#when i find you horikoshi

[xoxcrushedstars]

I AM NOT HAVING IT

[kaistarus]

Why am I crying on this would have been fine early morning because of the final MHA manga cover reveal?

[haine-kleine]

If Dabi's confrontation with Enji didn't happen after Shouto put him out with Phosphor, his condition wouldn't be so bad he has to be on life support, with only months left to live after the battle.

If Bakugou didn't attack Kurogiri, he would have saved Shigaraki from Deku, the hero who set out to save Shigaraki.

If Ochako didn't engage with Toga, she wouldn't have killed herself by giving Ochako all of her blood.

Hawks killed Twice, stabbing him in the back despite Dabi doing everything he could to save Twice's life.

The heroes were the ones who put Kurogiri in the hospital despite knowing full well the League would be getting him back, endangering the lives of civilians.

[obsessive-dumpling]

Is it just me or can you see each other's names on their lips?

"Kacchan"

"Izuku"

[grimalkinmessor]

The way that I—

[hydrasaura]

when i said that mha ripped off naruto (which i said only to piss off mha stans anyway) I didn't mean to sound like i was praising naruto. it was actually more like a sigh of disappointment, a reaction to seeing that all the problems that naruto had as a show transpired trough mha too and i was tired because watching naruto was enough for me but then i realized that my problem actually is that i can no longer stand watching shonen anime and i chose not to tire myself by cringing at the repetitive tropes and cliches anymore

[my-queer-o-academia]

hey. hey guys. I’m rewatching my hero rn and.

do you think tomura ever looks at toga and is reminded of- *gunshots*

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

"You haven't been here long but you've seen him, right? The batman. The batman. He lives in darkness, to find the helpless and bring them into the light. So I have to wonder...why couldn't he do it for me?" The Boy Wonder: Issue #2

This is the story of the boy who didn't get saved. The story of a boy who really ought to have been saved. Of course, every victim deserves to be saved, but this boy was the son of a superhero. Can a hero who saves everyone, but fails to save his own son really be called a hero? As for the son, how does it feel to watch his father save complete strangers but let him fall to the wayside?

Jason Todd and Dabi are two characters with similar backstories and motives (so similar it's possible Dabi is outright based on Jason Todd) which are worthy of comparison. These are two tragic arcs which explore the conflict between a hero's responsibility to act as a father, and their responsibility to save people. As I said they are tragic because in both cases the hero fails, as a father, and a hero. However, I'm comparing the two because Jason Todd's story is a well written tragedy, and Toya's story is not.

If you were to write a story of my life, it would surely be a tragedy.

Aristotle's Poetics is the first attempt to define what Tragedy is, not as a story where sad things happen but a specific story structure. He outlines not only what makes tragedy, tragedy, but also what makes a good tragedy.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

I use this quote because the painting metaphor is a great way of explaining what I'm getting at, you can have a painting with the most wonderful colors, you can have a story with really good ideas like the Todoroki family plotline but if you don't use those colors correctly all you're going to end up with is a bad painting.

In poetics Aristotle clearly defines a tight well-structured plot as the first priority for effective tragedy, character as second.

Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long

To make sure you understand, it's vital in tragedy for all the pieces to fit together. Tragedy is a specific story format. Good tragedy uses the parts of a story well, but bad tragedy is sloppy and poorly put together. In tragedy, the whole has to be greater than the sum of its parts. The Todoroki Family are all good characters out of context, but the story could have enhanced their characters but detracted from them due to how poorly it is told. The fact that a lot of MHA fans are in love with the Todoroki family out of the context of the story, but also have constant complaints for how Horikoshi handles their plotlines is, in my opinion, very telling.

What Aristotle goes on to posit is the best tragedies do not come about by accident, but rather by the direct actions of the characters.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design. 

Therefore Tragedies require consequentialism, like Newton's Third Law, every action will have an equal and opposite reaction. To simplify a good tragedy arises from the consequences of the character's actions (or inaction). The most basic form is that the hero of the story will have a tragic flaw that they fail to improve upon in time and then leads to their destruction. In essence, tragedy is where the hero fails. Not only does the hero fail, but the hero loses, and that irreversible loss is what defines tragedy. Medea slays her own children, Oedipus rips his own eyes off and deserts his kingdom, Creon Antigone is buried alive and Creon's son, her fiancee, commits suicide.

These events share two things in common, they are irreversible (hence why they feel like good endings), and two they evoke catharsis. Aristotle defines the goal of tragedy to evoke terror and pity. We feel alongside these heroes, Medea was abandoned by the husband Jason who she left her home and slaughtered her own brother for, Oedipus did all of his crimes unwittingly and is a victim of fate, Antigone was doing the right thing by burying her brother so his soul could pass on to the afterlife.

There's all different sorts of tragedies, Hamliet explores more here. I'd say UTRH and Hellish Todoroki Family are tragedies centered around grief.

Tragedy works on extreme emotions, and extreme hard-hitting consequences to the hero's failures. The worst thing a tragedy can be is boring.

The Tragic Hero

Now that I'm done lecturing you let's actually talk about both My Hero Academia and Batman like I promised. Both of these stories don't actually feature the central victim as their protagonist, and that is a feature not a flaw.

Rather, the story we are being told is that of a tragic hero, failing to save a tragic victim because of their own personal flaws.

These flaws are called (hamartia) or "error in judgement". A hero, being called a hero of a story is often unaware of his flaws which is central to what makes them unable to fix those flaws in time. That flaw can later lead to a moral failing, such as Othello's jealousy, initially jealousy is an understandable emotion, but then it leads to him trusting Iago over his own wife and killing his wife in a rage.

Most importantly, the hero’s suffering and its far-reaching reverberations are far out of proportion to his flaw.

Let's begin with talking of the heroes and their flaws, Batman and Endeavor. My main reason for comparing these two is in these specific stories they have the same flaw, inability to move past their personal guilt towards their son, and the same conflict the duty of a father versus the duty of a hero.

However, Batman functions as a tragic hero, and Enji does not. The summary of their conflict is right here in these two panels.

A parent is required to place their children above everything else, because they are the ones responsible for bringing that child into the world. Bruce Wayne made the decision to adopt Jason. Enji made the decision to have children, however with Enji you have the added insidious motivation of he only wanted to make designer babies and just didn't care for the ones who didn't turn out right.

Bruce attempts to do both, to act as a father for Jason and also a crime fighter as batman but he can't do both. This comes to a head in Death of the Family when Jason is having serious trouble because of his lack of a strong parental figure, and Bruce knowing that Jason is in trouble chooses still to go off and fight crime instead of staying with him. The choice to place crimefighting over the child they chose to take responsibility for has the unintended consequence of getting that child killed.

Whereas Enji makes the same choice over and over again, ignoring Toya's clear troubles at the fact his father no longer spends time with him and choosing to run away to the world of heroes because he doesn't want to face the fact that his actions are severely hurting his son. Bruce's motivations are more sympathetic admittedly he wasn't actively practicing eugenics, but the choice is the same and the consequences are the same.

Both Bruce and Enji are forced to bear witness to the deaths of their children when they are not there, specifically because they made a choice to be a hero instead of staying by their child's side. A situation directly caused by their choice to be a hero over a father, and a situation that would have been avoided if they had stayed with their child in their time of need. Jason runs off when Batman tells him to stay and gets kidnapped by the Joker, if Enji had been on Sekoto peak that day Toya would never have accidentally lost control of his fire.

This is just the backstory however, the main event that kickstart this plot is the unexpected return from the dead of both Jason and Dabi. Each story follows the same plot beats. A new villain appears to challenge Endeavor / Batman. The villain reveals themselves as their dead son. Both Endeavor / Batman are given a chance to try reaching out to their sons, but they choose not to.

Then even though they are given a second chance with a miracle of a dead son coming back to them, they choose the exact same thing they chose before, being a hero and because of that the tragedy repeats itself. For both of them they are unable to save their son again, and the son goes through a second death. History repeats itself, the lesson isn't learned.

Their fatal flaw is their guilt. This is a story about grief and mourning after all, a son who is died, buried, but never grieved properly, never mourned, an open wound on the father suddenly coming back. The inability of each to process their grief blinds them from seeing the fact the son has come back, and they have a second chance.

Toya has internalized he is a failure, because Enji literally called him that. Jason believes that Batman thinks he is a failure. In both cases the father is the one who failed, Bruce at least acknowledges this but cannot communicate it in any way shape or form.

This guilt and responsibility both Enji and Bruce feel causes them to self-sabotage. They no longer have the confidence they are in the right (they no longer feel like heroes because they have failed to be heroes to their own son).

You can also add the layer of complication that since both men chose to be heroes in the past, they do not know how to handle the situation as a father now that they're being challenged to step up as one. Unfortunately, they are not the fathers that stepped up.

The reason their grief becomes a flaw is because they put their grief over their victims. . Each man is aware too much of their own failure, and while they should feel guilty they make the classic mistake of placing their own guilt over the feelings of the victim. The guilt they feel for causing the death and the genuine grief of losing a son is given priority over Jason and Dabi who you know... actually died.

An overwhelming grief and guilt is understandable because grief is a messy and human emotion, losing a child is an unimaginable tragedy that should never be inflicted on anyone.

Yet at the same time both Dabi and Jason are grieving to. This paradox that Batman only thinks of his own grief at losing a son and never stops to think about how Jason must feel leads to one of the best lines in Under the Red Hood.

