you can rest easy knowing some piece of you will carry on and meet your lover again. Hang out with a long-lost friend. Make up with someone who became your enemy due to a mistake. It is an area filled with love and catharsis and beauty with a terrible price for its continued existence. But even if we found some way to infinitely fuel it, I don't think it would be any better of a place, because while your memories live on there, there is no one back in life who remembers you. No one to speak your name or trade a tale with. The people there are more dead than Gulool Ja Ja, a man who is remembered fondly, whose legacy binds disparate people together and whose wisdom guides a new generation. His hand still holds Lamaty'i's, even in death, while the Endless lose their place outside of this nostalgic world of twilight.

Just... fuck, dude. What an incredibly poignant story to tell, one that necessitated the story that came before. What a fitting one for the first expansion to come out after the TEN YEAR arc that led up to Endwalker. It's a story that asks itself how it can hope to stand up to the weight of a legendary legacy and takes its tumbles with aplomb to set the groundwork for a new tale to come. For a new generation and a new leg of the journey.

[no-where-new-hero]

This is probably the most controversial kdrama opinion I could have, but I actually really like how Moon Lovers ended. I totally see why people don’t, because they used the exact same non-ending technique that they used in Cheese in the Trap, which is my own beloathed villain origin story. But I think in this case, it makes more sense, and here’s why (spoilers below):

The big thing here is the question of reincarnation, and the fact is that reincarnation isn’t a huge theme in this show, unlike, say, Goblin, where the Goblin’s long wait for his bride’s next lifetime at the end all makes narrative sense. But in Moon Lovers, reincarnation is never really brought up. For once, there isn’t a big deal about past lives or fate bringing Soo and So together (even though you could extrapolate that Ha Jin was meant to travel to the past simply to fix Gwangjong’s legacy as a king). The closest we get to any conversation about that is pretty much only what Hae Soo tells Jung as she dies: “In my next life, I’m going to forget everything and everyone.” Is her next life, then, Ha Jin? Or is this quotation just a bit of a non-sequitur since Ha Jin as Ha Jin is a concurrent or interwoven timeline with Ha Jin as Hae Soo?

Therefore, the idea of a reincarnated Wang So meeting Ha Jin would be fateful and everything, but it wouldn't really feel part of the same story. A Wang So who has forgotten Hae Soo, who has no memory of his past life, would simply be somebody else, even if Ha Jin were to be like "HEY WAIT MISTER WITH THE HANDKERCHIEF don't you find it funny that you have the same face as a dead king haha?" I see why people are clamoring for a second season, because it is a good start. But it's also very different from everything that's been going on hitherto.

The other option, then, is if Wang So somehow time-traveled himself to the present, but there has been no way to connect Soo with Ha Jin. At a certain point, people stopped pointing out that Soo seems un-Soo-like, so why would anyone doubt her? Ji Mong has conveniently left the palace. The eclipse has passed (assuming that works as some kind of time portal). As delightful as the idea is, Wang So's final promise to find Soo feels more like a bone thrown to the audience than anything else, a piece of wishful thinking on his part and on ours.

Yes, Ha Jin crying alone in front of So alone in his portrait is tragic and terrible and all the more heart-rending because we know that neither Ha Jin nor Soo would have wanted to leave him alone like that, were circumstances different. But that's also somehow the most fitting end their story can have. Soo made Gwangjong a better king, but she also, ultimately, has to take the back seat to history, destiny, what have you. She has been told this throughout the show. Love can only do so much. It is beautiful but it is brief, which is a very classical East Asian idea, so it all somehow harmonizes for me. It's thematically relevant. Much like the haunting refrain in My Love From the Star, it's hard to say the goodbyes when you need to. Soo is never able to say goodbye to any of the people who matter to her before she loses them. Should it be any different with So?

