#uraraka characterization

[treef-greef]

[misssmina]

Characterizing Characters mayhaps?

(IF YALL WANT IZUKU YOU GOTTA WAIT TIL THE SHOW IS FINISHED. His character is actively going through a decent personality shift so I gotta see it to know what I’m talking about lol 🫶🏾)

[spacelesscowboy]

i’m like that folk tale about dropping sand in front of a vampire/the fae in order to root them to the spot until they finish counting expect instead of sand it’s playing a single second of PLUS ULTRA! Boku no Hero Academia LIVE at Anime Los Angeles 2020. i WILL stay in the same spot for 28 minutes and watch the whole thing through regardless of what i was doing beforehand.

[sammy-the-dead-dumpster]

I mean, listen.

This death wouldn't hurt so much if it weren't for:

-Toga committing suicide -Toga committing suicide in an exceedingly preventable way -Toga committing suicide because she felt like she wasn't meant for this society and like she had no other options, which nobody disavowed, not even Uraraka directly -So many other characters with way worse odds surviving (like Bakugou, Nagant, Edgeshot?? Dabi???) -Seriously, why did she have to die? Let her be comatose, at least?? -Hawks being all like, 'Yeah, I shouldn't have killed Twice, the villains shouldn't have to die' -Hawks being nearby at the time, right? And of the same damn blood type? -Anyone willing to help nearby, actually -Didn't they put her on the helicopter? You're telling me that Dabi survived the stretcher ride, but not Toga? -It being. so preventable. not like Dabi's path toward destruction, or Shigaraki turning his body into a vessel for a greater evil. she was just a girl who was helping someone she'd hurt. and didn't need to give up all her blood to do it. -She didn't need to give up all her blood to do it. (Bakugou survived worse. Uraraka would've been fine.) -Her being seventeen -Her death feeling so meaningless, as the theming could have been accomplished by Shigaraki's death alone, except as a conduit for Izuku and Ochako to hold hands together. Which stings. My film professor would be completely unsurprised. -Bury Your Gays -Bury Your Unconventional Love Interests (thanks, film professor!) -the frustrating positive tone of some parts of the epilogue, with no real address of the character's failures and emotional struggles -Not even Uraraka gets to monologue about what this means for her future? Izuku's just slapping an emotional bandage on this? Really? -What even is Izuku's characterization right now? -Is Shoto really the only one who more or less Saved, in addition to Winning?

[linkspooky]

TOGACHAKO VS. FUFFY: How To Save Your Evil Girlfriend

So, once again My Hero Academia has failed to deliver on its promise of saving / redeeming one of the main villains of its story, and victims of its ficitonal society. This time I'm going to make the added argument that not only does failing to save Toga make the story worse, it also makes Uraraka's character almost completely hollow. While you can dismiss Deku's lack of character development as him being a shonen protagonist, both Uraraka and Shoto had arcs and Ochako's is effectively ruined by her failure to save Toga.

In order to make my point I am going to compare it to a villain redemption arc in another piece of media that does it right, Faith's character, and her strained relationship with Buffy in Buffy the Vampire Slayer. A series which is overall anti-state punishment and pro-redemption and delivers on practically all the themes MHA promised us.

MORE UNDER THE CUT:

THE GOOD GIRL and THE BAD GIRL

There is a reoccurring dynamic between two female characters in media, usually between a heroine and a female villainness that I like to call: The Good Girl vs. Bad Girl complex.

However, if you were a Freudian you'd be calling this a Madonna Whore Complex.

To explain the Madonna Whore Complex, one of the biggest examples in other Media is Aronofsky's Black Swan. The entire movie is themed around the Madonna Whore complex, and the impossible double standards the male perception imposes upon women.

"The white swan and the black swan are not merely characters, and not merely characters that are relevant to Nina. The black swan and the white swan are archetypes of women. They are emblematic of the Madonna and the Whore [...] . The white swan is the Madonna, she is pure, innocent, the ingenue. The black swan is the whore, she is cunning and deviant. The seductress. Nina and her ballet counterpart Odette are characterized as perfect ingénues. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity. She is the fawn eyed damsel in distress and in literary films she's often the heroine or protagonist. On the other side of the coin from the ingenue, we have the seductress, embodied by Lily and her ballet counterpart Odelle. The seductress is characterized by her promiscuity, cunning nature and sex appeal. She is the alluring femme fatalle, willing to do whatever it takes to get what she wants. She's most often framed as the village. These draw parallels to Freud's psychoanalytical theory, a theory that suggests in the minds of some men they struggle to fully see women as fully realized and rather view them in archetypal categories." [SOURCE]

Black Swan is also a movie where Natalie Portman attempting to live up to the impossible expectations society has placed on her to be both the White Swan and the Black Swan goes insane, and quite possibly dies at the end of the movie.

Considering that Toga's entire story is that she is a shapeshifter who went mad because she could not fit both her parent's and society's expectations of being a "normal girl" then you can see why the Madonna Whore Complex is relevant, with the oversexualized, vampish, femme fatalle Toga quite obviously playing the part of the whore.

Before you call me a fraud for citing freud though, let me prove my point that the Madonna Whore Complex is quite literally everywhere in media.

I could literally keep going if this post didn't have an image limit: Jean Grey and Emma Frost, Jean Grey and Madelyne Pryor, Starfire and Blackfire, Raven and Terra, The Two Sisters from Ginger Snaps, t's literally everywhere all the way back to Lilith and Eve.

More intelligent takes on this trope play with the concept of the Madonna Whore Complex (MWC) to either present the archetypes as two fully rounded people (Catra and Adora) or demonstrate that it's impossible for women to fit into these two dinstinct categories (Natalie Portman in Black Swan).

Buffy the Vampire Slayer is a work that challenges the MWC, by allowing both its good girl, and bad girl to be fully realized characters. My Hero Academia plays the MWC straight to a sexist extent by not allowing Uraraka and Toga to escape their categorization of Good Girl and Bad Girl, and also going out of its way to punish and kill the seductress for her sexuality like this is a slasher horror movie. Actually, it's worse than a horror movie because at least Jennifer's Body plays with the MWC in a clever way.

It's not just bad writing anymore Hori's writing has crossed over into actively murdering female characters to enforce puritan values, but let's not get into that just yet we'll talk about the writing portion instead.

I'm going to outline what BTVS accomplishes, demonstrate how it does this below, and then go on at length picking apart how MHA fails.

BTVS:

Shows Buffy and Faith as fully realized people

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Breaks down those two categories

Redeems it's bad girl

With that out of the way let's get the ball rolling.

HOW TO (NOT) SAVE YOUR EVIL GIRLFRIEND

This is the part where everyone in the audience is going to gasp. Even though I'm using Buffy and Faith as a positive example of deconstructing the MWC and redeeming a villain, Buffy does not save Faith. The two of them reconcile in the end, but Faith is not redeemed or saved by Buffy, and in fact Buffy is in part responsible for Faith's fall.

So, why would I say Buffy and Faith are a better example of villain redemption then Uraraka who at least did everything she could to offer a helping hand to Toga?

Because Buffy not saving Faith is THE POINT and Faith receiving redemption even though Buffy gave up on her is also THE POINT. Lemme explain, by starting at the beginning.

BTVS is a story that exists to flip both horror tropes, and the idea of the chosen hero on its head. The concept started out with Joss Whedon noticing that the Cheerleader is always the first victim in any given horror movie, and wondering what it would look like if the Cheerleader could fight back. If the Cheerleader was the thing that monsters ran away from.

Which leads us to Buffy Summers. Buffy is chosen by the universe to slay vampires, she is hero with super strength that can easily take on legions of vampires and often has to fight even tougher villains for each season's conflict. Buffy carries all the classic features of both the ingenue and the chosen one protagonist rolled up into one:. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity.

However, after dying in the first season, and having to kill her boyfriend in the second season after he turned evil and inflicted a lot of psychosexual abuse on her Buffy has also got a whole lot of trauma. Which is when Faith appears on the scene. One of the first ways that the show challenges the idea of the "Chosen One" is that there are actually two Chosen Ones, Faith being the other Slayer.

Buffy much like Deku has a case of protagonism brain rot, but in her case she was actually chosen by the mystic powers that be to be the protagonist of reality. Buffy, who views herself as the hero of the story as a coping mechanism (we'll get back to this later) is suddenly challenged when the fates chose yet another chosen hero, challenging her pre-conceived notion that she is the hero of the story. If Buffy is not the only hero then who is she? What is all the suffering she's endured so far if it's not a part of her own personal hero's journey?

Buffy begins to dislike Faith on sight for projection reasons, before Faith does anything wrong. In a way Buffy herself the female lead is enforcing society's standards of the MWC because all the reasons Buffy decides to disturst and dislike Faith on sight are because she exhibits qualities of the seductress.

Faith is openly promiscuous, often comparing the art of killing vampires to sex, she is also someone who is proud of her power as a a slayer and uses it for her own purposes. She is a slayer for selfish reasons (apparently) while Buffy is the selfless hero. In the first episode Faith appears in, Faith, Hope and Trick Buffy is almost immediately hostile to Faith who has so far done nothing wrong for, trying to get along with Buffy's friends, getting a little bit too into vampire slaying and openly relishing her strength, and like occasionally making lood comments.

FAITH: Don't… touch… me…! BUFFY - yanks Faith off the unconscious vamp with one hand, stakes the vamp withher other. Then she turns to Faith who is breathing hard, high on adrenaline, rubbing her fists. BUFFY: What is wrong with you? FAITH: What are you talking about? BUFFY: I'm talking about you living large on the great undead here. FAITH: Gee, if doing violence to vampires upsets you, I'm pretty sure you're in the wrong line a work… BUFFY: Or maybe you like it just a little too much. FAITH: I was getting the job done. BUFFY: The job is to slay demons. Not mash them into sloppy joes while their

Buffy then escalates to like ableist slurs towards Faith within half an episode for getting slightly violent in a fight against vampires that were trying to kill her.

GILES: Well, Buffy, you have to realize you and Faith have very different temperaments… BUFFY: I know, mine would be the sane one. Giles, she's not playing with a full deck. She has almost no deck. She has a three. GILES: You said yourself she killed one of them, she's a plucky fighter who got a little carried away. Which isnatural, she's focussed on Slaying,she doesn't have a whole other lifehere like you --

The twist this episode is that no matter how much Faith tries to present herself as a free-spirit, she's actually a scared homeless girl who just happened to become the Slayer. Unlike Buffy she does not have a watcher, a mother, or friends to support her. She lives in the cheapest motel in sunnydale. The reason she's so violent against vampires is because she is understandably having a trauma flashback because her mentor was murdered right in front of her by a different vamp.

This is repeating pattern throughout the whole season, Faith is shown to be a victim of trauma, and occasionally acts in ways that are understandable for a victim like her to ask, only for Buffy to start mischaracterizing her as someone violent and insane and throwing the slurs.

You can compare both Faith and Toga as characters who are complex victims of trauma who society turns their back on and become bad victims, but Faith is a special case because we actively see her turn to the dark side. Faith starts out trying to be a hero like the rest and she practically does nothing wrong for half a season, and when she does finally make a mistake and become a bad victim it's the hero's desire to punish her and castigate her that turns her into a villain.

We actively see Faith's fall happen onscreen, and it's like totally Buffy's fault. Buffy throws her completely under the bus, because she's so desperate to see Faith as the Bad Slayer and Buffy as the Good Slayer. Faith is almost pushed into evil because of the MWC, the characters around her can't see her as a fully fleshed out human being so they are quick to demonize her when she starts acting like a bad victim.