"The father had lost a son, and now the son had lost a father."

Batman's guilt is so strong over being the cause of Jason's suffering, that the suffering of the victim himself is ignored. To be fair to My Hero Academia, the Todorokis say a similar line to Enji.

However, this is where I begin to get into the difference between ideas and execution. Tragedies are stories of actions and logical consequences, every action has an equal and opposite reaction in Under the Red Hood. Batman is punished for the choices he makes, the choices he doesn't make, and the choices he fails to make in time.

The Todoroki plotline features almost none of its character making any choices of substance, and because of that the plotline says the right things over and over again, but it all comes off as tell don't show.

I'm going to quote @codenamesazanka's post right here a couple of times because they describe the complete failure of the Todoroki plotline to show us a reason why we should be feeling things for the characters artfully.

We've heard Enji say this before - I'm sorry, I intend to atone. It's indeed the right thing to say, it's exactly what he should be saying and acting. Natsuo is declaring no contact - That's fine, I'm sorry, I accept this as part of my atonement and will continue. Touya calls him a coward - That's fine, I'm sorry, I accept this as part of my atonement and will continue. The public hates him - That's fine, I'm sorry, I accept this as part of my atonement and will continue. But you can only hear this so many times before you want to snap and beat the character, the story, the writing over the head with Enji's wheelchair. Why is that? He's behaving exactly as he should, and yet...

The reason why it fails to evoke strong feelings is because of what we'd called "narrative dissonance." The actions of Bruce and Enji are the same, they both neglect to do anything, make any real attempts to reach out to their victims because they're paralyzed by guilt.

However, we are told that they have entirely different arcs. Bruce's arc is a tragic fall. He's failing as a hero. While we are being told that Enji is experiencing an arc of atonement. Enji is supposed to be improving himself, and Bruce is supposed to be experiencing negative character development but they both do the exact same thing in story. Bruce neglects Jason, we are told by the story, by the characters in the story that Bruce is failing Jason. Enji does nothing in time to actually atone for Toya or try to help him, yet, we are told again, and again, and again, and again, and again, and again that Enji is atoning with nothing substantive to show us this is the case.

To show what I meant instead of telling this scene is in chapter 252.

This scene is the ending point in chapter in chapter #426.

It's just him repeating the exact same sentiment and yet in a more than 150+ chapter gap, Enji never made any action to show he was now placing his family first. Enji didn't say anything to Dabi when he revealed himself as Toya. Enji didn't look for Toya in the months before the final war arc. Enji literally appeared on live TV in a broadcast that Toya was watching and said the very selfish "Watch Me" atone for the crime of creating Toya instead of literally talking about Toya or too Toya. Well, that would have rocked the boat too much... THAT IS LITERALLY THE POINT. Enji had to somehow break from tradition or make some significant sacrifice onscreen to his social standing to show that he's willing to put his family first. Enji decides to go along with Hawks decision to not face Toya head on, making the decision to be the hero for the final time which directly causes Toya to get up after Shoto brings him down non-lethally and make one last attempt to suicide bomb for his father's inaction.

Bruce does nothing for a long time in Under the Red Hood. He ignores his initial instinct that Jason came back and instead makes a long investigation on whether or not someone can come back from the dead in order to distract himself. When Jason takes the mask off, Batman already knew but was pretending otherwise because he didn't want to face the reality.

Even when Jason takes his mask off, Bruce still takes on the "I need to investigate this" angle even though Jason calls him out that deep down he already knows it's the truth. This of course foreshadows Bruce's underlying flaw, he doesn't want to face Jason head on because he feels too much grief about what happened to Jason and his guilt is more important than Jason's own grief. Just as the father has lost the son, the son has lost the father.

What follows is several chapters of Batman fighting crime as usual and making no attempts to directly search for Jason. They cross paths a few times but when they do Bruce doesn't follow. In fact, Bruce only shows up when Jason sends Bruce a sample of the joker's hair and Bruce knows that the Joker has kidnapped him out of Arkham. Bruce almost lets Jason get killed by Black Mask because he doesn't know whether to stop Jason or save him yet again, and then they have their final showdown where Jason has kidnapped the joker to demand Bruce kill him, and Bruce finally attempts to talk him down.

Out of context it sounds like I'm describing the same plotline, to the point where if you haven't read either, it looks like I'm complaining baselessly. Why is one hero doing nothing until it's too late good, and the other bad? The difference is of course context, or rather framing. Bruce's actions are called out by the people around him (Dick, Jason, Alfred) as him handling the situation wrong. Whereas both Enji's internal monologue and other characters say that he is doing his best to atone for his actions and deserves a chance, but the events we are shown in story are the exact opposite.

Here's another example to SHOW my point. Here's Dabi with my special, hardcover edition of under the Red Hood.

I reread the entirety of the fourteen chapter plotline and the majority of internal narrations come from characters outside of Bruce observing his behavior and commenting on how differently he's acting. Jason's backstory for instance is told by Alfred, not Bruce. Dick Grayson the first Robin comments on Batman's odd behavior. The rest are the third person narrator. Bruce has four instances of internal monologues spanning a few pages each in a 378 page story. (Alfred has the most internal monologues and he's presented as a more trustworthy unbiased narrator than Bruce, to get us to question Bruce's actions).

"Information travels on many routes, sometimes it comes predictably like the tides. You just need to know where to stand and meet it. Other times it's elusive and you have to root through the garbage to find it. In the last few years I've come to rely on Barbara Gordon, Oracle, we all did. Utilizing every form of surveillance equipment she has been the eyes and ear [...] but those days are over. I can't rely on anyone anymore. [...] and tonight it's also about the company I keep. It's different with him [night wing] out here. I think about when he was younger, when I was younger, it was different, simpler and I miss it. I miss those days, for that it's hard to be around him.

This first internal monologue is a case of unreliable narrator, because as soon as finishing it Dick Grayson / Nightwing shows up, offers Batman his help and while Bruce at first refuses it the two of them are forced to work together to fight Amazo. What does this show us? Bruce is not alone, but Bruce actively acts like he's alone ignoring the feelings of the other people around him. It exhibits a flaw of Bruce and the bad headspace he is in mentally (if I remember correctly Stephanie Brown recently died in the comics while this storyline was being published. It establishes Bruce's improper coping mechanism with grief, and how he is going about it the incorrect way.

Bruce says I work alone, and then Bruce says it's easier working with Dick, I miss it, but I can't go back to those days. It's bruce's contradictory thinking patterns in the same chapter that stop him. it's bruce's fault he cannot connect to Dick, and he is actively mourning the past because his relationship with Dick has changed.

Now the final part of the monologue in that chapter.

He's quick. Not just fast, agile. He's not thinking about his next move, he's just making it. He's been trained well. And there's something about him. Something familiar. There was something interesting about before he cut the line, before it had been taught. That had to have been practiced. Either that or just plain dumb luck. No it's not luck.

This is the first hint that Bruce already suspects it's Jason from early on but is in denial about it. This unreliable narrator trope also gives an agency to Bruce's decision, he is actively choosing to ignore the possibility that it's Jason because it doesn't want it to be.

Whereas, a lot of Endeavor's plot takes away any agency from him. For example, he doesn't even know that Dabi is Toya, because if he had the sneaking suspicion and ignored it like Batman did that might have made him look bad. We can't have the main character in a tragedy looking bad now can we?

The second monologue is more denial.

That device is from Kord industries. I should know. Ordered it special from them. How can he have it? No more dead ends. No more questions. No more guessing. Tonight I find out what is passing for the truth.

Reading between the lines this is outright confirmation Batman already knows.

The third is a brief reflection in his feelings for Jason.

The armor has to be light enough to fit but strong enough to protect. But sometimes a great many times, it's not strong enough. It wans't strong enough for Barbara who has to fight from her chair. It wasn't strong enough for Stephanie, other dear soldier enough dear grave. And it wasn't enough for Jason. Willful Jason. Who ignored the danger. Who spat at risk. Who was never frightened enough. I've always wondered... always... was he scared at the end? Was he praying I'd come save him? And in those last moments when he knew that I wouldn't. Did he hate me for it?

This monologue directly shows without stating it outright, Bruce is prioritizing his feelings of grief and failure mixing them in with his genuine grief over the loss of a son. it's selfish of him, but grief is a selfish emotion.

Here's the thing Bruce is allowed to be selfish and to not have the correct reaction to his grief, because the whole story is centered on Bruce being unable to get his shit together in time, and this picture into his emotions is an explanation as to why. Bruce is afraid of being hated by Jason. Jason of course has every right to hate him for failing as a father, but still I think not wanting to be hated to a person you loved so much and feel genuinely sorry over what you let happen to them is an understandable reaction.

Meanwhile we have Enji saying repeatedly all the right things in his monologue, the selfless, I don't need to be forgiven, it's okay if they hate me, I just need to atone but he never actually does anything. There's no explanation for why he isn't doing anything either, so that narrative dissonance. We're shown why Bruce doesn't act in time, he's internally a mess to be frank. We are not shown why Enji doesn't act in time because his internal monologue tells us again and again he's committed to atoning and he understands what the right thing to do is.

As Codenamesanzanka says:

Enji is still saying all the right things, but the story isn't giving him the opportunity to actually do the right things. To have his new actions matter. I have no doubt about his sincerity in his mantra, but without the 'show', it's hollow. Similarly, "Let's talk" is actually kinda bullshit too, because it's so vague. This is less about Enji, and more about the writing, how it set up this scene. "Let's talk" or "I want to talk" or any of that variation is repeated 6 times, without anything more or specific added.