[mxtxfanatic]

Jin Guangyao and Qin Su: A Lesson in Gaslighting

So this is one of my favorite scenes in the book on account of how absolutely unhinged it is. Jin Guangyao is someone who will go above and beyond in his commitment to the bit, using any and all means to maintain his web of lies. But his greatest weapon, by far, is his ability to gaslight via his expression and words. Upon his introduction as a character and not just conversation topic in the book, we are quickly given a confrontation between Jin Guangyao and his previously blissfully content wife, Qin Su in Chapt. 47 (exr). However, as the confrontation escalates, Jin Guangyao puts his gaslighting skills in action. When Qin Su confronts him about marrying her while knowing they are siblings, this is said:

Qin Su bursted out crying, “You’re lying! Things are already like this and you’re still lying to me—well I don’t believe it!”

Jin GuangYao sighed, “A-Su, you were the one who told me to say so. Now that I’ve said so, you refuse to believe me. This is indeed quite troubling.”

She’s made the villain by saying she doesn’t believe him. He is making her the villain by saying that he’s only telling her what “she wants” to hear, making her not believing him not because he is a career liar but because of some fault of hers. When she continues to disbelieve his lies, he pivots to telling her that her being upset is only a mind game, and that since they’ve lived so long “as husband and wife” there’s obviously no issue with the incest except what her mind makes of it, like incest isn’t a big fucking deal breaker????

Watching the ashes fall to the ground bit by bit, he spoke in a somewhat dejected tone, “A-Su, we’ve been husband and wife for so many years. We’ve always respected each other in peaceful harmony. As a husband, I’d like to think that I treat you well. The fact that you’re acting like this really hurts my feelings.”...

...Jin GuangYao, “A-Su, before you knew of it, didn’t we live perfectly fine? You only felt uncomfortable and began to vomit today, now that you know. We can see that this isn’t anything at all. It won’t be able to do any physical harm to you. Your mind is the only thing doing all this.”

And when that doesn’t work, he tries to appeal to her reputation:

Jin GuangYao, “If the person could tell you, then they can also tell other people. If they could write one letter, then they can also write a second, a third, a countless number of letters. What do you intend on doing? Allow such a thing to be leaked? A-Su, I’m begging you. Please, no matter for which feelings that have existed between us, tell me where the people mentioned in the letter are. Who was the one that told you to come back and read the letter?”

Notice that he is still attempting to appeal to her using their affection as spouses. He is refusing to acknowledge the truth of them being biological siblings so that he still has plausible deniability in case he can still convince Qin Su to believe his words over her secret informant. But this all hinges on whether or not he can weed out the informant to kill before the information becomes public, hence him subtly reminding her that if his reputation is damned for the information, hers will be too. But denying it doesn’t work, convincing her to overlook it doesn’t work, appealing to her former affections of him doesn’t work, so what’s next? Making himself the victim, of course!

A mourning warmth filled the eyes that Jin GuangYao looked at her with, “A-Su, back then, I really didn’t have another path to walk. I wanted to keep you in the dark for your whole life. I didn’t want you to know about this. Now, though, it’s been entirely ruined by the one who told you. You think that I’m dirty. You think that I’m disgusting. All of these are fine, but you’re my wife. How would others see you? How would they talk of you?”

And then we end back at a more direct appeal to reputation: “well if I’m disgusting, what will others think about you?” In an almost non-sequitur, Jin Guangyao returns to the topic of Jin Rusong, saying that the child “had to die” and subtly admitting that he likely–but always with plausible deniability–had something to do with his son-nephew’s death, causing Qin Su to slap him. Jin Guangyao immediately shuts down the conversation.

Jin GuangYao, “What are you talking about? You must be feeling quite unwell. Your father has already gone to journey and cultivate. I’ll send you off sometime soon as well, and you can enjoy being in your father’s company. Let’s finish this quickly. There’s still quite a number of guests outside. There’s still the Discussion Conference tomorrow.”

Deny, deflect, pretend that it is the other person who has lost their grip on reality, never directly admit to any accusation so that you have an out, and always, always maintain that genial smile. Poor Qin Su never stood a chance.

[its-murderous-business]

When I was in elementary school I went to circus camp and we would have balloon animal making as one of the activities/courses. Of course having a lot of children playing with balloons all day meant that they would quite often pop. It was quite loud when they would pop and usually everyone would stop what they were doing to look at what happened.