So the two episodes appropriately named: Bad Girls and Consequences depict Faith's fall. In that episode Faith and Buffy are fighting vampires, and one human is mixed among the vampires. The human grabs Faith by the shoulder, and Faith thinking that the human is a vampire turns him around and stakes him.

It's a complete accident, something that Giles even says later on is an accident that can happen to any Slayer on the job and is completely normal. It's a murder that Buffy herself could have committed.

GILES: This is not the first time something like this has happened. BUFFY: It's not? GILES: A slayer is on the front lines of a nightly war, Buffy. It's tragic - but accidents have happened. BUFFY: What do you do? GILES: The council investigates, meters out punishment if punishment is due… I've no plan to involve them,however. That's the last thing Faith needs right now. She's unstable, Buffy. She seems utterly unable to accept responsibility. Shows no remorse.

However, even in the same breath Giles explains that it's an accident and not Faith's fault, he's also calling Faith unstable and irresponsible. Basically when they're not calling her a psycho (just hitting her with the ableist slurs), the protagonists all lowkey imply that Faith is somehow inherently violent and unstable because she displays symptoms of a bad victim.

I might also remind you Faith has not done anything to earn any of these accusations, until she kills someone in a complete accident. A complete accident that Giles once again said wasn't her fault and wasn't really a big deal.

FAITH: My dead mother hits harder than that.

Faith is stated to be a victim of physical abuse, heavily implied to be a victim of sexual abuse, and is homeless (none of the main characters offer to let her stay in her house she spends half a season in a terrible motel). However, Faith is quickly demonized by the white wealthy main characters for acting in ways that are completely typical for a homeless teenager.

The moment she commits one mistake they all turn on her and use that mistake as proof of these violent tendencies they all want to accuse her of having. Faith can never be the ingenue so she must be the seductress, because she can't just be a person.

Buffy: So, I, uh... (sees Faith scrubbing) How are ya doin'? Faith: (still scrubbing) I'm alright. You know me. Buffy: Faith, we need to talk about what we're gonna do. Faith: (looks at Buffy) There's nothing to talk about. I was doing my job. Buffy: Being a Slayer is not the same as being a k*ller. Faith has nothing to say. She's finished scrubbing. Buffy: Faith, please don't shut me out here. Look, sooner or later, we're both gonna have to deal.

It is essentially two episodes of this, Faith after killing someone on accident in a life or death fight is constantly called a murderer by others. She wasn't even like, drunk, or high, or being especially reckless she was being a normal slayer.

FAITH: So the mayor of Sunnydale is a black hat. Shocker, huh? BUFFY: Actually - yeah. I didn't get the bad guy vibe off him. Faith shakes her head. Scoffs. FAITH: When you gonna learn, B? It doesn't matter what kind of "vibe" a person gives off. Nine times outta ten he face they're showing you? It isn't the real one. BUFFY: I guess you know a lot about that. FAITH: What's that supposed to mean? BUFFY: Look at you, Faith. Less than twenty four hours ago you killed a guy. And now you're laughing and scratching and zipidee doo dah. That's not your real face, and I know it. I know what you're feeling because I feel it too. FAITH: Do you? So, fill me in. I'd like to hear this. BUFFY: Dirty. Like something sick creeped inside you and you can't get it out. And you keep hoping what happened wasjust some nightmare…

Faith is dirty, faith is disgusting, faith is unstable, Faith is sick for... killing a guy on accident in a way that Giles said was a perfectly understandable accident, and not showing clear guilt because the moment she did it everyone around her jumped on her and started accusing her of being a murderer.

Why do the selfless main characters suddenly start demonizing this girl before she even did anything wrong - well it's because she's poor problem solved.

No, but it does play a factor. Why do most american white middle class look down on the homeless? Because, they must have done something to deserve it, right? If Faith killed a man, that clearly is an indication that she was violent all along and the heroes don't have to sympathize with the fact she's homeless or you know lift a finger to help her.

Now, this makes it sound like I hate Buffy, but Buffy is actually my favorite character in the whole show. The thing is Buffy's complete lack of sympathy for Faith makes her a better character. Buffy needs to demonize Faith and throw her under the bus, because Buffy is a victim of sexual abuse too. Her boyfriend turned evil after having sex with her once, and spent an entire season stalking her and terrorizing her the entire season 2 Buffy / Angel plotline is a thinly veiled groomer metaphor.

The thing about Buffy is she's not allowed to show any kind of reaction to her trauma. The episodes preceeding Faith, Hope and Trick are Anne, an episode where Buffy runs away from home after being sexually abused (stalking is sexual abuse) by Angel for a whole season and feeling like no one would understand her, and Dead Man's Party, an episode where every single one of Buffy's loved ones ruthlessly criticize her for having run away. Like, how dare a teenager not react perfectly to being horribly stalked by a serial killer after she had sex with him for like half a year.

JOYCE: Buffy! You didn't give me any time. You just dumped this… this thing on me and expected me to get it. Well -guess what? Mom's not perfect. I handled it badly. But that doesn'tgive you the right to punish me byrunning away. BUFFY: Punish you? I didn't do this to punish you XANDER: Well you did. You should have seen what it did to her. BUFFY: Great. Would anybody else care to weigh in? What about you? By the dip. XANDER: Maybe you don't want to hear it, Buffy. But taking off like that was selfishand stupid. Buffy's breaking down. It's all too much. BUFFY: Okay - I screwed up! I know it - alright!? But you have no idea. You have no idea what happened to me or what I was feeling

The reason Buffy is so hard on Faith is because everyone else is equally hard on her. The label of the ingenue is so difficult for Buffy to maintain, because she has to be pure, and without any flaws, especially when reacting to trauma that she throws Faith under the bus for her bad victim behaviors.

The white middle class demonize the homeless because they don't want to face the reality it can happen to them, Buffy doesn't want to reflect on all the things her and Faith have in common because she could very easily become Faith. Buffy is the victim of extremely similiar trauma to Faith, and being pressured to be the perfect victim of that trauma in a way that's destroying her mentally slowly.

FAITH: It was good, wasn't it? The sex? The danger? Bet a part of you even dug him when he went psycho BUFFY: No FAITH: See - you need me to tow the line because you're afraid you'll go over it, aren't you, B? You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you... ( Something snaps in Buffy. She rears back and POPS Faith a good one. Faith falls back, but she's smiling as she puts a hand to her bleeding mouth. ) FAITH: There's my girl…

Buffy is suffering under the expectations of the MWC too, but in her desperation to make Faith out to be the seductress instead of... like... a csa victim... Buffy is reinforcing those standards on both herself and another woman.

The entirety of Bad Girls and Conesequences is Faith being called a murderer by several people, having another trauma flashback to a sexual assault because Xander came to her motel room under the guise of "helping her", getting hit over the head and chained to a wall, then getting the swat team called on her and almost dragged to London for trial. Then the heroes do nothing to help her. The first thing Faith does is go to the main villain, who buys her an apartment AND A PLAYSTATION. So... the evil main Villain of the show helped Faith with her homelessness situation while none of the main characters lifted a finger.

it sounds like it sucks but it doesn't because it's all intentional. Buffy cannot process her own sexual trauma so she is just awful to people who are also domestic abuse victims. here's one of my favorite scenes, Buffy yells at a girl being beaten by her boyfriend with a visible black eye.

Buffy: Where can we find him? Debbie: I-I don't know. Buffy: You're lying. Debbie: What if I am? What are you gonna do about it? Willow: Wrong question. Buffy takes her by the arm again and pushes her up against the sink in front of the mirror. Buffy: Look at yourself. Why are you protecting him? Anybody who really loved you couldn't do this to you. She takes a few steps away. Debbie turns around to face them. Debbie: Would they take him someplace? Buffy: Probably. Debbie: (shakes her head, sobbing) I could never do that to him.(Willow sighs) I'm his everything. Buffy: (disgusted) Great. So what, you two live out your Grimm fairy tale? Two people are dead.

That poor girl gets her neck snapped like five minutes later and Buffy just kinda, moves on even though it would have been an easily preventable death.

Buffy getting mad at an abuse victim for showing textbook behaviors of abuse victims in bad relationships. Buffy is a good character because she is a hero, she can be empathic, but she really only understands heroism in term of defeating the bad guys, and when called to relate to people with complex trauma, especially trauma that reflects her own trauma she can't! She just can't process it! The expectations of being the ingenue, the perfect hero are so crushing she can't cope with a messy reality so she needs to have a black and white view of herself and other people.

Buffy needs to be firmly in the good category, and Faith needs to be firmly in the bad category in order for Buffy's brain to keep working.

Not only does Buffy's conflict with Faith characterize how much Faith suffers for being a bad victim, it shows how the pressure to be a good victim destroys Buffy mentally to the point where she starts using Faith as a punching bag.

Literallly.

It's all intentional too, Buffy gets called out on it, Faith always gets the last word and the final episode of the season makes out Buffy to be a hypocrite. After Buffy literally threw Faith under the bus, called her disgusting for murdering a man, Buffy is completely willing to murder Faith to get a cure for her vampire boyfriend who's been poisoned.

All human life is sacred and needs to be protected, but Fuck Faith I guess.

Faith: I could say the same about you. I mean, you're still the same better-than-thou Buffy. I mean, I knew it somehow. I kept having this dream, I'm not sure what it means, but in the dream the self-righteous blond chick stabs me, and you wanna know why? Buffy: You had it coming. Faith: That's one interpretation, but in my dream, she does it for a guy. Faith: I wake up to find the blond chick isn't even dating the guy she was so nuts about before. I mean, she's moved on to the first college beefstick she meets. Not only has she forgotten about the love of her life, but she's forgotten about the chick she nearly k*lled for him. So that's my dream. That and some stuff about cigars and a tunnel. But tell me, college girl, what does it mean? Buffy: To me? Mostly, that you still mouth off about things you don't understand. (Sirens) Uh-oh. I guess somebody knows you're here.

So the show goes to great length to show you that there are two sides to this conflict, Buffy demonizes Faith, because her friends expect her to be the perfect hero. Faith reacts badly to trauma because she has no support system, and the people around her have no empathy for her because they're too privileged to imagine the things in Faith's life ever happening to her.

Buffy and Faith are fully realized people.

Buffy and Faith are presented to the audience as the ingenue and the seductress but they're both fully realized characters. Buffy's not the ingenue because she's just as capable of murder as Faith is. Faith isn't the seductress because she's a homeless teenager. They are both victims of sexual trauma, though one reacts in what people consider an "acceptable way" and the other is a total slut about it.

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Buffy throws Faith under the bus specifically because the pressure in her life to be the perfect slayer is so immense that it could be her that takes the fall so she needs to believe in black and white concepts like she is inherently good and Faith is inherently bad to justify the bad things that happen to Faith and therefore convince herself said bad things could never happen to her. "You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you..."

Faith: Angel said there was no way you were gonna give me a chance. Buffy: I gave you every chance! I tried so hard to help you, and you spat on me. My life was just something for you to play with. Angel - Riley - anything that you could take from me - you took. I've lost battles before - but nobody else has -ever- made me a victim. Faith: And you can't stand that. You're all about control. You have no idea what it's like on the other side! Where nothing's in control, nothing makes sense! There is just pain and hate and nothing you do means anything. You can't even.. Buffy: Shut up!"