There's an excess of repetition of Enji saying he wants to atone, he's ready to atone, without any of that materializing in the story.

As @class1akids says in this reaction post:

It also feels also super-hollow to say he's sheltering the family from the fallout, after they've just talked about how Fuyumi lost her job (and got a new one through the connections she herself built). How is he going to do that?

The fourth because I don't want to write it down, it's just Batman monologueing on how his partnership with Jason is still good and explaining the technical details of his fight with count Vertigo. It's in chapter 10 if you must look it up.

So four monologues total. Two monologues establish indirectly that Batman knows that Red Hood is Jason and doesn't want to face him. The third monologue establishes why he doesn't want to face him, he's afraid of being hated. The monologue is in line with Bruce's actions in the story, Bruce investigates several ways of reviving from the dead instead of looking for Jason.

The character's reactions around Bruce are also talking about how he's not acting like himself. Especially Alfred's who speaks of Bruce's indecision, on whether to put a stop to or save Jason.

"It is curious. He is lost in thought. It is not like him to spend vast stretches of time immobile, where his mind is gripped in the solitary process of deduction. This is quite different. He is hesitating. At a loss for what to do. I believe it is about Jason. And whether or not to stop him or save him."

This is illustrated in two scenes later where Jason spends a long time simply watching when Jason is fighting enemies, first in a fight against Captain Nazi, and second Black Mask. Jason even gives a direct callout of that behavior.

Jason: What the hell took you so long? Couldn't decide if you wanted to let me live. Batman: Shut up and fight.

Observed by Alfred Bruce is completely stalling and can't choose, observed by Jason Bruce can't decide whether to let Jason live or not. Bruce hesitates twice. We know why. We see it in action. It's called out as flawed behavior.

Now let's cover all the tell that don't show that is Endeavor's many monologues.

Pro Hero Arc:

I have to safeguard the future for them. That's the job for whoever's on top. What about the lives I cut short? Just demanding forgiveness isn't enough, it's too late for that. At this point I need to atone there's no other route.

Hellish Todoroki Family 1:

I'm trying to make ammends going forward. It might be too late. but I fall asleep every night thinking about it. Lately it's been the same dream. The wife and the kids looking happy at the dinner table. But I'm never there with them. It might be too late but I fall asleep every night thinking about what I can do for my family. I wish you could be here too, Toya. It's always the same dream. My whole family's there but not me. If I really care how they feel [I'll remain here].

I'm not going to read 200 chapters so I'm just going to ballpark it based on memory. Here we go.

Dabi's Dance:

My eldest, Toya didn't harbor frost within him. He didn't have a way to overcome the inescapable downside of overheating but I nevertheless sought to raise the boy as a hero. [...] Because Toya had more potential than me I placed my ambitions on his shoulders. I thought it could be you. You could have been the one to reach my eternal goal. My frustration... My envy... The ugliness in my heart... you could have been the one to smash it all to dust.

Plot twist this is the only monologue I like. It's different from all the others, and it's the only one where Enji is being emotionally honest. He put the emotional burden of his own emotional insecurities on an eight year old child, and expected to live vicariously through him and when Toya failed to live up to those expectations he just abandoned him. It alligns what we have been shown so far, Enji is not acting like a reptentant man here who realizes the harm he's done to Toya and only thinks of Toya as an extension of himself and his own regrets.

The Fight Against AFO:

My mistakes took the form as Toya leading to many stolen futures. The past never dies. Rage, resentment and even penace wound together toward the future. And the future is a path for the young. A path with so many branching choices. That's why I must win this. [I'll keep paying my penance. I'll win today and keep my eyes on Toya.]

When Enji decides to double Suicide with Toya:

I take full responsibility. I swore to bear the burden and live my life atoning for it all. However, you've been watching me all this time. While I couldn't be there to watch you. You were someone I especially needed to do right by. No I can't let you meet your end alone, but I won't let anyone else get caught up in our tragedy.

Hellish Todoroki Family Final:

I came to talk about what's to come. I'm retiring as a hero. That was my initial plan even before the war started, but now I can't even walk on my own. The hero endeavor burned to death. Your flames were really stronger than mine. [...] You're right. You know everything about me, Toya. After all you were always watching me. And you wanted me to do the same for you, but I didn't. Not matter what anyone says your heat does come from my hellflame. From now on I'll come everyday, so let's talk. It's too late now, so let's talk. [...] You're free to hate me. Anything is fine really, so throw it all at me.

This one is spoken dialogue but it's still a four-page long monologue. Every one of Enji's monologues with one exceptionsays the same thing: I'm sorry, I'll spend the rest of my life atoning for my actions.

We're repeatedly told Enji is atoning but he acts like Batman. Then, his actions should be framed as Batman, not atoning but avoiding any responsibility.

As observed by Class1akids when we were discussing the update:

Everyone else faces an uphill struggle with their lives, but we should all feel sorry for Enji atoning and being in hell. I hate Hori's compulsion to over-write his abusers and over-explain their atonement. He does this with Bakugou too but with Enji it's more irritating. It was so much more enjoyable when he just wrote the thing but didn't point at them and say -> look, they are atoning. Aren't they soooo cool??

Enji's internal monologues and the other characters frame him as some sort of martyr, while on the other hand it's clear by both Batman's actions and Alfred's observations he's not acting like his usual self. In fact, this is an interpretation of Under the Red Hood that I love from the writers of the video game Arkham Knight that does a less tragic retelling of Under the Red Hood:

Batman doesn't fight victims. He saves them.

Therefore if Batman is fighting Jason, a victim, he's not acting like Batman. I'm also fine with Arkham Knight being an Under the Red Hood retelling because it's a different story. Comics do this all the time, different universe versions, popular storylines adapted into different mediums. It also works as a commentary on the original story, by showing what Batman could have done to lead to a more positive outcome it makes Batman's choices in Under the Red Hood worse and more tragic because he could have saved Jason, there was still a chance.

So here we have two flawed tragic heroes who are meant to be both pitied and condemned for their actions. One of them is all pity with no condemnation. The other is both pity and condemnation, Batman is grieving, but also he's failing his responsibility towards Jason. Therefore one protagonist works, the other fails utterly.

I'm not saying abusers don't deserve redemption. I'm not saying Enji should have died in order to atone. I'm not saying that the underlying problem with the arc is that they decided to make Enji sympathetic and a focus of the arc. The most important problem is the breaking of one of the fundamental rules of storytelling: Show, Don't Tell.

The Tragic Villain

Not only does The Hellish Todoroki Family plotline fail to make Enji a compelling protagonist, it also fails it's biggest victim. Now, these are both stories that end with the hero failing to save their victim. So if both of these stories have the same ending, why am I saying it failed Dabi, but not Jason?

Well, let me explain.

Dabi and Jason are both villains turned victims. The stories themselves are about this ambiguity. How much should the be held responsible for their own choices? If they are actively harming innocent people, then shouldn't they be stopped? Should they be automatically be forgiven just because of the pain and grief they've suffered, even if they've been causing it to others?

Both characters are also reflective of their fathers because they are too being selfish in their grief, they want their grief acknowledged and so are violently lashing out.

Jason and Dabi both make plays at being vigilantes at first, Dabi wants to inherit Stains will, and Jason Todd wants to be a better bat-man by taking control of the drug trade in Gotham and cutting crime down by executing gang heads. However, neither of them are being honest with this and it's shown through their actions, both of them abandon their original plans.

In the final showdown all Toya cares about is facing Enji on the battlefield, and when he's on the brink of death his mind erodes to the point where all he can do is scream for Enji's attention while his flames get hotter and hotter.

Let's take about Jason first and how his narrative treats him a whole lot better and more sympathetically, with more humanity than Batman. Jason is still held responsible for his choices, he is criticized by Bruce for murdering gang leaders and passing it off as justice. He's also blatantly shown to be a hypocrite. My favorite scene from Red Hood: Lost Days, the official UTRH prequel.

"I want to kill the joker in a cool way. Just sniping the Joker from a rooftop isn't dramatic enough for me."

This scene, and the final scene of UTRH underlines Jason isn't executing criminals because he believes it's the right thing to do, or because of his stated motivation that killing the joker would prevent more future victims.

Instead his every action is to set up a scenario where he makes a selfish demand of Bruce. He wants Bruce to prove to him that he would choose him over being a hero, by setting up his final scenario. Him, the Joker, and Batman. Jason will shoot the Joker. Bruce has a gun. He can either choose to let Jason kill the Joker, or kill Jason to stop him, either way it makes it clear what Bruce's priorities are.

The underlying reason for this is similiar to Bruce. Just like Bruce, Jason is deeply afraid that Batman doesn't love him. That he thinks of him as a failure. (This is Toya's main reason too).

He also interprets Bruce's failure to avenge him to mean that Bruce didn't even care enough to mourn him. If Bruce loved him enough, he'd choose him over the joker, but he's so afraid that Bruce doesn't love him enough that he's going to force Bruce to choose.

Along the way he's also going to behead several crimelords in order to put an exclamation point on that point.

The way Jason completely unravels in the confrontation shows this insecurity, he begins with monologueing about how batman should totally kill people, until his fear that he wasn't important enough, and his grief at losing his father is revealed.