I cannot tell you why, but once during the first year I was attending the circus camp, after one of the balloons popped my undiagnosed unmedicated ADHD ass just yelled “HAPPY NEW YEAR!” in response. Of course everyone was confused because why would I yell? and why would that be what I said? But we moved on.

It must have stuck in someone’s head though because a few hours later when the next balloon animal dog or whatever popped someone else yelled happy new year to react to it. And from that point on it became A Thing. Everyone, every time a balloon popped, would in unison yell “HAPPY NEW YEAR”. This would happen at least once a day. I was quite proud of myself for inventing this bit.

The next year, when I went back to circus camp, I found that the habit had stuck. Everyone was still yelling happy new year. Then one day I was sitting eating lunch with a group of kids and one of them asked the group why we yelled that, and no one knew. And they didn’t believe me when I told them I had come up with it. None of them had been there the year before. The counselors also didn’t remember it was me who started it. Me and my younger sibling were the only ones who knew and remembered.

Ultimately though, I didn’t care if people remembered me as the one who started the trend. It was fun, it was silly, it was communal. And more importantly it was something that I created that had gained a life of its own beyond me. Because isn’t that what humanity is for? Celebrating a silly mistake like someone popping a balloon. Coming together to yell a non-sequitur. Leaving a positive mark on a place. It’s not much but it’s honest work, to me.

[goldensunset]

khml spoilers! (this is from nomura's interview)

i may be stupid cuz i don't quite understand this blurb. what 'navigators'? did i miss that part in the beta? it mentioned 'operations masters' that each society has, and that freya is the one in her society. but it feels like sort of a non-sequitur to mention her here if she isn't also a navigator. unless this is to say that the navigators are just an outside group outside of societies and operations masters (like freya) are the leaders inside societies. but he says 'only freya' to refer to the fact that you don't get a choice in what society you're in so it'll be her no matter what.

and like wow interesting... there are multiple societies competing in the story just like the unions in ux. but this time he's like nope no choosing this time. somewhat disappointing but at the same time i kind of like that we're making a canon decision about player's role in the story, no wishy-washiness. for the sake of narrative coherency. so like this particular society must be especially important. i know it was mentioned there was a special 'society of the heirs' for ephemer's descendants, and i'm sure we all agree freya looks a lot like ephemer, but if this were it, would they really just take in some random unrelated nobody who washed ashore? curious.

huh... i wonder how this will play out. have we heard anything about multiplayer online or no? doesn't seem like it yet which would be a bit disappointing cuz i'd love to run around and chat w you guys. but it'd be ok if there weren't. but like either getting to link up with the story characters or with other players has to be a must for me so

[niemernuet]

tmi alert but last night i had the most first-world spinster problem of all times. somehow i persevered though, and i also had an idea for a little oneshot.

rating: E pairing: Camille Rast/Lara Gut-Behrami length: 1'100 words content: pwp

"Fiche-moi…merde! Bien sûr ça arrive à moi! Putain alors!"

In white-hot anger, Camille threw the piece of plastic across the room, though she paused in shock when it slammed against the wall with a heavy bang. For a second she listened unmoving but luckily, nobody in the big house stirred. Cursing softly under her breath she climbed out of the toasty, comfortable bed, and hurried across the room, her anger starting to simmer again, and when she heard the sharp rap at her door, she could not hold back.

"What now?", she sighed, and picked up the toy from the floor. She was already halfway into her beloved bed again when the door was finally wide enough for Lara to peek through. She mustered Camille wordlessly, and Camille, her rotten mood getting worse by the second, could not hold back.

"Do you need something else?" she snapped impatiently. "My hair tie? My shoes?"

Lara had very little patience at the best of times but Camille was not fazed by her cold look, not tonight. As always with Lara, her mind was racing at the speed of light through the perceived hidden meanings and slights in Camille’s words, and arrived at a conclusion that, for others, might have seemed like a non sequitur.

“I never asked for your charger. All I said was that mine broke, and you offered yours.”