Buffy needs to fit her and Faith into neat little boxes because she cannot face the inherent senselessness of the world (and also that she is a victim too "you made me a victim")

Breaks down those two categories

Even in Seasons where Faith is not present she haunts the narrative, because the writers were well aware that Buffy and Faith are the same person under different circumstances.

All of Season 6 Buffy is faced with many of the same situations that Faith was, she suddenly becomes poor and in danger of losing her house, she has extreme depression from coming back from the dead (long story) she can't share those feelings with any of her friends because they treated her much like they did Faith - having no sympathy for imperfect victims. Buffy even gets into an unhealthy, sexual relationship, and like Natalie Portman basically changes from the ingenue into the seductress.

A relationship she has to keep a secret because once again, Buffy must fit into the box of the ingenue in order to be loved by her friends. This leads to her committing several bad behaviors, and at times borderline emotional abuse towards her sister (and debatably her boyfriend) and all comes to a head when Buffy is faced with the exact same situation as Faith.

Buffy in Season 6 believes she has killed a person accidentally while being the Slayer. It's a repeat of Bad Girls with several paralels, including someone trying to hide the body only for it to turn up later, and Buffy insisting she has to turn herself into the police and face jailtime.

However, in this version Buffy unlike Faith has friends who try to stop her from turning herself in and explain to her the murder wasn't her fault - and Buffy still reacts the same way Faith does. She basically borderline quotes Faith.

Faith: Shut up! Do you think I'm afraid of you? [Faith grabs Buffy and throws her down, then sits on top of her and starts punching her.] Faith: You're nothing. [Punch. Punch.] Faith: Disgusting. [Punch. Punch.] [Faith grabs Buffy's hair with both hand and bangs her head.] Faith: Murderous bitch. [Bang. Bang...] You're nothing. [Bang. Bang...] Faith: [Switches back to punches] You're [Faith is now crying.] disgusting.

This is an earlier scene which plays out as an exact parallel to this scene:

BUFFY: You can't understand why this is killing me, can you? SPIKE: Why don't you explain it? She hits him a few more times. He takes it, not fighting back. SPIKE: Come on, that's it, put it on me. Put it all on me. (She kicks him) That's my girl. BUFFY: (yelling) I am not your girl! She hits him hard. He falls back onto his butt. Buffy gets on top of him and begins hitting him over and over. BUFFY: You don't ... have a soul! There is nothing good or clean in you. You are dead inside! You can't feel anything real! I could never ... be your girl! She continues hitting him throughout this. Now Spike goes back to human face. He's looking very bruised and bloody, but he doesn't fight back, just takes it. Buffy hits him again and again, looking angry and desperate. Finally she stops and looks at him in horror.

So if Buffy can react the exact same way that Faith does, when faced with the same trauma there is no good girl or bad girl, there's only two people who are complicated human beings.

The story *gasp* lets the hero be a bad girl.

Redeems it's bad girl

Faith's redemption is a shocking contrast to MHA the plot of BTVS does not allow Faith to commit suicide in order to redeem herself. In fact, her entire arc is an argument against the "put her down like a mad dog" trope. Starting with the fact that the heroes who are partly responsible for Faith's fall in the first place, are all too willing to just let the homeless teenager fall by the wayside, and then put her down for her own sake.

As I stated above, the inherent hypocrisy Buffy shows in her calling Faith a murderer and irredeemable for killing someone on accident because all human life is sacred to her, and then going on to try to murder Faith at the end of the season already shows the "put her down like a mad dog" argument doesn't work. Faith isn't too far gone, it's just Buffy who sees her that way. And because Buffy has given up on Faith she's failing at being a hero.

As I said above, Buffy is not the one to rescue Faith. In fact, in the episodes where Faith's redemption arc starts, Buffy is the one trying to hunt her down and enforce punishment on her. The episodes "5x5" and "Sanctuary" are both focused on Buffy going to LA to hunt down and interfere when Angel is trying to help Faith get back on her feet. The two episdodes basically explore the concept of redemption vs. punishment and how punishment saves no one.

5x5 depicts Faith's spiral as she runs away to LA to escape Buffy who is hunting her down, and accepts a job to assassinate Angel, which if she succeeds will get her rich and also get the cops off of her trail. We're led the whole episode to believe Faith has learned nothing until the confrontation with Angel at the very end, which you should really watch because it's great television.

Faith: You hear me? - You don't know what evil is! - I'm bad! - Fight back! Faith keeps whaling on Angel, sometimes he ducks, sometimes the hits connect. Angel grabs a hold of her: Nice try, Faith. He tosses her away from him. Then walks after her. Angel: I know what you want. She hits him and he hits back dropping her. She comes back up hitting and screaming, but not making much of a dent. Wesley leans out of the window and sees Faith beating up on Angel. He goes into the kitchen and grabs a butcher knife, then heads for the door. Angel as he dodges another hit: I'm not gonna make it easy for you. Faith throws herself against Angel screaming: I'm evil! I'm bad! I'm evil! Do you hear me? I'm bad! Angel, I'm bad! (She begins to sob, grabbing a hold of Angel's shirt and shaking him) I'm ba-ad. Do you hear me? I'm bad! I'm bad! I'm bad. Please. Angel, please, just do it. Wesley comes running out of the house. Faith sobbing: Angel please, just do it. Just do it. Just k*ll me. Just k*ll me." Angel wraps his arms around her shoulders and pulls her against him. She over balances them and they sink to their knees, Angel still holding her as she cries. Angel: Shh. It's all right. It's okay. I'm here. I'm right here. Shh.

Faith tries to take the Toga approach to commit suicide in order to atone, but Angel actively understands that is what she's trying to do, and denies her the chance to die to redeem herself and instead holds her until she calms down.

Angel doesn't just save her once though he spends the entire next episode defending Faith from Buffy who has come to LA to take her revenge, and trying to talk Faith into believing she can still keep on living in spite of all the bad things she's done.

Faith: Are you saying I got to apologize? Angel: Think you can? Faith: I don’t' know. - How do you say 'Gee, I'm really sorry tortured you I nearly to death? Angel: Well, first off I think I'd leave off the 'Gee.' And secondly I think you have to ask yourself: are you? Faith: What? Angel: Sorry. Faith: And what if I *can't* say it? There are some things you can't just take back, no matter how sorry you *are*, right? Angel: Yeah, there are. I've got some experience in that area. Faith: Right. And you've been doing this for a hundred years! I'm not gonna make it through the next ten minutes. Angel: So make it through the next five, the next minute." Faith: "I don't think I can. Angel: Yes, you can. Faith walks away: God, it hurts. I hate that it hurts like this. Angel follows her: Oh well, it's supposed to hurt. All that pain, all that suffering you caused is coming back on you. Feel it! Deal with it! Then maybe you've got a shot at being free.

Angel's advice is "Guilt is supposed to hurt but if you face your pain you can try to find a way to be free of it" which is something much more profound then any of the forgiveness crap they peddle in MHA. More importantly though, the conflict the whole episode goes out of its way to show that revenge is bad, and punishment doesn't save a soul.

Angel: I didn't - I didn't think it was your business. Buffy: Not my business? Angel: I needed more time with Faith. I'm not sure... Buffy: You needed - do you have any idea what it was like for me to see you with her? That you went behind my back... Angel: Buffy, this wasn't about you! This was about saving someone's soul. Buffy: I came here because you were in danger. Angel: I'm in Danger every day. You came here because of faith. You were looking for vengeance. Buffy: I have a right to it. Angel: Not in my city.

Faith's suicidal ideation is a recurring theme that carries through her character arc in the following season - she does in fact go to prison for awhile (Elizabeth Dushku had to go make Bring it On) but Buffy remains anti-state punishment because going to Prison doesn't help her whatsoever. In fact, she just breaks out when she has to save Angel and spends the rest of the season free.

There are two episodes that actually are dedicated to showing prison didn't help, and what Faith needs to redeem herself is to spend every day of her life trying to be good, not just accepting punishment.

ANGEL: Faith, wake up! FAITH: (wakes) I've rolled the bones. You for me. ANGEL: I used to think that. That there'd be a point when I'd paid my dues. Angel and Angelus are fighting in the alley again. Angel leaves the fight and goes over to Faith's side, holding her up in his arms. ANGEL: Faith, listen to me. You saw me drink. It doesn't get much lower than that. And I thought I could make up for it by disappearing. FAITH: I did my time. ANGEL: Our time is never up, Faith. We pay for everything. FAITH: It hurts. ANGEL: I know. I know. ANGEL: Get up! You have to get up now. Faith, you have to fight. I need you to fight. Do you understand what I'm saying?

So you have one manga series where the teenage girl who did bad things commits suicide because she believed she was going to be in prison for the rest of her life and had no future, and you have the other where the teenage girl tries to commit suicide - only for Angel to stop her and encourage her every step of the way that there's still a future for her even if she can't be "forgiven".

One work ends Toga's life because she's done "unforgivable things" and the other tells Faith that the things she should feel guilty for the things she's done, and she should feel that guilt so she can keep working to be a better person every single day.

One of these is a good message to send to your teenage homeless trauma victim, the other is incredibly harmful. With that out of the way let's switch to BNHA.

HOW TO BURY YOUR GAYS

Now I'm going to attempt to demonstrate why MHA fails to truly deconstruct the MWC, and this not only ruins any potential character development for Uraraka, it also sends a deeply harmful message with Toga's death.

I think I've gone to great length above explaining how BTVS communicates it's stance of being anti-punishment and pro-redemption and even goes as far to demonstrate how punishment does not save anyone. Yet, here is the manga about heroes saving people that completely fumbles those exact same themes.

MHA:

Doesn't show Toga and Ochako as fully realized people

Doesn't show the pressure to conform to the "Good Girl / Bad Girl" label.

Doesn't break down down those two categories

Doesn't redeem it's bad girl

So let me start by saying outside of the context of the story Ochako and Toga both had the potential to be great characters. Unforunately this isn't Gacha, so the way the characters are written in the story, and the quality of their story arcs affects how well they are characterized.

Toga is much better off as a character as opposed to Ochako who sort is reduced to a satellite that revolves around Deku, but their story arcs and the way they conclude does a disservice to both of them as characters. They fail entirely to be shown as fully realized people by their narratives, because of the narratives desire to force them into the good girl and bad girl box.

More or less, Ochako isn't allowed to have flaws, and Toga isn't allowed to redeem herself in any way that doesn't involve killing herself.

Let's get to the characters though, the basic premise of the comparsion between Toga and Ochako is that Ochako perfectly fits into the mould of what society considers a "good, nice girl" she perfectly embodies the ingenue. Whereas Toga was horribly abused for most of her life until she snapped, because she was unable to simply pretend to be the normal girl that Ochako is naturally.

One thing I will give credit to MHA for, it does Toga being pushed to the margins and eventually falling off the edge of society as a young eventually homeless girl that no one cared enough to help about as effectively as Faith did. Toga and Faith were also both demonized before they did anything wrong, and were further demonized because they didn't act the way good victims were supposed to act.

The manga is almost masterful at portraying how much being forced into the box of the ingenue caused Toga's mental decline, until she eventually snapped and became the seductress instead.

Toga hasn't even done anything yet, she's already being punished and demonized simply for appearing deviant. Because once again the categories of Ingenue and Seductress aren't for viewing women and girls as fully realized people, you are either a perfect, innocent, girl, or you're a whore.