Batman: I know I failed you, but I tried to save you. I'm trying to save you now. Jason: Is that what what you think this is about? Your letting me die. I don't know what clouds your judgement worse, your guilt or your antiquated sense of morality. Bruce, I forgive you for not saving me. Jason: But why on god's green earth is he still alive? Ignoring what he's done in the past. Blindly, stupidly disregarding the whole graveyards he's filled with people. The friend's he's killed. I thought killing me - that I'd be the last person you ever let him hurt. Jason: If it had been you that he beat to a bloody mess. If it had been you he left in agony. If he had taken you from this world. I would have done nothing but search the planet for this pathetic pile of evil, this death worshipping garbage, and sent him off to hell.

Direct statement, it's irresponsible of Bruce to let Joker live after killing Jason and should have put him down to prevent future victims. Reading between the lines, Batman not taking revenge for Jason is a sign that he didn't love him enough, Jason loves Batman more because he would have taken revenge.

As the confrontation continues and Jason's mental spiral worsens, to the point where he can't keep up his pretense of self-righteousness.

Jason: I'm not talking about killing cobblepot, or scarecrow, or riddled, or dent. Jason: I'm talking about him. Just him. And doing it because...he took me away from you.

The father had lost the son, and now the son had lost the father.

Jason's revenge is just a cover, for his grief at losing Bruce. I think this also shows a really positive aspect of Jason's character to humanize him instead of condemning him for his actions to ignore or even justify the suffering he endured: Jason really loves Bruce.

I mean how meaningful is the statement: "Bruce, I forgive you for not saving me."

Bruce has been afraid to hear the whole time that Jason hates him, that he won't forgive him, but Jason loves him deeply. In fact his love is almost equal to his rage because Jason is a deeply emotional person, and these little details make him human and not just like a plot obstacle that Bruce has to face. A metaphor for his past failures.

Dabi is drawn as a crying boy who wants comfort, Jason is shown to be a crying boy who wants comfort through both dialogue and action without us directly needing to be told. It's a heartbreaking line and doing it because he took me away from you and it lands perfectly because the narrative wants us to just look at Jason's grief. It doesn't add an asterisk* even though he was in pain, he's done unforgivable things that can't be justified to undercut Jason's suffering.

In fact that might be another underlying problem with The Hellish Todoroki Family, the narrative tries too hard to make you feel a certain way instead of just presenting things as they are to make you come to your own conclusion. UTRH doesn't support Jason's revenge based serial killing of villains. It doesn't say he's justified to cut off the heads of mobsters. However, it doesn't excessively state "Well, I'm really sorry what happened to you but what you've done can't be forgiven" so we don't have to challenge ourselves to feel too much empathy for Jason's suffering.

Meanwhile even when Toya tries to express his rightful anger and grief, we're always met with someone shutting him down and saying well yeah, but you're wrong, involving innocent people is unforgivable.

As said by @stillness-in-green in the replies to this post:

I think so much harm (in-universe, but the state of the Twitter fandom makes me think the messages are pretty toxic irl, too) comes out of portraying the Heroes as needing to weigh in on the *morality* of the Villains' actions before they gauge "saving" them, when that is not a thing that glorified cops have any business thinking they have the right to do. Demanding repentance before the rehab is so bizarre.

You can say someone's actions are wrong without using it as a factor to consider whether or not their suffering as a human being should be acknowledged, and like I said there's multiple instances of people just yelling at Toya how immoral he is instead of addressing the elephant in the room.

You're wrong, you're wrong, you're wrong, you're wrong.

(Okay, I understand that some people have interpreted this as a show of Honnae and Tatamae, the Todoroki's who are a very repressed household are finally talking about their feelings even if those feelings are selfish and ugly).

(I'm not criticizing Shoto for saying that the people he killed were his own choice necessarily, Shoto is a character who's actions need to be read more deeply than his words he was dedicated to bringing Dabi down without him burning himself any further start to finished. My criticism lies in the fact that Hori uses Shoto as a mouth piece because he thinks we need to be reminded that murder is bad).

However, even acknowledging that time and place man, time and place. They couldn't have done that in the aftermath, when Toya isn't burning to death?

Hey buddy, you're being selfish.

Toya: AHHHHHHHHHHHHHHH I'M MELTING, I'M MELTING.

This is I feel the underlying problem with the way the arc is written, not because the Todorokis are a very traditional Japanese family and there are cultural reasons they express their emotions differently, I'll give a caveat to that it's a nuance I might not understand.

However, I am arguing the actual problem is tell don't show. Horikoshi thinks that we as an audience need to be told multiple times that murder is bad, and we cannot be trusted to interpret that on our own.

Under the Red Hood shows both sides of Batman and Jason's debate, and let's us just come to the conclusion that Jason is in the wrong because revenge isn't justice. Horikoshi reaches no shit sherlock levels of telling us that we're not supposed to approve of Dabi's murders.

it's also a matter of giving Dabi narrative space to express his feelings, like every time Dabi tries to talk he is continually shut down (Shoto does engage Dabi talk to him and listen to why he didn't come back though I'll give him that) and it seems to be to push forward this weird idea that you shouldn't sympathize with the pain Dabi has endured or the ways he's dehumanized unless he does something to prove he deserves to be treated like a human being first.

Jason gets to monologue and make an entire argument, and his argument also shows the depths of his love for Bruce and what a deeply feeling person he is, and how those feelings being hurt and twisted could logically lead to his lashing out.

Compare this to Dabi who doesn't get a final monologue, but is instead reduced to a completely mindless state where he just cries out for his dad's attention. He doesn't get to make his argument.

Jason and Dabi both choose to blow themselves up, but Jason gets enough character agency to show this is a deliberate choice he's making even if it's the wrong one. He retains his character agency and ability to make decisions until the end of the narrative.

Jason's also you know physically crying. The end result of the narrative is about wrong choices that both Bruce and Jason make together, and then suffer the consequences together. Bruce watches the same failure play out again and he isn't able to save Jason, Jason doesn't get what he wants, he doesn't get revenge and he doesn't get to reunite with his father. It's tragic for both of them, and brought about by decisions both of them made.

Whereas yes Dabi makes a lot of bad decisions leading up to the last war arc, but in the end his final fate is up to a choice Enji made to not face Toya in the final battle.

However, while the final consequence of the battle is brought about more by Enji's decisions than Toya's, it's Toya who endures all the suffering and punishment. It's Toya who is in an iron coffin, and doomed to slowly and agonizingly die with all of his skin burnt off unable to move. Toya doesn't even get agency after the arc is over. Enji still has a wheelchair, Enji can still move around, Enji's still fucking rich, he's not in prison for his actions, he as Rei wheeling him around.

Toya's agency and choices are all taken from him, presumably to serve the plot purpose of making Enji save him to finish off his arc, and then ENJI DOESN'T EVEN SAVE HIM.

Also I think it's important to mention, Bruce's tragic ending is brought about by him attempting to save both, trying to save the joker and Jason with the same action. Whereas Enji's tragic ending is brought about by Enji NOT LIFTING A FUCKING FINGER TO HELP. Yet, it's Dabi who has the lion's share of suffering, and is sentenced to this horrific state of being skinless in an iron coffin and only being able to be awake a few minutes a day with no choice but to waste away.

Bruce is also immediately called out for his actions, by the Joker of all people, you handled this all wrong, it's your fault. Bruce is right to not kill the joker, killing the Joker would not have solved any of Jason's problems, but the fact that he put off facing Jason for so long, and his inability to communicate that he loves Jason is what leads to Jason thinking that the only way to prove Bruce loves him is to force him to choose. It's because Bruce has utterly failed to show him in any other way that he is loved.

Joker: Oh my god, I love it! You manage to find a way to win, and everyone still loses. I'm going to be the one who gets what he wants tonight, badda bing, badda boom."

I'd also like to add that a lot of agency in Enji's actions are taken away too, to make him look more blameless. It's not Enji's fault that he didn't say anything to Dabi during Dabi's dance, he passed out because he had a punctured lung. It's not Enji's fault that he spent a month protecting Deku instead of searching for Toya, he had to protect innocent people. It's not Enji's fault that he didn't go immediately to face Toya in the final war arc Hawks told him not to.

It's not Enji's fault that he made Shoto and Toya fight like Pokemon instead of cleaning up his own mess, and also he feels really sorry for it and as soon as he's done punching the bad guy he'll look after Toya he promises.

Enji does get called out for this behavior but it falls flat because it only comes from the villain AFO, and Toya himself. As I stated above too, the ending is more influenced by Enji's actions not Toya's (because Toya's agency is stripped away until he's mindless) but Toya is the one who has to die while Enji gets to live and atone.

That is the real sticking point for The Hellish Todoroki Family, the way it ends.

Themes Are For Eight Graders

The underlying problem with the whole arc and why The Hellish Todoroki Family fails as a tragedy, is because it wasn't written to be a tragedy.

The above quote is from an interview with the writers of the widely hated Game of Thrones Season 8, which took a sudden tragic turn for Dany's character, gave her an incredibly dehumanizing ending of being put down like a rabid dog by her own lover, an ending that was neither foreshadowed nor did it match with anything written before.

In this meta here by @hamliet it goes far more into depth that Game of Thrones isn't a tragedy, but a piece of Romantic fiction (not a love story, Romanticism is a genre of big emotions, the beauty of life, larger than life ideas hence why it fits well with fantasy genre, it can be sad but it doesn't follow tragic structure).