“I know!” Camille whisper-howled, annoyed by the fact that she only had herself to blame for her predicament.

“But okay, I’ll go fetch it…”

"I don't need it now!" Camille exclaimed, and with an annoyed huff sank fully into her bed and under the cover. "It's too bloody late."

Lara frowned at her, and again paused for a moment. “Is it your earphones? You can have mine…”

“No, it’s not earphones,” Camille huffed, and turned on her back. “Just…I’d like to sleep now. Please.” With the only light from her nightstand she could barely see the ceiling above. She waited for the soft click of the door but it did not come. Instead, Lara snorted.

Camille turned her head to the door. Lara was not looking at her but at a spot a bit below her, on the bed. Poking out from under the cover, to be exact.

Hastily, Camille moved the blanket over the toy but it was too late. The embarrassment almost brought her cheeks to a boil as she heard Lara’s soft laughter.

“Seriously?”

Camille opened her mouth but whatever she wanted to say got stuck in her throat when she saw Lara step over the threshold, and close the door in her back.

“You have ten healthy fingers, don’t you?” she asked as she crossed the room, and slowly sank down on the edge of the bed.

“It’s not the same!” Camille protested, half her face hidden under the blanket, fully aware that her voice was barely more than a squeak. “It’s like being promised a freshly prepared pair of skis and receiving two old planks of wood.”

Lara’s gaze, even though she was quite close to the light, was unreadable. Her hand pulling the blanket away from Camille though was very easy to understand.

“Sounds like a skill-issue to me,” she whispered.

Camille held her breath as Lara’s hand slipped under the rubber band of her pyjama pants. For the fraction of a second she regretted that she had not shaved before coming to Lienz, then the hand slipped between her crack, and pulled out her breath in a longwinded sigh.

“Merde…” she whispered as her legs spread apart without her doing. Down below, underneath her pants, Lara’s fingers slid between her labia, pulling the soft skin apart until she reached the source of Camille’s wetness that was still there from her first attempt before the battery of her toy had given out. For a second one finger wandered inside her hole, and Camille forgot how to breathe again. Lara had no intention to stay there though, and began to rub the almost embarrassing amounts of slick running out of Camille all along her pussy, right up until…

“Fuck!” Camille moaned, and bit down on her hand as a wet finger swiped over her clit.

It took all her willpower to open her eyes again, and force fresh air into her lungs. Lara was smiling down at her, and the sudden surge of irritation brought some of Camille’s senses back.

“Easy for you to laugh,” she panted. “You don’t know what it’s like for us. You and your private team can just waltz wherever. This is my first single room in like a year!”

The finger between her legs moved down again. Lara chuckled as she languidly rubbed more of Camille’s cum all over her pussy.

“Maybe you should ask your roomie more often. It’s Mél, right?”

“We’re not that kind of friendssss…ssshi…” Camille answered before her head sank deep into the pillow and her legs moved up at the knees as if pulled by invisible strings.

“That explains so much,” Lara muttered.

Camille could not answer anymore, her whole body rocked by surges and surges of lust as Lara’s thumb stroked over her fat, swollen clit in earnest now, down the sides and up across the shaft. She swore, unintelligible curses hissed in every language she knew, her breath coming harder and harder, her whole body getting tense while her pussy exploded underneath Lara’s fingers.

Camille’s back arched high when she came, every limb becoming stiff as the waves of the orgasm washed over her. Lara knew better than to stop, and followed Camille’s clit as it retreated into her body, pulling every last breath out Camille with the pressure of her thumb, the firm circles stroked across the soft skin.

The end came abrupt, the change from maddening excitement to overstimulation changing like the switch of a light. Something between a whimper and a sigh escaped Camille’ lips as she pushed her legs together. Lara pulled her hand out from under her pants, and inspected her soaked fingers in the shine of the night lamp. She grabbed a packet of tissue from the small table next to the bed while Camille still fought for breath. When she had wiped her hand, she stood up, and walked over to the trash can.

“Do you…also need a hand?”

Camille almost laughed at herself for blushing once more. Lara stopped at the door, and turned around.