Toga is also hypersexual the same way Faith is. Of course it's not done with any of the same amount of nuance of BTVS because Hori has a habit of using Toga for fanservice, but Toga does have a habit of sexualizing herself, in a way that would be classified as deviant love. We also in the manga first view her as nothing more than a shallow yandere who creeps Uraraka out with her blushing and hot desire for blood, only to be shown she's actually capable of being an emotionally intelligent and caring individual when it comes to how she relates to her friends.

Toga viewing sucking blood as love is a clear metaphor for deviant sexuality, or even hyper sexuality, it's something that makes her a literal vamp. Toga being overly sexually aggressive and suggestive with the way she sucks blood is something the society she's in demonizes her for, Deku even makes a thoughtless comment that pushes her off the edge that he'd never even think of hurting someone he loved.

Faith is a CSA victim who is constantly trying to play off her trauma, so she's totally into sex guys, she loves sex, she loves it rough, she goes to clubs and grinds on guys, she's all into sex and violence and safety words are for chumps.

Toga was told her way of expressing love and attraction was wrong and deviant from a young age, and as a result of that the same way that Faith embraces hypersexuality, Toga embraces her femme fatalle / yandere persona and plays it up. Well everyone was right about her, she's fine with being a monster, so she just wants to live as a monster stabbing people randomly and taking their blood before moving onto the next victim.

They can't ever be the ingenue, so Faith and Toga embrace being the seductress instead. Yes, Hori does use Toga for fanservice, but at the same time you can't deny she's deliberately playing up her sexuality like a femme fatalle in a way that is not healthy (Faith is a hypersexual teenager too, I'm saying it's a trauma response for both of them).

MHA also shows much like with Faith how Toga despite being just a teenager is someone all of society has given up on - the same way that everyone gave up on Faith for being a homeless teenager. Then further demonized her for acting in ways homeless teenagers act, until she at last finally committed one crime and they turned on her.

Toga's first crime was committed after her mental breakdown, but it's revealed much later on that Toga wanted to ask Saito for permission to drink his blood, and if she'd just been granted it or at least the emotional abuse heaped on her had stopped she never would have had her breakdown.

For Toga it was Saito, for Faith it was killing by Mistake, after being abandoned they endured violence that further radicalized them with no help from the heroes.

Toga's character also textually acknowledges that the heroes are not going to help her, and are likely going to kill her, whereas in Buffy it stays subtext. Which isn't a problem, it trusts it's audience to go "Oh, the good guys are being jerks here" however, it's a direct facet of MHA's worldbuilding that Toga has watched the heroes kill her best friend, and now thinks she has to fight to the death because the heroes will kill her too. She can't back down and let herself be saved, because the heroes don't even see her as human.

Buffy can't forgive Faith for accidentally killing some random guy because all human life is sacred, but also she tries to kill Faith multiple times, because Faith's not human I guess. Uraraka and Deku believe themselves to be heroes but they actively support people like Hawks, who murdered Toga's best friend and have done absolutely nothing to show her that they won't kill her.

Toga reflects a lot of Faith's suffering for being a bad victim that society allowed to fall through the cracks, and a Seductress who needs to be punished for expressing her sexuality. In fact if it were just Toga, you could call it at least an effective deconstruction of the "seductress/whore" because Toga is a fully realized character and her entire backstory is about how society's expectations for her to be a perfect ingenue, and then punishing her when she wasn't a perfect ingenue is what led to her complete mental breakdown. She couldn't be the white swan or the black swan, so she became the blood-soaked swan instead.

Where the comparison starts to fall apart is Ochako. Toga is a character, and Ochako is not. Just like Deku Ochako more or less just kind of morphs into a plot device that exists to save the villain counterparts to prove what good heroes the kids are - and then she doesn't even do that part. Failing to save Toga is the final nail in the coffin for Ochako being a character and not a plot device to show how good and virtuous the heroes are.

BTVS goes to painstaking extents to establish how Buffy and Faith are the exact same girl in different circumstances. They are both victims of sexual abuse. They're both the Slayer. They both lose their mom at different points in the story. They both struggle with the fact that slayers are also killers, they're both the "chosen one". They both have issues that makes them conflate sexuality with violence.

Buffy is put through several situations that parallel Faith, she loses her mom, she becomes financially destitute, she starts exploring her sexuality in a very faith-like way. The two of them swap bodies at one point and nobody can tell the difference.

There's no strong parallel between Ochako and Toga to give the audience a reason why we should care about the relationship between the two girls in the first place. Ochako's connection to Toga tells us nothing about her character, because there's no strong parallel as shown to us by the story.

There are some parallels, the story attempts to tackle the emotional repression angle of how much the ingenue suffers because she's forced to repress her emotions and how much she envies Toga's free expression.

Why does Ochako think that way? Why does she focus on Toga in particular? The plot tells us why Buffy feels she has so much in common with Faith, they're both the chosen one but Buffy feels like she's under such intense pressure to be perfect that seeing Faith get to act out and express herself makes her jealous.

The manga tells us that Ochako is emotionally repressed, but it doesn't show us, because there are never any real consequences for Ochako repressing her feelings. Natalie Portman in Black Swan, and Buffy both experience mental spirals because the pressure to be the perfect woman is too much for them - to meet the impossible purity standards of the ingenue while still being a sexual creature.

In Uraraka this is the extremely simplified belief that she can't have feelings for a boy, while also being a hero because those beings are selfish and she should be focused on saving people. However, we never see her suffer because of these feelings. We don't even get the bare minimum of having her angst over unrequited love.

I don't want to give Ochako too little credit, there are several things that could have been a connection to Ochako, but they all turn out to be non-starters. Ochako is poor and often makes remarks like "The best way to save money is to not eat" in omake and she hangs out with mostly rich friends. She had early angst about the fact that her friends were becoming heroes for mostly altruistic reasons and she became a hero for money.

That could have also connected to the scene where Ochako witnessed the scene of a hero quitting amongst all of the destruction after the end of the first war arc, to show her the consequences of all the heroes who were heroes for less than altruistic reasons.

Ochako could have even told Toga something along the lines of "I was poor, I know how it is to struggle" especially since Toga spent a good portion of time homeless after she was throne out by her parents.

Instead that goes unaddressed except in this scene which makes it look like Toga is ignorant for assuming Ochako never suffered.

Toga and Ochako both feel like they need to repress their feelings but Toga was emotionall abused by her parents, then experienced psychiatric abuse, and then was disowned after her mental breakdown led to a violent incident. Uraraka feels like she can't tell the boy she loves how she feels. One of thsee things is not like the others.

There are more possible connections that you could draw between them, Uraraka gives a big speech about how the heroes have it rough too guys and at that point it cuts to a picture of Toga crying and that could have led to a revelation that if Ochako is asking the common people to see heroes as human beings, then they should try to see villains as human beings too.

This could also couple well with the fact that Toga believes Ochako wants to kill her the same way that Hawks killed Twice. Both of these facts, Ochako originally only being a hero for money and watching heroes for money quit, and also Ochako learning about Twice killing Toga's friends could lead to some self-reflection on the hero system and Ochako could listen to Toga and be the one to convince her that heroes will save her.

However, none of these happen so we don't know why Ochako feels compelled to save Toga, other than the fact that Ochako is just that nice.

It is really a repeat of Deku's writing, we are told that Himiko just really, really, really wants to save Toga, but not only are we never given an in character reason why that is, but we're also supposed to ignore all the evidence that contradicts this.

Ochako wants to reach out and touch the sadness inside of Toga, but she never actually does anything to try to understand or talk to Toga until the last possible minute. In fact, it's Toga who reaches out several times and Uraraka who ignores her. It is Ochako who insists several times that Toga's deeds are unforgivable and then the conversation stops there.

There's also the scene where Deku and Ochako are looking over the cliffside and Ochako is actively reminding herself of the damage that Ochako caused as a reason that she doesn't have to think of her as a human being.

Ochako doesn't even go in with a plan to take down Toga non-lethally like Shoto did with Toya, nor does she even think about what she wants to say to her until the last possible moment.

Ochako's actions make her more like Buffy, someone who actively doesn't empathize with the villain and doesn't want to save her because of her own personal hangups. (However, we're given no personal hangups for why Ochako, the most perfect hero ever wouldn't want to save Toga). Her actions are like Buffy's, not reaching out a hand to Toga she only gets worse and worse, but we're told the opposite. That she's someone who wants to reach and touch Toga's sadness.

It would be better if Ochako DIDN'T want to save Toga, because at least there would be an arc to it. The lack of empathy would be a character flaw on Ochako's part, something that she needs to overcome to be a proper hero. It would be better if Ochako DIDN'T want to save Toga, because then she'd need an in character reason why she doesn't empathize with Toga, like Buffy does with Faith.

Ochako is supposed to be deconstructing the ingenue, but she's not allowed to have any flaws, or be anything other than the perfect, empathic hero and because of that she ends up reinforcing the Ingenue instead. The ingenue isn't allowed to be anything other than perfect, and the Seductress must be punished.

Doesn't allow the Bad Girl to be redeemed:

Toga's death ends up reinforcing basically every backwards double standard about the MWC including the need for men to punish and villify women who freely express their sexuality. Toga's entire character arc is asking the question if soemone like her is allowed to live in this society, if the heroes will save the life of someone like her and the answer we receive is: no she can't live.

Toga can't live in this world, she has to die. Not only does Twice die and never receive justice and his murderer get off scott free, Toga who asks the question of if she's going to die too, the answer is yes.

In both of these plotlines you have young woman who have done bad things but are still teenagers, who are struggling with suicidal ideation who believe their only escape is death. Faith is told that the guilt of the things she's done is painful, but she has to live in order to make up for it because that's the only way to free herself. Whereas, Toga comes to the conclusion that there is no future for her other than being in jail for the rest of her life and therefore it's not worth living.

Toga has to be punished by the narrative in a way that's completely unnecessary, because characters like Bakugo and Edgeshot somehow survived doing open heart surgery in the middle of an active battlefield, but Toga dies from a blood transfusion.

One of these narratives is telling a troubled young abuse victim who's still a teenager to live, and the other is telling her to die. Now which one of these plotlines would you want a young girl to read?

[ochako-daily]

Could u draw togachko cuddles,,,for comfort perhaps,,,

haiiii im so sorry i saw this req and the art was gonna be normal togachako at first but i started thinking of this au midway through.. hope you enjoy tho!!! :3

togachako cuddling in a no powers verse and toga's wearing an uraraka sweater because mha exists in that world except everything is spelled off and like minor color differences so it's not like "wow uraraka we're literally togachako!!" and it's 100% true.

this is them. to me

togachako headcanons for this au below. im just gonna call it meta au

toga is a representation of those "cringe" people that get made fun of on tiktok with thinly veiled homophobia and ableism. she struggles with hygeine and takes a lot of comfort in fiction, surrounding her life in it. she's the type of person to run a blog like this

uraraka is mha critical, irl she's a sweety pie and online she kinda lets loose and gets to be a bit of an ass about the things she likes. she hated the ending of mha and has a secret side blog for her togachako posting

they go to the same high school and have an enemy to lovers type of thing. at first uraraka makes the same assumption many ppl make about kids that act like her. that she's strange for attention, that she's some sort of pick me, that she's gross.

as they're forced to work together maybe for a project or club, uraraka finds that she might have been wrong since toga's really accepting and sweet, never attempting to be snide or rude to uraraka like other girls tend to do since this is, yaknow, high school. they start to be friends but uraraka is still a bit confused as to how to characterize toga in her head. is she weird and gross or super nice? because one moment she's being sweet and helping her and the next she's laughing louder than necessary and talking way too much about fandom in public.

they get closer yada yada uraraka helps toga take care of herself more by making hygeine a fun and self care thing rather than something that she dreads and finds boring. toga shows uraraka she can be herself wholy and truly and that people will still love her. i love happy healthy yuri

[dogwaterdish]

As promised, I'm back to talk more about Midoriya being autistic! I'll talk about special interests, stimming, social difficulties, intense emotions/empathy, and other miscellaneous things I think are better explained about him when looked through the lens of Autism.