Dany is a romantic heroine, a deconstruction of the idea of the classic warrior princess trope, and you know a colonizer, but she's not meant to be written as an inherently bad person. There are people who say that Dany was going to die in the original books. I'm one of those people. Me. However, context and framing matters, Dany for all her colonizing ways does genuinely want to do the right thing, so it's likely she'd die a heroic death as a reflection of her selfless intentions (and intentions do matter for fictional characters) whereas in the show she's put down as a villain.

Now watch me I'm going to coin a term for future literary critics to use: Narrative Gaslighting.

Narrative gaslighting is different then Show Don't Tell, where an author has just failed to properly show what they're trying to tell you in the story. Narrative Gaslighting is when a narrative deliberately tries to mislead you, straight up lies to you, or just insists things that did not happen totally happened guys. Much like real gaslighting, Narrative Gaslighting makes you feel stupid for interpreting things a certain way and insists you were wrong all along.

Narrative gaslighting is when Tyrian gives a speech that everyone should have suspected Dany when she burned slavers alive that she was secretly evil and would one day turn on them.

Like, no.

Dany is flawed because she is a foreigner, interfering with the politics of a different country that she does not understand in order to gain enough resources and men to return to her home country and invade that country to exercise her right as a Targeryn to uphold the divine right of kings.

Game of Thrones doesn't mention any of that shit that's in alignment with the previous actions in the story, it's just insisting the very ableist notion that Dany was insane all along and her violence towards other people is the result of her mental illness.

(Also before anyone says, so if she's a colonizer than how can she have good intentions, everyone is Bad in Game of Thrones, they're all waging war to vie for a throne, monarchy is bad guys. IDK how to tell you that Game of Thrones has gray on gray on gray on gray morality).

(Also this aside ties into the hangup of MHA and most popular fandom culture on Twitter, that Dany's moral failings somehow disqualify her from her humanity. In spite of the fact that on top of all of that she's a rape victim, and like, Dany's only on that continent in the first place because she was sold as a bride.)

But here's the same weird subtext that Horikoshi's writing of Dabi. The fact that Dabi was continually victimized and denied human dignity does not need to be addressed, because he did the bad things and didn't atone properly enough for it first.

In essence this random post on the gunnerkrigg court forums I found on the same day the chapter came out, displaying apollo's gift of prophecy.

"When someone is persecuted, it's important to inform everyone about their flaws. That way you don't have to feel anything about all the times that they were denied human dignity."

So, Dany is not written as a tragic hero but a romantic one, we as an audience are both meant to acknowledge her flaws and sympathize with her, not demonize her in an ableist way for being insane, and even if Dany is meant to die the tragic way she dies does not match up with all of the narrative foreshadowing that was built before that.

Like, for instance a lot of POC after the show ended kept telling everyone that Dany's actions in a foreign country were seriously problematic, and not only did the audience not listen but the showwiters didn't acknowledge it with the same subtlety as the books. So those people especially were able to pick up Dany's character flaws, and when the show finally acknowledged them it's not even in the way that critiques of the show were pointing out Dany's flaws it was just "she was insane all along." Not like taking time to go "no matter what the intention, interfering with the politics of a foreign country is wrong."

The problem with the Todoroki arc is essentially the same, down to the ableism (because outsiders continually call Dabi either a maniac or insane Demon without even giving credence to his grievances about hero society he's just reduced to an insane fringe element of society, and Dabi himself is reduced to a completely mindless, childish, insane screaming state where he can't make active decisions).

The Todoroki Arc is not set up to us as a tragic one. The ending is pretty clearly telegraphed to the whole audience. People are not wrong for thinking that Toya's ending would be either rehabilitation like Rei with the eventual hope of being welcomed home, or some kind of house arrest where he still gets to be with his family.

Everyone happy at the Dinner table and Enji not sitting with them.

"I wish you could be here, Toya."

"We all have to go stop, Toya."

"In that case, I'll make him sit down for a bowl with me."

Even Shoto's efforts to take down Toya non-lethally are rendered completely pointless, because Toya gets back up again and then burns himself alive (completely by his own choice so no one has to feel bad that they failed).

The story sets up the expectation that Toya is going to be brought home and sit down for a meal with his family. Then it makes you feel stupid for going in an entirely different direction. It was always going to end this way didn't you know The Todorokis are a tragedy?

Well, I just spent a very long section of this thesis statement illustrating that if it's supposed to be a tragedy, then it's still not written well.

It's a written as a romantic story of a family healing, and the villain getting saved, only for the villain not to be saved and the story to just keep on going like not getting saved isn't a huge failure. This is something that should permanently destroy the main characters, that they got the chance to repeat Sekoto peak and be there this time and they all utterly failed. I feel bad for Shoto most of all because he did everything right, and he still loses his brother, but does the story show that?

The problem is the story is blatantly lying to you about the fact that Toya was somehow saved, even though he LITERALLY LOOKS LIKE HELLRAISER. To quote Codenamesanzanka again:

But I feel the story couldn't give us that because it will remind the reader and everyone just how much Touya will be missing. In-story, talking any more will overburden Touya's heart - and how apt is that metaphor? So let's talk about how we'll talk, but that's all that's allowed here for this scene. Else we'll see how unfair it is that Touya has to be confined to this room, he isn't with his family and they have to come to this prison just to tell him about their day, and soon he will be gone. Details make it real, and it would've exposed the lie that Touya was saved in an actual way. The story knows it too - "this extra time Shouto gave us." This is all 'extra', and not the core. [...] If the story was sincere that this is a case of "it's simply too late" - as it should be!!! imo, to really drive in the clear point that they failed, they did not get the save they wanted, because that's the truth - the tone of the chapter isn't tragic enough for that. The tone is going for 'Making Peace With This'. We've skipped the stages of grief and all we have is acceptance. The characters have accepted this, and so must the readers as well.

Therefore it's narrative gaslighting, the story is making us doubt our perceptions and trying instead to manipulate us to feel a certain way. We don't have to question the unfairness of Toya's fate, because look at all the people he's hurt, and look how Enji is atoning and taking responsibility.

The story builds up the idea that Enji will choose Toya. That he will choose being a father over being a hero. Enji doesn't do that, and it's Toya who suffers the horrific, painful consequences while Enji gets off mostly scott free. Mind you it's also ableist to suggest that being in a wheelchair is some sort of life-ending consequence like he's fine. The story even goes out of its way to say how avoidable this ending could have been if Enji or Rei or someone lifted a single finger to give Toya the acknowledgement he wanted, and then gives it a "Too little, Too Late" conclusion but doesn't acknowledge that this is where it's ending and instead tells us that Enji has successfully atoned.

"Everyone's watching me. So this is what it's like. If it was such a simple thing, then why not sooner?"

If it was going to turn out this way Toya should have just died here, not because death would somehow be a mercy compared to life in prison, but because the Todoroki Family doesn't deserve to get to pat themselves on the back. If they let Sekoto Peak happen a second time, then they should have to deal with the consequences of that.

It would be consistent is my point. This is written as a "Too Little, Too Late" kind of ending, but we don't get the emotional response from the Todorokis that they've let Toya die a second time.

On the other hand, UTRH has the exact same tragic ending but it doesn't make me angry because it's honest about it. The Todorokis let Sekoto peak happen a second time. Batman let Death in the Family happen a second time, but look at how even the narration and comic panels of the story acknowledge it.

"Fate is a funny thing. It swells up like a raging current and we are forced to travel. It provides us no exit. No deviation. It drops us in a bottomless ocean and compels us. We either swim, or drown, and sometimes as we struggle against the tide, a great truth arises."

One ends with Enji meaninglessly stating that he'll spend the rest of his life atoning for Toya and watching over him (which I guess will be like two months tops) for the fifth time. The other ends with Batman being lectured by the Joker of all people of how he chose wrong and being forced to watch once again as a warehouse blows up, and he's completely helpless to save Jason.

UTRH ends with the message that Batman sucks, Enji's atonement arc ends with Natsuo calling him cool for atoning and UTRH makes me like Batman way more as a character. Whereas at this point I feel nothing from the Todoroki Family, except for a disgust for the way that Toya not only has to die, but has to die a slow, gruesome death while the rest of his family walks away with the small comfort of "oh at least we'll get to say what we need to say before Toya passes."

Especially with the fact that Toya's greatest fear was that when he died, he died meaninglessly because his family never grieved him and all moved on with their life. I guess we don't have to analyze how gross the underlying message that criminals don't deserve to be sympathized with because themes are for eighth graders.

EPILOGUE

The post is finished but apparently everyone expects me to cover every single possible angle even in posts this long.

You didn't address the cultural aspect. Under the Red Hood is a western story, and Todoroki Family is based on eastern concepts.

The post isn't about that. The post is long enough I can't cover every single topic. Here's someone who covered that topic thoroughly. This one discusses more about the nuances of collectivism.

Also, since the Todoroki Family obviously copied Under the Red Hood's homework, it warrants a comparison. Especially since it seems to critically misunderstand what made the original work.

Which is a valid form of Literary Criticism, as Ursula K Le Guinn once said:

 It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

The Todorkis aren't all to blame for Toya. Natsu, Fuyumi and Shoto are innocent:

You're right. It's just easier to refer them as the Todorokis then specifying "Enji and Rei" each time.

You didn't mention Shoto once in this post:

I have no cricism for Shoto's role in all this. In fact I think he's the best written part. I praise it here.