She shrugged. “No, my vibrator’s fully charged.”

Camille laughed as she sank back into her pillow. “Bitch.”

The door was half-closed when Lara poked her head inside the room one last time. “Ask me again tomorrow.”

[felixcloud6288]

Fullmetal Alchemist Chapter 14

Let me open by saying Ed and Al once again avoided the specter of death, and I'm not talking about what happened at Lab 5.

Hughes makes a call to Roy and would rather talk about his family rather than tell Roy anything important. He brings up Roy potentially transferring to Central soon. The secretary mentions the military can listen in on calls from their private line.

The entire non-sequitur joke about Alex Louis Armstrong hugging Ed so aggressively that Ed ends up in a full-body cast makes me wonder what Arakawa's storyboarding process was like through this series. I wonder if she either added that bit to extend the chapter slightly, if there were more jokes and this is one that survived the editing process, or if nothing special happened. And I wonder if some of the bonus material in the volumes is jokes she wasn't able to fit into the main series.

Winry's lucky Pinako didn't come with her. Pinako would have smacked Winry on the head for hiding her screwup and then trying to charge Ed for the repairs that are ultimately her fault.

And we get to see Ed act like the bratty, stubborn teenager he is cause he refuses to drink his milk.

The joke about Hughes making Sheska work overtime so he could take the day off isn't as funny now that I'm an adult.

Now onto the real meat of the chapter: Elicia's birthday party. I spent a lot of time just staring at the characters throughout the chapter cause I just enjoyed seeing their consistent appearance through the scene. The boy with black hair and blush stickers was my favorite. I wonder what he did to get picked up by the big dad.

This one particular two-panel shot was my favorite moment just because of the conservation of relative space between characters.

That kid is standing next to Hughes and in the next panel, the angle shifts and he's still standing in the same place relative to Hughes.

Hughes's explanation for why Ed and Al don't tell Winry anything is probably true and it's not good that Ed and Al are thinking that way. They won't say anything about what's going on because they don't want to worry anyone, but keeping quiet doesn't work.

One day, Winry's parents left and never came home. Now Ed and Al will leave and just come back horribly beat up and then leave again. Despite their reunion in chapter 9 being comical, imagine what went through Winry's head when she sees Ed returning having his arm completely destroyed and Al is in literal pieces.

And in this chapter, Winry remarks how it's only been two weeks and Ed's arm is covered is scratches and he's suffering several injuries.

Keeping quiet about things is not keeping her from worrying. It makes things worse cause she sees the aftermath of what's going on and has no context for anything. And them keeping quiet likely makes Winry feel like they don't trust her.

And this chapter ends with that whole issue of them never talking coming to a boiling point cause Ed and Al haven't wanted to talk about their concerns and now Al is erupting into a fury over it.

Also, pizza exists in this world.

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[100percentdirtball]

follow me on letterboxd and you can get many dumb reviews like:

dream scenario ★★★ This review may contain spoilers. cumming 🤝 farting

or this one here!

barton fink ★★★★★

john goodman is a great actor, but more than that, is one of the greatest men, and truest friends, i have ever had the honor and the privileged of knowing. rest in peace, john.

ⓘ Readers added a Community Note to a post to which you replied, Liked or reposted

This Letterboxd user has never met John Goodman. She never even met John Candy.

Also, John Goodman is still alive.

or even this one!

shogun assassin ★★★★★

when we're on a mission, i keep count of how many ninjas my father kills. he says not to keep count, only to pray for their souls, but if i don't keep count, i don't know how many souls to pray for

when i was a kid in the 90s, manga was hard to come by. there were a few shonen jump issues to be found. tankoban of even the most popular series-one piece, dbz, naruto, the sort of thing you could find wall scrolls littering the floor of every budget hotel anime con-were a specialty product. bookstop & the nascent barnes & noble had a few volumes of something or other tucked in the comics section between x-men and dilbert. my local comic book shop, dragon's lair on pearl street, had lone wolf and cub. half-price books had lone wolf and cub. even bookstop had a seemingly random assortment of them, volumes chosen according to the spine colors that were complementary or prime numbered chapters.