Special Interests

One of the most obvious traits is his strong- often described as obsessive- interests. Mainly heroes, All Might, and quirks. These interests are pretty much just special interests - the level of intensity and long term hold on him is how special interests can function.

Some people might argue he's just using it as an escape from his reality of quirklessness, but these interests were visible before and after he was quirkless. When he got diagnosed as quirkless, he had already had a passionate interest in All Might.

And while All Might and heroes are loved by the majority of the population, it's been noted by many people that he has a lot stronger of an interest in them than most, to the point some call it creepy and obsessive. He's very knowledgeable about these topics, and infodumps about them very often! For example, when his class met the pussycats:

As we can see, he's very ready to start spewing hero facts, and is excited by seeing heroes. He does this often, and knows very much about most heroes- as we can see in the first chapter as well. He knew the name of Kamui woods big move despite him being a new hero, and knew several facts about him off the top of his head. This muttering is also frowned upon socially, but he doesn't pick up on that much at all, and continues his muttering until he either gets distracted or stopped by someone else. This all makes me believe that these are his special interests!

Stimming

Midoriya has some things that he does that I categorize as stimming! The biggest one is muttering, he's seen doing this often, and a lot of the time it seems to be a form of regulation. For example, during the USJ when he hurt is finger:

He is often seen muttering in times of high emotions (which is often for him with the intense emotions he experiences) and it seems to help him calm down, focus, and relax, as well as make plans.

Another example of him stimming is when he was talking with Nighteye about an All Might clip!

These motions are often used by him during times where he is excited, scared, and even focused. A common stim I've seen from him is pulling on his bottom lip!

While stimming is something everyone does to some degree, autistic people stim much more regularly for emotional regulation and to keep a proper amount of stimulation, and Midoriya falls into the latter category, where he stims much more than neurotypical people. This stimming has been pointed out by many characters and some have called it odd, mainly with his muttering.

Social Difficulties

Another major thing I see in him that is reminiscent of Autism is his abnormal behavior socially, and his cluelessness when it comes to social interactions.

Here we see Midoriya wave to Shinso, then get confused about why he ignored him. This could be just general confusion that many people would experience but I think that since stuff like this happens to him somewhat often its pointing more towards social issues n such !

Another example of this was during the final exam arc, where Tsu was asking Uraraka what her and Aoyama were talking about and Uraraka got flustered. Midoriya was clueless during this whole interaction and they made a point to put a question mark by his head. I cannot find this picture for the life of me right now, but if I do I will edit this post and put it in!

I think it's very interesting that he is often characterized as very observant (with his very detailed notes and pattern recognition with how Bakugou fights (another autism thing...)) , but when he is clueless about something it's always a social interaction. Here's some more miscellaneous pictures of him with question marks by his head:

It's very common for autistic people to be lost or confused during social interactions, and to have problems being entirely calm or oriented during conversations. Midoriya has also been shown to be a bit fretful, anxious, or quick to overexplain during conversations, such as when Iida and Uraraka were asking about the nickname "Deku".

Intense Emotions and Empathy

Midoriya is shown many times to have extremely strong emotions, it's one of his key traits along with his high empathy. These big emotions he has are very unregulated, at least early in the series, and he is prone to bursting into tears at a moments notice. This upcoming picture was when he met up with All Might after receiving his UA acceptance letter.

If you have seen any clips of MHA, you have seen how much he cries and how intense his emotions are. However, he doesnt always cry when he has strong emotions, like when he gets excited and pumped up about his classmates or heroes, and starts muttering and sometimes flapping his arms.

Along with that, he has strong empathy for other people and can "feel" the energy and emotions of others when they're particularly strong. He also has more empathy and compassion for the villains than most people, insisting he must save Shigaraki rather than just kill him like everyone suggested. Irregular emotions and empathy levels are yet another trait of autism that he possess.

Other traits

Like I said in the start of this post, some of these things aren't necessarily indicative of autism or anythin', but they make so much more sense when looked at through the lens of autism, and combined with all the other traits he has, only add to his likelihood of being Autistic!!

One thing I've seen Midoriya do quite often is doing raptor arms! Heres some examples of that:

here are also some examples of Midoriya sitting in peculiar ways as well! Not a trait of autism particularly, but I've seen odd sitting common in many autistic people!

Conclusion!!

So all that is pretty much to say Midoriya is a pretty autistic character! Whether it was intentional or not he's super autism coded and I think it's very neat. I also think it's neat we have essentially the same spins (all might!). All the info from here comes from research I've done, along with referencing my own experience as an autistic boy.

Happy birthday to him as well!! :] ty for reading all that

(also @animaatra since you wanted to be tagged :] )

[rewrittenmha]

Final Exams Arc

Okay, let's get into this.

Izuku Midoriya & Katsuki Bakugou vs All Might:

I know, I know. Just hear me out, okay?

I was absolutely going to change this matchup (@nutzgunray-lvt had brought up Momo and Izuku vs Midnight and I really loved that idea). But I did say before that some of Aizawa's worst tendencies would still be around. He thinks Izuku and Bakugou's relationship is because of both of them not being able to cooperate. This is the opportunity to teach him a well-deserved lesson.

So, I would say most things go the same. Bakugou is being a bitch uncooperative and making things harder. But once Bakugou punches him, Izuku starts to contemplate a lot.

Logically, he knows that while All Might is focused on Bakugou, he could escape. Bakugou wouldn't let All Might ignore him and he could use the cover of the smoke from the debris and Bakugou's gauntlets.

But it feels so... unheroic. He isn't supposed to run and leave his teammate behind. A true hero would stand and fight, even while facing certain death. He's not sure he could abandon his ally, it feels cowardly. Especially because Bakugou could be seriously hurt as All Might wasn't going easy on them.

Part of him argues that Bakugou wouldn't care if he was the one being beat to a pulp.

Ironically, it's Yaoyorozu who comes to mind. Izuku knows the two of them are very different, but he really does admire her rationality and planning. She would make the argument that coming back with reinforcements isn't leaving a teammate behind, it's presenting an opportunity to save them.

Izuku doesn't think he would actually be able to do this in a real situation. He wants to save people, he wants to make people smile. Has he ever made Bakugou smile?

But this isn't a real situation, is it? Maybe just this once, he didn't have to intervene.

Izuku turns around and runs for the exit, successfully escaping while Bakugou is fighting All Might alone like an idiot.

He tries to ignore the guilt he feels at what he's done and wonders if All Might is disappointed in him.

Momo Yaoyorozu & Shoto Todoroki vs Eraserhead

Honestly, as far as this fight goes, it's one of my favorites of this arc. I feel like the characterization for both of them is pretty good. They both play off one another really well.

However, the way I've had it set up, Yaoyorozu had been learning to think on her feet. So, obviously, I have to continue with that.

Unintentionally, Todoroki tries to brush Yaoyorozu aside because he thinks he can handle it without causing her harm. He admires her intelligence and proficiency with her quirk, but thinks that he could probably mange to apprehend Aizawa on his own.

Yaoyorozu vehemently protests. She acknowledges that she has hesitated before, but that this was different than the Sports Festival. She knows that she can do better if he gives her the chance.

Todoroki is taken back by this and doesn't notice Aizawa suspended from the rafters. But Yaoyorozu does out of the corner of her eye. She moves him out of the way and creates a pipe that Aizawa's capture scarf wraps around.

She can't hesitate here, she needs to act quickly. She releases the pipe and the force drives it towards Aizawa. He dodges it easily, but he was momentarily distracted which gave Yaoyorozu and Todoroki time to hide and regroup.

Once they're out of his sight, Todoroki apologizes. He tells her that he wasn't trying to make her feel inadequate, he just wasn't used to relying on others. He tells her that he thinks that she's very capable and has a high opinion of her, which was why he voted for her for class representative. He tells her he'd ready to listen to whatever plan she has.

Yaoyorozu is genuinely touched and accepts his apology. She admits that she understands how it's hard to connect and work with others and has trouble with coming off as unfriendly and unapproachable and tends to overthink too much. She actually talks about Izuku and Uraraka and how she's somewhat jealous of them because they're able to act without thinking.

So the two of them make a plan.

Yaoyorozu "ambushes" Aizawa with a smoke bomb. This doesn't work because his goggles allow him to see heat signatures (my own addition, I feel like it makes sense). She attacks him with a staff she made. She knows that she's outclassed, but manages to defend against his blows. She isn't thinking, she's fighting on instinct and she's actually managing to hold her own.

But Aizawa is more skilled and experienced. He knocks her down and captures her with his scarf. But suddenly he can't move. He looks down and sees that his feet are frozen to the ground. He turns around to attempt to find Todoroki and negate his quirk when a handcuff is clasped around his wrist.

It had been a diversion.

Yaoyorozu managed to free herself by cutting through his scarf with a dagger and cuffed him when he was focused on finding Todoroki.

(Yaoyorozu leans balance between planning and taking action while Todoroki learns how to rely on others and seem them as equals. Yay character development)

Ochako Uraraka & Yuga Aoyama vs Thirteen:

I'm keeping this mostly the same, but without Aoyama's teasing. But instead of Uraraka being embarrassed and letting go, she asks Aoyama to use his laser to momentarily blind Thirteen the minute she lets go. He does so, and Uraraka allows herself to be sucked in and propelled at Thirteen, where she takes them (referring to Thirteen neutrally because her gender hasn't been revealed at this point) down and cuffs them while they can't see.

I think I'll be keeping every other match the same. EXCEPT for Mineta and Sero versus Midnight, Sero doesn't take the fall for Mineta and Mineta falls victim to his own weakness. It's Sero who saves him and carries him to the exit.

(I changed this because I'm going to give Mineta a little bit of growth and reflection. Having him lose here means that his perversion isn't only gross, it's hindering his work as a hero and he needs to do better)

After the exam, Aizawa commends Izuku (in private) for thinking logically for once, but questions why he would leave his teammate behind because it seems unlike him. Izuku confesses that he tried to plan and work with Bakugou, but he simply wasn't listening. He figured he could save both their grades if he successfully escaped.

He feels guilty even as he says this. How can he call himself a hero if he left his teammate to suffer at the hands of a villain?

Even if it was Bakugou.

Aizawa thinks about what he's being told for a long time. He knows that Bakugou has been violent with Izuku. He had assumed that they were rivals who couldn't get along, which was why he had paired them together. He had noticed that All Might looked like he wanted to protest this arrangement, but hadn't.

All this time, he had thought Izuku was part of the problem. But there was a bruise on the kid's cheek even though he hadn't sustained any injuries from All Might. It didn't take a genius to figure out what had happened.

And suddenly he feels guilty for not nipping this in the bud sooner.

Aizawa tells Izuku not to worry about it and that he had done the right thing. Then, he goes to confront All Might. He asks All Might what the real nature of Izuku and Bakugou's relationship is. All Might doesn't want to tell Aizawa for three reasons: a) it was Izuku's business not his, b) he didn't want Aizawa to accuse him of favoritism again and give Izuku and even harder time, and c) he didn't have the full truth himself, just speculation.