Shoto is a good boy, and he deserved to spend more time with his brother. The fact he won't be able to sit down and have dinner of him, is the greatest tragedy of them all.

[teapetal44]

TW: ABUSE, CHILD ABUSE

“He wants to air this dirty laundry to the world does he…? Dabi, you fiend…you’ve been waiting for this moment…when they couldn’t prevent mass destruction…and faith in heroes is wavering.” - chapter 292

I truly, wholeheartedly, believe that MHA as a story upholds the myth of the perfect victim. I do not want to discuss if Horikoshi did that on purpose, or subconsciously because of inner bias – I find no meaning in doing so. For me the execution of an idea, in the grand scheme of the narrative, holds more value than the intention of the author. I’ve also had my fair share of people infantilizing Asian authors in the anime community for their poor writing decisions for one lifetime. It’s patronizing to both the author and the people reading it. Whether or not Horikoshi intended for his themes of abuse to paint the picture they did does not matter, because that’s how it reads as.

MHA puts victims of abuse in narrow boxes and softly dictates what’s an acceptable reaction to said abuse. Victims are continuously walking a tightrope between being deserving of compassion and sympathy and being unredeemable monsters who are too far gone and are only good for martyrdom after being put down.  

Eri fits the clean cut depiction of abuse victims that media usually gears towards. She is untouched by the cruelty around her - she preserves her innocence and kindness. She isn't assertive, but rather meek and passive. She doesn't fight back with force. And when offered help, she is receptive to it. That is not to say that Eri's depiction doesn't have a place in fiction, or that her portrayal can't be representative of the experiences of some - as we all deal with trauma and the inhumanity people throw at us differently. We see the same thing in the portrayal of Fuyumi, who shares many of the qualities discussed above. The same thing applies to her - i personally love the idea of all the siblings having different reaction to their childhood trauma and abuse. It shows that victims are not some type of monolith.

But the narrative treats the "forgiving" or "receptive to help/support" victims of abuse with more grace and with much more kindness. if you are willing to forgive, or the very least be quietly tolerant, the story grants you a happy ending. Forgiveness isn't a bad thing, it is an individual choice - but an abuse victim shouldn't have to do it for them to have a happy ending.

In a vacuum Eri and Fuyumi's character arcs and depictions of abuse are good but it becomes a problem when that's the only experience and type of victim we ever hold in high value or recognize as valid and deserving of compassion. Which the story reinforces.

Touya and Tenko's backstories aren't pretty nor comfortable or easy to sit through. Their responses to abuse aren't either. Reactive abuse is very much real.

[sekahni]

To the BNHA fandom

While I understand how disappointing it can be when a beloved ship isn't made canon, I find some of the responses to these most recent leaks to be wildly abhorrent and inappropriate.

Do not threaten to leak Horikoshi's private information.

Do not threaten to harm him.

Do not harass fans who have different preferences.

Do not threaten other fans.

Leave each other well the fuck alone.

Canon or not, you still have a robust community with plenty of fan-generated content to read and explore.

Sincerely,

A jaded fan, sick of fandom toxicity

[court-jobi]

Tagalong

((banner by me! I don't own Horikoshi's work OR the mindblowing art of @toshiimura))

Pairing: Midoriya x reader (retired by injury pro-hero fem!reader)

Words: 2.6K

Rating: T (18+ touches later on, to be safe~)

Warnings: Interrupted first time, heavy petting, established relationship, sharing a bed, honestly just Izuku in love and fluffy times commence in a hotel room.

Summary:

Joining Midoriya Sensei on his work trip -and yes, even sharing a bed for the first time- is medicine for you. The exchange of your passions has -and continues to be- an endless source of healing as you navigate life post-hero work. Each night away, you've danced into a settled calm with him; learning the rhythm of his habits. His sounds, his silences. When Izuku meets your gaze in the mirror, you read his mind loud and clear in how he emotes: he fawns, he sighs, then nods in the dearest way.

A/N: give me my sweet, simpering Deku, or give me death. Also by the way, yall are the best readers out there, thank you so much for all the love for my lil stories!

For my My Hero Academia Masterlist, check it out here!

Read on AO3

Life post-hero work was an adjustment for you… but you were starting to really get into the perks.

The lack of daily physical hardship holds the top spot on your list. PT? You can handle that on a rolling basis– the worst is behind you, and due to what you put yourself through which resulted in your injury, you’re out of official hero work for the foreseeable future- and in a way, grateful for the break on your muscles. You still retain your quirk, but can enjoy its thrills on a more recreational basis– your sweet boyfriend has even helped your healing by way of gentle exercises to keep things moving properly and get life manageable for you. 

Next would be the diet. You could certainly dip back into your baking hobby guilt-free now. You couldn’t get away from the hero world entirely -nor did you want to… but being able to settle into an agency office with an hourly job was also an incredible blessing. Late nights here and there were inevitable, but on the whole, you were able to greet and end your days with a steadiness of routine and safety.

Meeting Izuku Midoriya was the icing on your early retirement cake. Where you were tenderly finding your footing off the hero charts, Izuku held your hand to keep you upright. He didn’t lead or pull back on you– just came alongside you, so you didn’t fall too hard on the knees of self-doubt. He’s always so good like that. He knows your path because he himself shares it, and what a thing of fate that is.

New to you now though, is the general scope of free time you have. Not a forced flexibility due to the demand asked of an on-call hero, but you have paid time off. You have flex hours. You can work from home, if you so choose– so when you get the call that Izuku has been asked to hold a spot at the Sports Festival as the lead commentator, you are over the moon that you can answer with a wholehearted ‘yes’ when he asks you to come with him.

As if he’d be anything short of ecstatic, you truly believe the job was made for him. He’s got books upon books of hero research written by hand, and is essentially a walking Brittanica for Japan’s up and coming heroes, because of course he watches every other school’s sports fests in his free time so that his class can be the most prepared. Taking the role Present Mic once held when he was a student is a full-circle moment, and it's pretty precious seeing him in it. 

From day one, he’s a master of his craft, and from the couch you share in the observation deck with his co-teacher, Aizawa, you’re beyond impressed. You honestly wouldn’t be able to tell what department he was aligned with; he’s observant and complimentary of every students’ moves. You asked the pro hero hero beside you if this was the case when Izuku was younger, and he merely offered a sleepy,

“Intolerably, yes.”

But you see the lift of his cheek against his eyepatch and know that he’s secretly proud. 

The Sports Festival spreads over the course of a week now, as the culture surrounding the events available for support students to engage in has increased- to Izuku’s pride and joy. The training and feats of the heroes wouldn’t be possible without the other side of the coin, so he’s just as enthusiastic to hype up the developments of those courses as well. 

Watching your sweet Izuku -catching his eye when he looks back over to you and silently ushers you over to come watch an anticipated match-up of his kids off and on- is medicine for you. This entire exchange of passions has, and continues to be, a source of joy for you and is a treasured part of doing life with him. On that note, the event being held away from your district also grants you extended time to spend together that you normally wouldn’t, given the difference in your professional lives. Here, you’re locked in to five days and four nights of perfectly synced time– something you’ve not been able to do up to this point in your relationship.

Falling asleep and waking up together? This is the best thing ever.

On the first night, it hits your adorably flustered boyfriend that you’d indeed be sharing a room- and bed. That arrangement was something you’d registered the moment he’d asked you and were assuming he’d mentally (and spiritually) prepared for; but evidently it faced him the moment he stepped up to the counter to check in that Nezu had arranged you both to be together by default in the hotel block. 

But rather than falling on the trope of taking the armchair or sleeping on the ground like a middle school nervous nelly, Izuku was shy about it at first… but eager for the chance. The secret part of him finally let out some boyish excitement to find a bed big enough for you to actually share. You’d learned here that you both can spoon like you do on the couch, but you have so much room now. On both your parts, you’re a bit giggly and stiff at first- but settle in sweetly for the most comfortable night of your life.

By the second night, you both scoot into your room and -after a day of dancing around each other at more and more events- you’d be heard from the hallway: jumping into his arms and tackling him to the bed, filled with giggles and lots of kissing until you tangle up more willingly to sleep.

Night three, you’d both stayed out longer than you intended; catching up with some of the other instructors, which turned into essentially a repeat of the night you met. You take to talking up a storm on one of the hotel patios in a nerdy exchange of info-dumping and story-swapping that continues for almost three hours. You basically collapsed into bed the instant you got back, not even brushing your teeth out of exhaustion. Then by your fourth, you both are still so tired from the late night before and you flop on the bed, still in the sun-warmed clothes you set out in that morning.

It's so nice to be held by him- and it's torture to then look back up at each other. There’s definitely a softness found in Izuku’s face -as always, when it comes to your perfectly freckled sweetheart- but also something deep and personal. You want to ask him to shower together so badly and get rid of the day together- anything to add to this closeness you’ve been tiptoe-ing through all week. Worry over pushing him when he’s essentially on the clock keeps you from asking. This time, you still go about your rituals separately, only when you get out, you stay in a towel and shorts instead of full dressing down for bed.

When you're at the in-suite mirror doing your expedited, travel-sized skincare routine and Izuku stops by after he's out of the bathroom, he hesitates mid-step from trying to duck around you– and comes close, holds you by the middle. He stands shirtless behind you for the first time, showing you the scarring he carries in its fullest- no more tanks or undershirts hiding the worst from you. 

You’re as they say in the movies- incandescently happy.