there were six lone wolf and cub movies in the 70s, none of which got an american release. in the early 80s, american producers bought the rights for the first two, chopped them to bits, smashed them together, and dubbed them over with a new script to make Shogun Assassin. if you're a fan of japanese or chinese movies from the era, it's a story you've heard a dozen times, the clumsy hackjobs to make movies slightly less impenetrable to american audiences. it's why my dad still thinks of godzilla or kung fu as mindless action flicks with non-sequitur dialogue that doesn't match the actors mouths. that's what happens when american producers got ideas in the 80s.

shogun assassin is something else. somehow, they made something beautiful, something i might call perfect. it shares more dna with kung-fu movies than the samurai flicks it might get compared to, it's more Riki-Oh than Harakiri or even the Zatoichi series-the first movie of which was directed by the same man who directed four of the six lone wolf and cub movies. there's drama here, but it finds its way to the screen only between scalps and fingers being severed. in most samurai movies, blood is an exclamation mark. here, it is the essential grammar, the script written in drips, rivers, and sprays of the japanese hallmark blood, candy-red and not quite viscous, like cheap home depot paint. 

the father, lone wolf, speaks rarely. he's an astonishing presence, played by tomisaburo wakayama and voiced by lamont johnson. heavyset and solemn with a wild dog speed. over the run of the movie, he becomes progressively scarred and bloodied, his haori slashed to ribbons, his hair becoming a wild mane. the son, cub, speaks for him in voice-over, letting wolf deliver fewer lines of dialogue than characters who get five minutes of screen time. he is perfectly kempt at all times, his clothes clean and crisp, his shaved head and forelocks immaculately maintained. one imagines lone wolf carefully tying up his topknot, shaving the top of his head, then staring dead-eyed at the road and barely pausing to push his own hair out of his eyes.

each tankoban, each chapter of the manga was a stubby white slab, lurid monochrome colors and a splash of color, a banner with japanese writing, across the bottom third. half-price books had lone wolf and cub, dragon's lair had lone wolf and cub, and my childhood friend zoey's dad had all 28 volumes, neatly organized on a bookshelf between old issues of heavy metal and photo books made to live on coffee tables. i never read the manga, but i flipped through a number of them, grazing on lurid black and white violence, decontextualized images of katana flashing to behead ninjas rendered as black smudges. watching shogun assassin brought me back there, an unrelenting pace of half-remembered violence. 

i desperately had to pee for the middle third of the movie. during what felt like a lull i finally gave in and squeezed past a full row of old men and pasty nerds. when i came back to my seat, i learned through cub's narration that the lone wolf had just killed an army.

you must watch shogun assassin

[1-50thofabuck]

Review of "Hamlet of Volage," Adventure Module V1 from BRW Games for Adventures Dark and Deep.

I love printed gaming materials. I adore published modules that have a distinct old-school look. If I see such modules being offered, I generally purchase them, for my own collection and to support small publishers. They usually don't cost too much.

Modules with witches, fae, conspiracies and/or cults are another selling point for me.

Case in point: I purchased each of the V series modules by BRW games before they were published in print, so I got each as a PDF with the printed book to be sent later when completed. The stories revolve around different covens of witches, existing in secret(naturally) and warring among themselves.

Take the incredibly small hamlet of Volage. At least one coven exists here, most of them living normal, public lives, while members of other covens either live within, or visit frequently, to keep tabs, act as spies and everything you'd expect of such a scenario.

As I'm running this module for a system that we're play testing for publication by Penny Thought Exchange, and this happens to be an anthro based system based loosely on our Steal This Game! public domain engine, I ran the module as "The Hamlet of Vole Lodge: The Haunting of Pell House." None of these kinds of changes affected the module's play too much. Since characters are animal based, they do have access to abilities that run of the mill PCs in other games might not, but we try to balance these abilities as a part of character creation. Also, the NPCs, including the baddies, get these also, so it levels out. Otherwise, it's largely cosmetic, as NPCs are assigned an animal type and fitting description.