(I initially wrote this to be an argument, but I feel like All Might probably wouldn't argue with Aizawa. Plus, he feels guilty about not addressing this sooner)

Aizawa feels like an asshole (he is), but decides that he's going to try to do better by Izuku and all of his students.

RESULTS:

Yuga Aoyama: PASS

Mina Ashido: FAIL

Tsuyu Asui: PASS

Tenya Iida: PASS

Ochako Uraraka: PASS

Mashirao Ojiro: PASS

Denki Kaminari: FAIL

Eijiro Kirishima: FAIL

Koji Koda: PASS

Rikido Sato: FAIL

Mezo Shoji: PASS

Kyoka Jirou: PASS

Hanta Sero: PASS

Fumikage Tokoyami: PASS

Shoto Todoroki: PASS

Toru Hagakure: PASS

Katsuki Bakugou: FAIL

Izuku Midoriya: PASS

Minrou Mineta: FAIL

Momo Yaoyorozu: PASS

Bakugou is pissed when the results are announced. He rages, demanding to know why worthless Deku passed and he didn't. Izuku is also shocked (and guilty, because he had assumed escaping would secure both their grades. He wouldn't have done it if he had known Kacchan would fail too!). But Aizawa silences Bakugou with a nasty glare.

He reprimands Bakugou, telling him he had warned him about acting irresponsibly. Not only had he refused to cooperate and put himself in unnecessary danger, but he had assaulted his teammate. Aizawa bluntly tells him that a strong quirk isn't everything and that he can't act however he wants and still get his way in life. Reality would force him to face more severe consequences unless he gets his act together.

(Despite this, Izuku still feels like he should have failed too. He had abandoned his teammate, wasn't that the opposite of being heroic?)

Aizawa announces that everyone will be going to the training camps (there was no logical ruse because that shit is dumb and canon Aizawa doesn't know any other ways to teach).

While gathering allies to form the League of Villains, Tomura is introduced to two candidates: Himiko Toga and someone who introduces himself as Dabi. They both sought the League out because of Stain.

(Also, I just confirmed that Dabi did not have a notable record prior to joining the LOV. Keep that in mind)

This pisses Tomura off. He hates Stain for turning him down and doesn't understand his ideals. Society was wrong and heroes were two-faced liars who perpetuated it. Why not wipe out everything? Why not destroy it all? He expresses this to the new candidates.

Dabi rolls his eyes and calls Tomura an idiot without a real cause. He doesn't care about what or who gets destroyed, but he admires Stain because he spoke out against false heroes. He claims that false heroes are the real blunder on society and if they can be purged, humanity might get their shit together.

Toga doesn't talk about false heroes, but she does want a world where everyone can be accepted no matter what he quirk is. She wants to be herself and have people to accept and care about her. She felt a kinship with Stain because of the similarities in their quirks and thought that the League would accept her because of this.

Tomura is frustrated because he doesn't understand what the hell these people are talking about. He tries to kill them and they go to defend themselves only for Kurogiri to intervene. He tells Tomura that he needs all the forces he can get and that maybe he should actually listen to what these two have to say.

Grumbling, he goes to the mall to clear his head.

This happens to be when 1A also goes to the mall to prepare for the training camps. Izuku, Iida, Uraraka, Tsu, and Yaoyorozu form a small group as they look for things to buy. Yaoyorozu's made an itinerary and hands everyone a list of basic necessities. The girls break off from the boys, wanting to see if they can find more comfortable clothes to wear.

Iida expresses his gratitude to Izuku, not for saving him, but for showing him what it means to be a hero. Izuku blushes and stutters, telling Iida he really doesn't need to thank him. Especially because he doesn't think he did the right thing during the final exam. He confesses what happened to Iida and that he feels like he betrayed his morals.

But Iida assures him that he didn't do anything wrong. Bakugou was risking both their grades and was never in any actual danger. Izuku says that even so he should have tried harder. Iida's quiet for a moment, then asks Izuku how he feels about Bakugou.

Izuku is confused by the question. He admires Bakugou's strength and dedication. What more is there? Why is Iida asking him this?

But before he can say that, a hooded figure shows up and starts touching Izuku (stranger danger) while expressing how much of a fan he was. He goes on and on about how he was so cool during the Sports Festival and facing Stain (chronic yapper). Both Izuku and Tenya are tense, especially when the stranger reveals that he didn't think they would meet again.

They both realize at the same time that the man is Tomura Shigaraki, the one who led the attack on the USJ.

Iida immediately moves to do... something (attack? Call for help? He doesn't know!) only to watch with horror as Shigaraki's fingers close around Izuku's neck, leaving his middle finger off him.

Shigaraki tells both of them to calm down unless they want Izuku to die. But Izuku assures Iida that it doesn't matter if he dies, he just wants him to stop Shigaraki. If he makes a scene, the heroes will show up. However, Shigaraki tells them that he'll kill everyone he can before the heroes get there if either of them draw any attention. Iida wasn't planning on risking it anyway.

Shigaraki tells them that the Hero Killer is bugging him. Both of them are confused; they assumed that Stain was working with him. Shigaraki tells them that wasn't the case and that he's jealous of all the attention Stain is getting. He doesn't understand the difference between them.

Iida asks what Shigaraki's goal is. He hates Stain, but he knows that Stain had a goal. One that might not have been as baseless as he originally thought. His brother, who he had thought was a virtuous, noble hero had done something wrong. If he was right about Tensei, wasn't it possible that he was right about all of them?

Shigaraki answers that he wants to destroy everything.

Izuku says that's why he isn't getting any attention. He had been thinking a lot about Todoroki and what he had told him about Endeavor. If the #2 hero was that bad, what were other heroes getting away with? How much did society overlook about someone just because they were strong? It's hard for him to admit through his admiration for heroes, but he thinks Stain made some sort of sense. He tells Shigaraki that Stain had a goal and a reason for doing things, while Shigaraki causes destruction for no reason. Izuku doesn't agree with what Stain does, but his ideals make some sort of sense.

Izuku tells Shigaraki that he suspects that Stain wants to fix things about society and that correlates to killing false heroes. He doesn't understand how quite yet, but he assumes him and All Might were spared because they put others first. They were "true heroes," according to Stain.

(He really doesn't feel like a true hero after what happened in the final exam. He feels like a fake)

Shigaraki thinks about his answer. He thinks about what Toga and Dabi said. He knew society was wrong, Sensei had always told him that. But he had always said the answer was destroying it and Tomura had always agreed.

But fixing it? He doesn't understand the point of that. Tomura had never fixed anything in his life. He had always just destroyed and killed whatever irked him, whatever made him angry. And Sensei had encouraged it. He's a villain and he had never denied that. He doesn't want to fix anything.

He just wants to destroy it.

Didn't he?

But Stain's goals seemed to get attention. He could use that to his advantage. Then everyone would have to pay attention to him. He could make Stain's followers his own. Starting with those two fools who followed him so devoutly.

The girls return. Uraraka and Yaoyorozu ask who their friend is, but Tsu instantly realizes who it is. She had been a second away from dying at his hand. She could never forget that face. She freezes, which makes the other two girls realize something is wrong. They demand that Shigaraki let go of Izuku.

Shigaraki chuckles and does as they say. He thanks Izuku and Iida for the help and leaves, warning them not to follow. Izuku asks what All For One is after, to which Shigaraki replies he has no idea. He then tells Izuku to worry about himself because he'll kill him next time they meet.

Once he's gone, Uraraka frantically asks what happened and if they're alright while Yaoyorozu tends to Tsu who's gone pale. Uraraka calls the police while Iida tries to shake Izuku who's unresponsive.

He can't bring himself to respond to his friends. All he can think about is how he was going to stop Shigaraki and All For One before they can hurt more people

Notes:

Aizawa redemption anyone?? He's going to be a better teacher from here on out. Still an asshole, but his goal is going to be actively working to improve his students. Letting Bakugou's behavior go unchecked to where he felt comfortable attacking his teammate was the wake-up call he needed

I intentionally didn't have All Might talk to Izuku. He's still grappling with his own views about heroics at the moment and he suspects that Bakugou is a bully, so it doesn't occur to him that Izuku might thing he was disappointed in him. They're both really bad communicators

It was a weird choice on Horikoshi's part to make Sero pay for Mineta's shortcomings. He could have used this to address Mineta's actions, instead he more or less rewards it. Feels like something he does a lot with Mineta (he also did it during the JTA), which is part of the reason why he's so hated

I swear Uraraka is so much more enjoyable as a character when you take away her crush on Izuku. Rewriting this damn story is reigniting my love for her

So, Shigaraki. What I'm doing here is trying to a) give him agency and b) have him overcome AFO's manipulations. Shigaraki's hatred of heroes and society comes from AFO taking advantage of what happened that night he killed his family. These aren't Shigaraki's real feelings, he doesn't have enough agency to have real feelings at this point. My changes here were to a) give him a real goal and b) show that he and Izuku are kind of coming to terms with the same thing. That's also why I steered away from him wanting to kill All Might, I want their interaction to be driven away from their mentors. They're kind of coming to the same conclusions, but on opposite spectrums

I kept Iida around because I wanted him to also reflect on Stain and Tensei. Also, he's a good friend

I know it might feel OOC to have Izuku leave Bakugou. I felt weird writing it. But this is supposed to be representative of a few things. Izuku's views are changing and evolving. He's being affected by the people around him, most noticeably Momo who's kind of his opposite here. He knew he wasn't ready to fight All Might and knew it was pointless to get Bakugou to cooperate. He was thinking objectively and allowed himself to do so because it was a school assignment and not real life (he wouldn't be able to do this in a real situation). It also isn't a coincidence that this happened after Bakugou punched him. He's coming to terms with how much Bakugou's treatment has affected him over the years. After all that's happened- his friends' and All Might's concerns- Izuku is beginning to separate himself from Bakugou, even if he hasn't realized it yet. This is actually what Iida was going to suggest was happening before Shigaraki showed up

Dabi is way closer to being morally ambiguous than an outright villain here. I mean, in my opinion, that's how he was originally. Him and Toga are both following Stain's ideals more closely, although Toga doesn't really understand them to the same extent (I noticed that Shigaraki seemed to assume that Toga didn't actually care about Stain's goals despite admiring him but didn't include Dabi in that. It implies that his goals always aligned more closely with what Stain wanted. Horikoshi why did you ruin him)

[quirkwizard]

So between the popularity of the last D&D post I did and the upcoming revisions to D&D 5E, I thought it'd be fun to talk about Class 1-A and D&D again. This time, instead of playing D&D, this will be students in D&D. For this, I will be picking out classes and races that I believe fit them the most based on the descriptions and lore presented in the books. Official material only, so no Blood Hunter Tokoyami. However, characters and their "stats" will take precedent over Quirks. The Gravity Wizard is a thing, but I don't think that Uraraka would fit as a Wizard.

Sato-Half Orc Berserker Barbarian: A perfect encapsulation of Sato. A big ole beefcake that runs up, hits stuff as hard as possible, and then immediately burns himself out because that's all he can do.

Mineta-Kender Rogue Thief: The classic "jerk thief" archetype with a set of quick hands and mobility options to replace his orbs with. And like Mineta, Kender are also a small race that everyone despises, so it's fitting.