“You smell so good,” he whispers. 

“You feel so good,” you answer. “Wanna go lay down?”

When Izuku meets your gaze in the mirror, you read his mind loud and clear in how he emotes: he fawns, he sighs, then nods in the dearest way. No sense in holding this darn towel up anymore, you simply turn in his arms, drop it, and kiss his surprise away with your reach up to his neck for a kiss. Your first of many, on this last night you could be wrapped up in your incredible boyfriend's arms with nothing but tender intentions on your mind.

Neither of you see a strong need for too many clothes under the sheets for this little foray into skin-to-skin contact, and enjoy a restorative makeout session. He's marked you up a bit, too, by all the harsh kissing he tends to do towards you (you low-key love this, since ‘that’s what makeup’s for’), and you especially appreciate how he plays with you perched in this arrangement.

You’re the first girl he's ever had topless in his reach– which is obvious from how he holds you in his lap nuzzling at your chest,

"Wow, y'r the moss'beautiful woman i'vever seen~"

From your previous talks of dalliances, you proudly keen over him, "I think I'm the only naked woman you've ever seen."

"-I've seen naked women."

You glance back to him, humored but flat, "Who."

Those green doe eyes flicker back up at you, oddly innocent as he quickly names his former classmate, who you’ve commonly heard referred to as Yaomomo, 

“Creati?” he tries to jog your memory, “i-it's part of her quirk, I didn't ev’r mean to look..."

Playfully suspicious, you test him, "Never had a feel?"

"I mean,” Izuku sharpens up a little to answer clearly, “She fell on me once, over in one of the training centers- and I wasn't gonna let her hit or head on something.."

"So a 'strategic catch'. Is that what we're calling it?" You sway your chest in front of him, feeling up his own, “I’m a horribly jealous creature, as you well know.”

He sinks and nuzzles gently at your pushed up chest- by his desire for lift. You’re playing with his painfully polite nature, of course- nothing but secure of your place with him.

"Not even once. Promise." 

Izuku lays a little kiss on your freshly cleaned skin where your heart lies under the surface, and ends up moaning at how soft it is- and so, keeps peppering kisses to your delight, "Oh wow... Oh wow, you're soft."

His name leaves you in an unsteady sigh as you’ve been scratching through his hair until it starts feeling so sharp and heady that you grip onto his neck in need of more support.

He's working on some passes with his tongue around your nipple when he whisper-sighs up to you, 

"mmmm don't stop doing tha'..."

So you play with his hair at his request, and he adores every bit of you that’s in reach: chin to cheek to neck while being the most gently vocal you've ever heard him.

The minute you rolled your barely clothed hips up on his lap just once, he split his attention from holding your waist to him to smoothing over your thigh to encourage the movement.

He started a slinking lean as he did so, losing his absolute mind watching you in a daze, before something dull hit your window - followed by a kid’s call of 'Sorry!!' . You siphon all your attention at the noise in a wide-eyed look that matches his.

Sweetly enough, you noted how fast Izuku held you at the sound, like he was going into strict ‘protect’ mode at the clash of a frisbee.

But, out of danger and out of breath, Izuku simply fell back and palmed his face.

"ughhbyou feel'so good... Mdizzy."

The heat you’d felt simmering in you has died at the interruption, but your fondness sure hasn’t.

You giggled, lowering into his chest and gripping the covers over your shoulders to warm you up, "Good dizzy?"

Even with an arm over his eye, your boy chuckled brilliantly, 

"Very good dizzy, hon’. Whew. We uh– we better stop before they start bangin’ on the door next."

You carded through his hair more, self-assured he was still just as taken by you despite the hard stop. How he kept you to him while shuffling the covers over you both was proof he didn’t want you going anywhere. Once settled, he felt he could focus again and brushed your hair back for attention,

"Hi there, handsome~"

"h-hi~" Izuku echoed.

You kissed again, a good deal calmer at first, but growing like a steady fire. Lips roaming, claiming, and keeping you ever closer. Comfort and reclaimed eagerness tipped you over by his strong guiding hand, all in favor to continue to mouth along your clavicle again.

Then, at the first sound of your addictive moans, he detached- forehead to your sternum, watching the rise and fall of your sweet belly beneath him.

"Ahh..” Izuku’s little war with himself was adorable, “w-we should stop. For real. I can’t- that’d be mean."

“You said that,” you answer with mirth, “but I don’t think ‘Little Deku’ agrees~”

Izuku wheezes out your first, middle, last and retired hero title to the point of coughing before you take it easy on him. Poor, desperate thing, brought low by little tease.

You chuffed against his stroke of nerves kindly. 

"Yes we should, if you say so," You snaked a hand through his hair, "Thank the Maker we don't have to second guess the chemistry department, huh?"

Izuku laughed brightly, slotting himself atop you, between the legs so you didn't have to feel how semi-hard he was. Snuggling back down, your heartbeats held their own conversation, content to cool to a reasonable temperature and slow things down, together.

"I'm so glad you came here with me." Izuku spoke softly to your neck, "This time with you really does me so much good."

And you really have enjoyed it. Getting to see firsthand the place where much of his proving of himself started, this event forged a lot of bonds with the close friends he still has to this day. 

"I'm glad I did too," You kissed the hairline within reach and simply laid comforting scratches along his back. "It's gonna be hell to go back."

"You don't wanna go back to work?"

You threw pity into your voice, "I don't wanna give up this glorified sleepover, no."

You don’t mean just getting carried away with thin walls and thinner restraint. You mean the intimacy that getting out of town sometimes offers in a way nothing else would. The week has made you softer, more in tune to the rhythm of Izuku’s habits. His sounds, his silences. 

The dampened shyness you hold thinking about it floats across him, so he laid back onto your arm to look up at you, 

"We don't have to. We can still have them~"

"Yeah?" You wonder how, earnestly, and he smiles in kind.

"Yeah!” his answer radiates nothing but pure sunshine, “Whenever you want! I'll come over, and we'll cook, and have podcast nights and snuggle, and... and.."

He’s got a look now- one that teeters along the line of flirty and unsure.

"Snuggle?" you finish for him mercifully.

"Y-yeah."

"Vocal snuggles?"

"Stop it," Izuku hid in your shoulder, "don't make fun of me."

"I'm not making fun of you~" you turned and kissed his blushing cheeks, rubbing his shoulder slowly. "No more than I'm making fun of myself for sounding like a wonton Victorian who just caught sight of an ankle for the first time."

His laughter betrays how offended he is at the idea, "Stoooop…"

"Mmmm, I don't think I will!"

Time to take things slow.. that might top your list now. If it means more nights with your hero draped in your arms, then the promise of time spent under his attention beats out any other remedy you’ve found so far. 

[mimez-meme]

Everyone seems happy except for mic. Horikoshi when I find you istg.

(I’m aware that he smiled whilst he was being a dj but he was stressing and tearing up, it seemed like a forced smile.)

[ofmermaidstories]

SUMMARY: The call to be a Pro Hero has never been a question—not for Katsuki Bakugou, explosive and guarded, nor for Izuku Midoriya, protective and determined, and certainly not for Shouto Todoroki, who’s family legacy hangs over him like a shadow. Years after the War that upended Hero Society, these three men have helped rebuild a path to Pro Heroism for the next generation, tentatively heralding a new era of hope. But there’s danger lurking in this rebuilt world, danger that has the power to rekindle old fears and usher in new resentments, and as the trio branch out to find and end these threats, they each encounter a new challenge along the way—colliding with someone unexpected, and falling in love.

(A Pro Hero x Reader Trilogy; in which falling in love is a random chance all at once chaotic and exhilarating and incredible, for each of the Big Three)

The premise is simple: three heroes, three fics, and three different lives to live. Named for the Katy Perry song, The One That Got Away, the In Another Life trilogy was originally intended to be a series of five stand-alone fics that evolved, fairly quickly, into what we have today: three interconnected stories that let our Reader-inserts move throughout the My Hero Academia world, and eventually find where—and who with—they belong.

Started in 2020 when the manga was still on-going, the fics have diverged from the canon Horikoshi’s given us both in small and large ways. Despite where they separate (and where the fics have to stay faithful to their own canon, now), it’s always been my hope that they read like the love letters they are—to My Hero, to the boys, and to x reader fic at large.

i’m running to your side—flying my white flag

1. surrender (whenever you’re ready) [Explicit] — ao3

93k+

Bakugou Katsuki x Reader

COMPLETED ✔️

SUMMARY: You first meet Ground Zero when he's thrown, unceremoniously, through the glass window of your florist shop.

(In which Bakugou cannot stand flowers but finds himself coming back, anyway)

i’ve been reading books of old—the legends and the myths

2. something (just like this) [Explicit] — ao3

203k+

Izuku Midoriya x Reader

COMPLETED ✔️

SUMMARY: It probably says a lot about you that your first thought on meeting Deku, international Symbol of Peace, isn't something like "Oh, wow," or, "Oh he's so nice," but is instead the un-Plus Ultra thought of, "I definitely would've bullied him, in high school."

At least until those muscles came in.

(In which Midoriya is an absolute nerd for the release of his own hero-inspired comic book series—and the artist responsible for it)

all your flaws and scars are mine

3. still (falling for you) [Explicit] — ao3

TDB

Shouto Todoroki x Reader

WIP 🕙

SUMMARY: The first time you and Shouto cross paths, he nearly drowns you.