Because the module has so many NPCs and information on the town, I printed these out and affixed them to standard paper sized cardboard for quick reference. It also made it easier to track my own additions, such as what animal types the various NPCs are.

All that said to prepare for the review proper, I have to give one last bit of insight. I was running for a very small group, and certain among them are known to get frustrated quickly if leads and clues aren't given to them easily or frequently enough. Thus, I'm not sure in certain places where the problem may lay with the module or with the sensibilities of certain individuals, though in at least one case the problem is certainly the module's, as I will describe as we continue.

Within a day or so in the hamlet, there was already grumbling that nothing was turning up of any real interest. Most of the supernatural occurences, as the PCs felt, were rather mundane, unprovable, or non sequitur to their investigations. Blankets getting bedbugs and such seemed normal enough. Sheep being attacked by wolves and then vanishing is a bit odd, but not enough to jump to suspicions of witchcraft, and seemingly not enough to investigate at any rate. The module itself didn't suggest or describe any methods of doing so or anything learned if PCs did, but it wasn't relevant since they were disinterested in doing so. Every cat being found dead was more mystifying but another case of "what are we supposed to do about it?" People getting sick, people falling off ladders, all seemed like a typical string of unfortunate but not distinctly magical occurances.

They decided to spend the night in the cemetery, where only one random event took place, a weird fog or mist which I tried to play up as much as I could. When all was said and done, however, it was more of the same: "Weird, but nothing we can learn anything from and seemingly unrelated."

The group decided that after another day or so if they didn't come across something of more interest they were going to bail. I still had two more modules and they were ready to quit before getting more than a day into the first. I ended up throwing in a clue not in the module to keep them in, though I regretted throwing bones like that simply because the PCs became disinterested. Still, I really wanted to continue the module, so I did so. To some degree, two of them, but the details of those aren't very important.

They decided to keep an eye on some of the young ones of the hamlet who had been rumored to run off into the woods some nights, and follow them.

Around this time, I decided to look into the next module. It shouldn't be necessary. Each were published at different times, and are supposed to be playable independently. Yet the second module gives details of great importance: the way the Pell family is butchered. V1 simply says they were killed violently. The second reveals that the attack has the hallmarks of an animal attack, yet they got into the house at night, somehow, and left without being seen. Now that gives some serious indication of some supernatural going's on. Too bad V1 decided we didn't need to know!

After telling the players about this new info, they became much more convinced of supernatural tomfoolery, but still felt about the same as they did - follow the young ones next time they run off, if that doesn't lead to anything, we leave.

I don't believe the module tells you what night the young witches go to their esbat, but an NPC suggested the night of the new moon, so the PCs kept special notice that night. One of the bones I threw in to keep the adventure going.

In the end, they got noticed while trailing the girls, but the witches pretended not to notice. They completed their esbat, getting new familiars and other boons before revealing their awareness of the PCs.

The battle didn't last long. The PCs got destroyed. However, it was a small group, and my suggestions of getting retainers and mercenaries to boost their numbers fell on deaf ears. I do not fault the module for their loss whatsoever.

At the moment, I'm running my own revision of an old adventure I wrote(I shared a little taster of it a bit ago), but afterwards, I hope to jump to V2 and see how that one goes. If it works out well, on to V3, or perhaps my sequel idea to the module I'm rewriting now, and then V3. If V2 goes poorly, I suspect I will abandon the series and leave them to look pretty on my shelf.

If you like OSR adventure modules, despite my less than stellar success, you can't go too wrong for a $4 PDF. https://preview.drivethrurpg.com/en/product/373537/Adventure-Module-V1--The-Hamlet-of-Volage

Addendum: While looking for a quick cover image to put at the beginning of the review, I came across tenfootpole's review. I often agree, sometimes strongly disagree, but generally find their reviews entertaining either way. Looking to see if they hailed it as a masterpiece and realize I'm a big dummy, oh boy did they not find it impressive. Strong language warning for those sensitive to that kinda thing. Their agreement does not make me right, but I'm gratified that at least it wasn't just me who was kind of bewildered by a lot of the adventure.