Aoyama-Eldarin Warlock Celestial: A natural fit for Warlocks. He only shoots out beams, gets tired after a few big attacks, and owes all his power to a patron. Eldarin are just extra Elves, so that works out as well.

Mina-Satyr Bard Dance: The class is a pretty obvious choice given Mina's natural charisma and acrobatic abilities. I was tempted to pick Yuan Ti for the poison abilities, but I figured that Satyr would fit her look and character better.

Denki: Dragon Sorcerer Dragonborn: Just going all in on the lightning damage here. Denki is someone coasting entirely on talent, fitting with a Sorcerer, and everything else is letting him gave off as much electricity as possible.

Ojiro-Harengon Open Hand Monk: Open Hand Monk is a pretty obvious fit given Ojiro's martial abilities. As for the race… Look, there isn't any race that uses a tail. Harengon was about as close as I was going to get with it's other abilities.

Hagakure-Fairy Arcane Trickster: Rogues are good at sneaking and Arcane Tricksters can reliably become invisible. Fairies fit well into the sneaky part of it and their generally cheery disposition fits even better with Hagakure's chipper personality.

Kirishima: Goliath Battlerager Barbarian: A race that is made out of resilient rocks, a class that's all about getting and taking hits, and subclass that is all about being covered in sharp armor. It's great. You can even have the Rage be his Red Riot: Unbreakable move.

Koda-Firbolg Shepard Druid: I know I did this before, but it's too perfect with his role as the friend to all animals. Firbolgs are the soft, gentle giants of the forest and the Shepard Druid fits nicely with his tendency of overwhelming foes with countless animals.

Jiro-Tiefling Glamour Bard: No surprise with the class and the subclass fits with her role as punk rocker. Tiefling may seem like an odd pick, but I think that her generally closed off disposition can fits well with how Tieflings tend to be characterized.

Sero-Tabaxi Fey Wanderer Ranger: Hands down the hardest person to pick out for this. His abilities and personality don't fit a lot of races or classes that much. I just went with this set up for his pension for movement and trapping as well how personable he can be.

Momo-High Elf Artillerist Artificer : A natural builder that can create whatever she wants, especially her powerful canons. The elf part was mostly for personality given how distant Momo tends to be from other in terms of wealth and overall intelligence.

Tokoyami-Owlin Fiend Warlock: I know the Kenku is right there, but I believe that Owlin fits Tokoyami better. And with how his power comes entirely from a monster and how much it protects him, the defensive abilities of the Warlock Fiend fit well.

Tsuyu-Grung Cleric Peace: Grung is obvious since it's literally a frog, but her class may be confusing for some. I did consider Monk, but none of the subclasses fit her that well. I just thought that having her be a Peace Cleric fits with her wise and supportive nature.

Uraraka-Halfling War Cleric: I honestly went with Cleric because fit her general disposition. That kind of support centric person with a few fighting options that come with the War Cleric. The Halfling was mostly because she's very brave and focused on her family.

Shoto-Half Elf Lunar Sorcerer: Sorcerer is an obvious pick with how much of his story is tied to his ancestry and divided nature, complimented further by the Half Elf race. I went with Lunar Sorcery since it multitude of options works with his multifaceted power.

Tenya-Wizard War Magic Warforged: I was tempted to go with Paladin for him, but I believed that Wizard fit better with his natural intellect. Having him be a War Magic Wizard seemed like a good comprise. And of course Warforged fits him nicely.

Shoji-Simic Hybrid Astral Self Monk: Shoji fits in well with the reserved and disciplined types that often make up Monks, especially with how many times he can punch, but the real flavor comes from the Simic Hybrd. A terrifying monster of a man with gliders and tendrils? It's perfect.

Bakugou-Fire Genasi Eldritch Knight Fighter: I believe that Fighter fits best with Bakugou's upfront and aggressive way of fighting as well as his immense physical resilience, with the subclass fitting with his intelligence. And the Fire Gensai was just made to be Bakugou with it's firepower and hyper aggression.

Izuku: Variant Human Devotion Paladin: I was tempted to go with Wizard here, but I think that Izuku's unwavering devotion to a cause and heroic spirit fits too well with a paladin. Plus, you could easily reflavor all of his smites as smashes. Because I don't care what they say, you can smite with your fists.

[burstbubbbles]

things im noticing as i rewatch bnha, an ongoing thread:

SEASON 1

- deku really was such a nerd lmao he's just like me fr (like i KNEW but i didn't remember how much i could relate to it. oops.)

- it's also interesting that he always fights back against bakugo and calls him an idiot a lot. idk why (probably because of fandom characterization) i remembered early-seasons deku as a lot more innocent and scared of bakugo. like, here's the thing, deku is scared of pretty much everything at the start because he's shy/anxious. he gets nervous talking to most of his classmates (especially, but not only, girls) when he first meets them and starts trembling when he gets elected as class president before handing the role to iida. so basically, his anxiety isn't reserved to bakugo like i remembered – if anything, he seems to get over his fear of getting bullied by him pretty quickly once he realizes he can fight back.

- kaminari tried to ask uraraka out in their first or second day of school and she was like "uhhh i like to eat... uhh... WAIT DEKU CAME BACK FROM THE NURSE'S OFFICE" lol i really didn't remember that

- bakugo's insecurity was always there. as you're reading this you might be thinking i first watched mha with my eyes closed or sth, and you're not very far from the truth. here's the thing, i first watched it when i was like 14-15, so all i knew back then was that bakugo was insufferable and i didn't think further than that. of course, he ended up becoming one of my favorite bnha characters after reading all of the manga, but it's cool to realize his character arc was foreshadowed from the beginning and didn't just magically start around season 3.

- but yeah, anyway, bakugo's insecurity and his envy over deku's natural noble nature was always there, since season 1. also, deku's real admiration over bakugo was also there. like, going back to my other point, deku wasn't just Not Overly Scared of bakugo, he actually looked up to him despite knowing he was deeply flawed. tbh they were always a bit crazy about each other.

- uraraka is so funny i love her.

- all of class 1A was so chaotic good coded

- like they collectively made fun of bakugo on the bus to USJ for being rude lol. they really bonded over their shared dislike for the guy.

- bakugo gets fucking HUMBLED all of s1. i would also be irrationally angry ngl.

- the dialogues in the first season sometimes are so unnatural for the sake of exposition, like all might telling recovery girl: "do you mind not talking so loudly ab OFA? only you, a close friend, the principal, and midoriya know about OFA. but most professors and some pro heroes also know about my condition and not being able to fight for more than 3 hours a day" like WHO TALKS LIKE THAT ??!1?1?

- deku had to go to recovery girl's office a total of 4 times (if i counted correctly) for broken limbs of fingers in HIS FIRST WEEK of school. which is funnier considering no one else from class 1A had to go even once.

- damn shigaraki was a skinny legend before he got OP

- aizawa did not react at all when he first saw kurogiri (about the shirakumo thing). that was surprising.

- also. AIZAWA IS SO BADASS?? like yes i knew he was badass from the later seasons, but i genuinely didn't remember his first fighting sequence at USJ where he single-handedly fights like at least 20 villains.

- i had also forgotten that shigaraki calls eraserhead "really cool" so early on in the anime, i thought it was a later-seasons thing.

- this is really obvious but i had forgotten the all might theme's resemblance to superman's theme. it's such a cool little detail tho!

- uraraka and deku definitely were crushing on each other when they first met, but i think it's nice that they ended up developing a really strong friendship instead of getting together after hori didn't consistently develop them romantically. it also makes a lot more sense narratively, like why would we care who deku ends up with at the end of his first year of UA when the story actually ends 8 years after that, and it's very unlikely that you marry the same person you started dating when you were 15. idk, i liked that. i like that you can have two characters who maybe have a crush on each other but can't focus on that due to Circumstances and eventually move on and become good friends. it's a win for the platonic department!

- the animation was kinda bad in the first season 😭 but it's understandable and i had fun watching it regardless.

okay im done with s1 tune in for s2 !!

[bibibbon]

I've been thinking about Toga a lot lately and I just came to the conclusion that she should have been Monoma's villain, not Uraraka's.

This is not a diss on Ochako, I love her. But someone, I think it was @doodlegirl1998, pointed out that there were way more similarities between her and Twice. Bonding her and Toga over their love for Izuku was... Shallow on Horikoshi's part.

I could rant for a whole post about how frustrating it is that Uraraka turned off her feelings for Izuku to become a better hero only for her feelings for Izuku to be way more relevant to her being a hero. Horikoshi can't write consistent characterization to save his life

Monoma on the other hand is really similar to Toga. They were both antagonized because of their quirks- albeit Toga more severely- and one thing I've noticed is that Monoma's attachment to 1B is similar to Toga's attachment to the LOV. Monoma loves his class. We don't know a lot about his dynamic with them, but we can presume that it's because he's accepted by them, which is why Toga loves the LOV. It's also why he takes a liking to Shinsou, because he sees Shinsou as someone who went through what he did.

Of course, Monoma wasn't a main character so doing this wouldn't have made sense. But it really got me thinking about who really could have understood Toga and maybe saved her

Hi @sapphic-agent 👋

Yep I do agree that ochakos villain should of been twice as they both have a lot of similarities compared to ochako and toga but I do think that there could be a lot of changes done if something like toga and ochako were to be done again.

I have always thought of monoma and toga as similar and I have seen plenty of fics that talk about how they could be related. Honestly I kinda of dig it if they were cousins or something of the sort but having two strangers being so similar in both quirks, how they were treated and looks honestly says so much.

I do think that if monoma was one of the main characters in 1A his story could of been intertwined with togas and I do think that we would get a much more satisfying story overall instead of what happend with toga and ochako or just the whole togaocha fiasco. Heck making toga monomas villain will forcibly give 1B more screentime and that's something we desperately need in the story so yeah that works.

Also can we talk about how much of a good duo Vlad and toga could of been. Two blood users and we could of gotten from Vlad in general. Also something something about how monoma is incredibly close to Vlad king and how he is one of the teachers who treated him fairly to something something how maybe if given the chance toga could of been rehabilitated with Vlad and monomas help.

In the end the whole toga and ochako thing revolving around izuku in a way is so shallow on hori's part especially when the two characters showed great potential.

[misssmina]

Characterizing Characters

Bakugou Katsuki.

I’ll be using the source material to create a simple list of traits he has already, then based on those traits, things we can infer about him based on those behaviors.

SourceMaterial!Bakugou is a hothead, we know this. However, at UA, his anger is almost never unreasonable. He is regularly the butt of his classmates jokes and teasing, which makes him argumentative. Outside of that he is just a very competitive teen with a grumpy disposition. He is pre-irritated.

SourceMaterial!Bakugou is rarely malicious in his words. Most things he says seemingly comes from a place of indifference. (Calling people extras, taking a long time to learn names and quirks, etc.)

SM!Bakugou is a goody two-shoes, despite his mouth. He sleeps early, studies hard, has been seen yelling at his classmates about making sure to eating well.

SM!Bakugou is socially awkward. He doesn’t just struggle with being nice, he struggles with being appropriate in general.

SM!Bakugou has great deductive reasoning skills. It helps in battle as well as him learning about interpersonal relationships.

SM!Bakugou is half decent with kids, he makes a point of analyzing and understanding their behavior to relate to them.

SM!Bakugou is a tough love kind of guy, but he actively acknowledges his classmates strengths.

SM!Bakugou has mission anxiety from both times he was held hostage.

SM!Bakugo regularly pushes his physical limits, regardless of injury or wellbeing.

Now we can make some inferences based on the information we have already.

ProHero!Bakugou found better outlets for his anger. MMA, quirk ranges, general exercise, etc.

ProHero!Bakugou still hates the press, but has learned how to conduct himself professionally. His interviews give the same cold feel as Aizawa’s.

ProHero!Bakugou would hold youth self-defense classes featuring different heroes, to prevent incidents like the sludge villain from happening again.

ProHero!Bakugou would take on many mentees and sidekicks. Feeling he’d be the best person to whip them into heroes.

ProHero!Bakugou would not give lots of verbal praise to his mentees and sidekicks. He’d just give them more responsibilities as the are able to handle them.

ProHero!Bakugou would have similar scaring to ProHero!Sero. Scars from injury and muscle damage would be most prominent on his shoulders, biceps, and forearms.

ProHero!Bakugou would work very closely with ProHero!Kirishima, ProHero!Jirou, and ProHero!Uraraka. Relying on their skills in combat, reconnaissance, and rescue, respectively.

Now, some personal headcannons I have. 💥

Bakugou rolls his eyes, A LOT. Mainly to keep himself from saying something out of pocket.

He cracks his wrists a lot, and his fingers are always sore.

He is a momma’s boy, but he’s an easier child for his father.

Bakugou is a polyglot.

Bakugou wouldn’t date another hero, but not a regular civilian either. Maybe someone in the medical field?

Bakugou has cuteness aggression with animals and his friends think it’s hilarious.

He takes Yaoyorozu with him to events because, “She’s the only one with any sense around here.”

Bakugou has gotten in trouble for modifying and tinkering with his gauntlets without approval.

Let me know who I should do next. I may do a secondary post the further I get into rewatching the show.

[sapphic-agent]

Thank you for the invitation! I've read your posts on Bakuguo's relationship with Izuku, and I agree with almost all of them, but this most recent post is the first time I saw you suggest that it's not just a mistake in writing on the creator's part but *deliberate* writing on the creator's part (forgive me if you've written about the subject before). The only way I could appreciate Izuku's relationship with Bakuguo was as an unfortunate side effect of Izuku's immature ideas of what it means to be a hero, and that as he experienced more of the world and grew into being his own hero, that he would eventually reject this need to tolerate Bakuguo's ... Bakuguo-ness. I also was informed that Bakuguo's behavior is a trope of manga characterization that the audience would expect from this type of writing, so I should just accept it.

But now, from what you've written, this might not be true. I've always suspected that some creators would have preferred to write about characters who couldn't actually carry a story *without* changing, but they didn't want them to change. (For example, Sukuna in Jujutsu Kansen is obviously the creator's favorite, but a story about Sukuna would require change, and the creator likes that monster just the way he is.). Are there clues that Izuku's creator is just using Izuku as a "Caretaker" character to enable the characters he does like to behave terribly and get away with it? (I hope this makes sense.)

I suppose the answer to this relies on how we look at "deliberate."

Do I think Horikoshi is intentionally undercutting Izuku's character to make Bakugou seem better? No. I don't think he has the foresight, skill, or self-awareness to even go about writing like that. I'm sure in his mind he thinks that by giving Bakugou more spotlight, he's making Izuku better written by extension.

And a lot of that has to do with the fandom. Horikoshi is an author whose decisions are very driven by popular opinion, it's why so many of his storylines and characters are all over the place. For example, almost as soon as Bakugou began to become popular (around the Sports Festival), Horikoshi started to give him more exposure. If you pay attention, you'll even notice how characters like Iida and Uraraka begin to fade into the background. This is even supported by the two of them not being very popular (especially Iida) in comparison.

And obviously, BakuDeku is very popular, the most popular ship in the fandom. Horikoshi would never make it canon, but that isn't to say he won't milk that fact for all its worth. By pushing Izuku and Bakugou together, he's feeding into that. Every time they so much as share a panel about it, BakuDeku shippers go crazy here and on Twitter. It keeps attention on MHA, and keeps revenue up.

Horikoshi knows that a large majority of the fandom will consistently read anything he releases as long as he keeps Bakugou and Izuku connected. Both Bakugou and BakuDeku as a relationship are essentially a cash cow that he can exploit.

But for Bakugou to actually improve and become a better person and for Izuku to come into his own as a hero, they need to be separated. They are both detrimental to one another's development, which is why Bakugou's character development sucks and Izuku's character seems so stagnant. They should have had to grow and learn away from each other before reconciliation was ever even thought about.

Does Horikoshi know this? Probably not. I don't think he even has the capacity to think this way. But it doesn't change the fact that he will gladly shove Izuku- and everyone else- to the side if it means Bakugou's stans keep reading

[deusvervewrites]

On the previous topic of characterization, it is weird how many people call Toga a “Yandere” when she doesn’t show many of those traits, especially jealousy with how she is ecstatic that Uraraka also likes Midoriya. The closest she comes to jealousy is that Uraraka is close to the person that she (Uraraka) likes and notes it must be nice.

Uraraka has shown more jealousy than Toga ever has, at least concerning romantic interest.

Yeah that's always bothered me about people saying that about her. Hell, she's not even that obsessive; Saito was never confirmed to have died because she never mentions him, and she drops her interest in Midoriya and Uraraka after a single bad conversation with each of them--Uraraka has to make the effort to reach her again.

So she's not possessive, and she's not obsessive... all we've got left is "girl in school uniform with a knife" which I'll be honest isn't much to base a character archetype around.

Though, considering that the Yandere trope was invented by people looking at Yuno from Future Diary and seeing her absolute dogshit mental state desperately clinging to the one lifeline she had while also being blatantly played for horror and tragedy and explicitly acknowledged as toxic for them both and thinking "Ah yes, this will be an excellent addition to the Stock Harem/Comedy Ensemble Girls list," I can't exactly say that it's unexpected for the Toga-As-Yandere claim to appear.

Unfortunately thinking about all this has finally caused my brain to fire the last synapse needed to make a horrifying conclusion:

The real Yandere is Nighteye

[victimsofyaoipoll]

Round 2

Propaganda Under Cut

Uraraka Ochaco

she is absolutely a victim of yaoi. let her have her crush and let her be a person BEYOND HER FEELINGS FOR ONE MAN!!!!!!!!!! SHE IS A WONDERFUL HERO! AND HAS AN INTRICATE PERSONALITY BEYOND IZUKU! 

One of Midoriya “Deku” Izuku’s first friends (the first real one, to be exact), training to be a hero alongside the rest of her class. Despite her character arc and evolution of goals, which tie in strongly with the themes of the series, fans view her as an “obstacle” because of her canonical crush on Izuku. As a result, fan works pairing Izuku with a guy minimize the positive impact she’s had on his life and diminish her role, with some even demonizing her and turning her into a jealous bitch to justify Izuku not dating her. The simple possession of a crush has lead to her being overlooked and mistreated by the fandom, such as the common take she’s had no growth since the obtainment of her crush (feelings she actively pushes to the side as to not possibly create a distraction from her goals). These takes are accompanied by claims her character solely revolves around Izuku, ignoring the fact that many other guy characters have their characters revolve around him, some even more than her. 

Shes literally so fucking cool and passionate and she has a genuinely interesting place in the setting and YET she is constantly sidelined by both the show and the fandom in favor of her canonical love interest/main character and i'm going to be mad about it forever. 90% of the time is should she date the MC, or just that shes "a queen" or "a girlboss". Bc who cares about her growing up in poverty or her relationship with her parents or interest in rescue work? All that matters is that shes not a threat to YOUR favorite MLM ship but dw! Its still feminist because she can punch people <3

Jade Harley

She and Terezi were popularly mischaracterised and villainised in DaveKat fics, especially in Homestuck's heyday. It got really bad when DaveKat became canon.

One of the four original main characters who was progressively sidelined as the comic went on, shipteased with two boys (Dave and Karkat) but did not date either in the main comic. In the semi-canonical epilogue partly written by fans, she was characterized as lonely and hypersexual and 'getting in the way' of Dave and Karkat's true love. 

okay so its been a while since my homestuck phase but. basically miss jade is a very kind girl who lives on a jungle island with a magic dog guardian and there are two guys who have crushes on her and treat her really weirdly because of it. anyway the two guys (dave and karkat) go from enemies to friends and are one of the most popular ships in the homestuck fandom despite actually having very little canon interactions while jade ends up lonely and mistreated by the narrative and the fans :(

[theloganator101]

A scene that I believe showcases how Horikoshi is quick to sacrifice meaningful character moments for a cheap laugh is the faux interview with Mt. Lady.

By itself, the purpose for this scene I think could have been done more effectively instead of just pretending to be in front of a camera (and it feels annoying as hell when all it’s doing is reminding the viewers AGAIN who these characters are, in case you somehow forgot), but whatever. And we also get more material of Bakugou being insufferable (and Todoroki acting like a cardboard box by simply accepting Bakugou’s insults.)

And then we get to Izuku.

We get an inner monologue from him about finally showing his progress on his handling of Blackwhip. And even though it’s a tiny tendril, Izuku is clearly pleased with where he’s at, because now he can go up from here!

And does the scene push the idea that we are supposed to be proud of Midoriya on his hard work?

(Materializes through the screen and slaps your face) OF COURSE NOT YOU FUCKING FOOL!

Every single individual looks completely underwhelmed at what they just saw. Like they were expecting more. Like Midoriya was supposed to suddenly whip that exact giant ass black mass THAT NEARLY HURT/KILL HIS CLASSMATES and have it completely under control.

I can imagine a few of them feeling this way, but every single one of them? Horikoshi is just doing this to make Midoriya look bad. I absolutely refuse to believe there’s not a single character who would react differently (their ACTUAL characterization) to that.

Todoroki, who understands the struggle of balancing two quirks, and would probably feel compelled to help Midoriya out? Apparently not.

Uraraka, who was quick to praise Midoriya in anything in the past such as the quirk assessment test, and can plainly see how much pride he has getting a hold of a new dangerous quirk? And Iida, Midoriya’s other best friend? Does he clap his hands in the air like a seal and says, “Bravo!” to Izuku’s progress? Nope, they’re not allowed to feel that.

Tokoyami, who has another dark-based quirk and could relate to Midoriya’s struggle? Does he give a simple phrase of encouragement, or even think to himself, “Slowly, a new Brother of the Shadows will come to be.”? Why the hell would he possibly think that?

Does anyone else, such as Yaoyorozu, Shoji, Ojiro, or hell, even Hagakure, comment on that while not powerful, Midoriya’s ability on handling essentially two quirks is very impressive? Of course not. Instead of being funny, this scene comes off that no one actually supports Midoriya and it made me sad for him and how it assassinates pretty much most of Class 1-A’s characteristics, instead of allowing them to act naturally.

And the cherry on top? The one with the closing statement that is supposed to sum up what we the audience are supposed to feel? “Don’t be proud of something so weak.” By the one trick pony that has had his ONLY quirk for so long that he doesn’t appreciate LEGITIMATE progress. Fuckin little shitbird.

(Sighs tiredly) Hang on, gonna go watch the scene...

(One scene watch later)

... I want to kill, EVERYONE there for not supporting the kid for getting control over a quirk that caused so much damage!

Why aren't his friends cheering him on?

Why wasn't any of the adults proud of him?

Why is Izuku always the butt of these mean spirited jokes?

Why can't my son just be praised and feel proud for himself for once in his goddamn life?