(In which Todoroki meets a jeweller by the sea, and learns the difference between the value of the lessons he's been given—and the precious things he chooses to keep)

🚧 UNDER CONSTRUCTION 🚧

i am actively adding to and editing this section, still. if you think something is missing, or you have something you’d like included, please let me know!!! i am going through all the posts and links i do have, manually, so i may still miss something and would love a gentle reminder. 🌷

🚧 🏗️ 🧱🔨🔧🪛 🚧

[ASK/DRABBLE 📖] [SWYR] do u think bakugou ever gets so angry his mouth misses [Readers] when they’re making out?

Katsuki’s home for once, sleeping off the last few days in the darkness of his room, cocooned.

[ASK/DRABBLE 📖] [SWYR] what type of jewellery would Bakugou gift [Reader], if any at all?

The first gift Katsuki gives you after Christmas is a pocket knife.

[ASK/DRABBLE 📖] [SWYR] how are weeds and katsuki?

It’s a Wednesday, a normal day, and they are figuring it out.

[ASK/DRABBLE 📖] [SWYR] petition for you to write [Reader sending] bakugou horny tweets

light it up like an ELECTRIC STRIKE ⚡️: please please PLEASE Kacchan has blocked me and muted the groupchat PLEASE, I need him to see this, please just send him this ONE THING, PLEASE!!!!!

[ASK/DRABBLE 📖] [SWYR] would [it] be important to bakugou for [his parents and weeds] to meet?

Masaru will just scratch the side of his nose under his glasses and think about a younger Mitsuki, who literally would not take no for an answer from him—and a younger Katsuki, who had the same laser-focus when it came to the things he wanted in his life.

[ASK/DRABBLE 📖] [SWYR] i am asking for royal au + florist au for [weeds/bakugou]

In his armour still, his forest-green cape, Ser Bakugou is dressed for war—solid and imposing as he stands on your threshold.

[ASK/DRABBLE 📖] [SJLT] what does [Reader] post [to instagram]? + [SWYR] things weeds would post

The one consistent has been art, good, bad and middling.

[ASK/DRABBLE 📖] [IAL] it’s so cute that SWYR’s reader is a fan of SJLT’s comic

Kacchan has never asked for anything from Izuku—beyond that he doesn’t look down on him (beyond that Izuku live).

[DRABBLE 📖] [SWYR] katsuki keeps a pot of strawberries for you in his kitchen;

When they finally fruit he’s disgruntled.

[DRABBLE 📖] [SWYR] katsuki’s quieter than usual

So you wait. You let him have his silence, and you fill the space around it with your own presence.

[DRABBLE 📖] [SWYR] he tells me he’s gentle when he wants to be—

The bed dipping under Katsuki’s weight wakes you.

[DRABBLE 📖] [SWYR] you and bakugou walk home in the rain

“Y’re meant to go home, dipshit,” he says, disapproving

[DRABBLE 📖] [SJLT] bad touch (you and me)

Minoru’s skeleton nearly fists itself out of his asshole when a voice behind him says, “That was a kindness you just did, for Midoriya.”

[ASK ❔] [SWYR] if you were to write surrender today, do you think anything would change?

[ASK ❔] [SWYR] what would have been the moment bakugou knew he had it bad for surrender's reader?

[ASK ❔] [SWYR] have you ever written/imagined Kirishima’s POV [throughout the fic]?

[ASK ❔] [SWYR] idk if you meant her to come off in this way, but [Reader] strikes me as [lonely]

[ASK ❔] [SWYR] i’m literally going to throw up from excitement if you actually make a bakuweeds oneshot collection

[ASK ❔] [SWYR] i am vibrating in my boots with excitement about the [SWYR] one-shot series!

[ASK ❔] [SJLT] did you have any inspiration for the kimono Reader is wearing in SJLT?

[ASK ❔] [SJLT] looking forward to our [gala] wear

[ASK ❔] [SJLT] could we have visuals of Reader’s outfits during the gala?

[ASK ❔] [IAL] double dates

[ASK ❔] [IAL] what city/prefecture does [the series] take place in?

[ASK ❔] [IAL] how [would] the Y/Ns react to fanfic about their heroes?

[PODFIC 🎙️] [SWYR] surrender (whenever you’re ready) — narrated by Chthonianqueen

[PLAYLIST 🎧] [SWYR] surrender (whenever you’re ready) [plays on spotify]

[PLAYLIST 🎧] [SWYR] and i’d give up forever to touch you: a suggested-songs playlist [plays on spotify]

[PLAYLIST 🎧] [SJLT] something (just like this) [plays on spotify]

[PLAYLIST 🎧] [SJLT] like lightning: a suggested-songs playlist [plays on spotify]

[ART ✏️] [IAL] bakugou & weeds, deku and & scribbles & bakugou/weeds, deku/scribbles, monoma/reader — by @groshia

[ART ✏️] [SJLT] you get to witness, in real time, as [Deku] leaps from the now open door — by @getstarried

[ART ✏️] [SJLT] izuku, just izuku. just as he is — by @handlethegbread

[ART ✏️] [SWYR] when you’re bakugou katsuki, — by @okeydokiescribbles

[ART ✏️] [SWYR] haru + the flower shop signs

[MOODBOARD 🖼️] [SJLT] the moodboard trend inspired me to make this little thing

[MOODBOARD 🖼️] [SJLT] SJLT is my all-time favourite fanfic,

[MOODBOARD 🖼️] [SJLT] this is just […] a collection of things that reminded me of this story

[BINDING 📚] surrender & the widening sky — @ladybirdk

[PODCAST 🎙️] Canonically Incorrect, episode 75, season 2: Surrender (Whenever You’re Ready) — 10 December, 2022

[ spotify | apple ]

[PERMISSION STATEMENT:] You are more than welcome to print out any of the fics and bind yourself a copy for personal use, or otherwise record a [non-AI] reading of them, or translate into another language—as long as my ao3 username, OfMermaids, is credited somewhere as having written it. 🥹📚 I also love, love seeing and hearing about the work that goes into the pieces you create for yourselves, so if you’re comfortable with it, I’d love to see a picture of (or get a link to!) your efforts!!

final note:

This series is the result of several years worth of love and work, and most importantly, encouragement from the people who have come along and read the stories in it. Whether this is your first time discovering the trilogy, or you’re otherwise revisiting the boys, this is a note to say thank-you for being here. Thank-you for reading, and for being apart of something that has been so much fun to create. Fandom and fanfiction has always been about sharing the excitement with other people—so thank-you for letting me share mine with you. 🌷📖

[atlasofoverthinking]

The Problem with the League of Villains

this is just me ranting after reading many people say that the lov deserved a better ending (i agree with them don't worry). most of that stuff has already been said but i'm bored and need something to write

so why is everyone disappointed?

by definition, an antagonist is someone that goes against the main character(s) and a villain is someone who does immoral and/or illegal things (wow, shocking)

so by definition, the league of villains is aptly named. shigaraki and dabi are mass murderers, toga is a killer too, and even if the others are 'less dangerous' they're all guilty of terorism and kidnapping a teenager.

not nice, right? then why would anyone would want them to have a good ending?

long story short: horikoshi made the league too sympathetic and relatable

when horikoshi has decided to make them funny, he's decided to make them likeable. that's not enough though. you can find a fictional villain funny and not root for them (for some reason the examples that comes to my mind are the disney villains. captain hook is hilarious but no one wants him to win)

the cause of everyone's disappointment is the relatable part. everyone in the league has gone through stuff viewers can relate. touya, shigaraki and toga have been abused; twice has mental health issues (and stuggling to get a job is relatable too lmao); spinner has been discriminated against... you get the idea

and even without knowing their backstory, most of the league's fights can be considered noble: they want to change society and make the world a better place. to take a more precise example, the league kidnapped bakugou because they thought he had gone through similar struggle as them

(this is mr compress talking in chapter 85) as far as i've seen, most of the fandom either think bakugou being chained and muzzled at the end of the sport festival was just comic relief or agree that it was fucked up

so yeah, you can't put a group of people rejected by society, who just want a better world and expect people to not like them

and that's why their ending is disappointing (the rest contains heavy spoilers of the last few chapters of mha)

they're all either in jail or six feet underground. we rationally could understand it, they're all criminals/villains so of course they wouldn't get a happy ending and face consequences for their actions. the only one who could have gotten away with it is shigaraki because of all the grooming/brainwashing he's gone through and maybe toga because she's a child

but if you relate to a character, you want them to get a happy ending. of course fans would want dabi to be at peace, but instead he's forced to spend his last moments being stared at by his abuser). of course fans would want shigaraki to be free from afo (but instead his only freedom was death). of course fans would want toga to be understood and cared for (but she never had that opportunity)

that's not very 'save to win' out of you horikoshi

maybe it's just a shortcut made by the fandom, but the league are seen more as victims of abuse than actual criminals. i mean, what's more important in dabi's story? the fact that he burned himself alive after overworking himself to get his abusive father's attention, or the fact that he's burned people alive? probably both, but there's more focus on the first element.

and obviously we would want abuse victims to get a happy ending

basically, their ending isn't coherent with what we've seen of them, and that's why people are disappointed

btw, the same logic applies to stain. some fans agree with stain's reasoning bc he's fighting against corruption. of course, his logic is stupid and he's delusional but he's introduced not long after we've discovered shouto's past. you can't say "one of the most popular heroes is abusing + all he wants is to get n°1 to satisfy his own ego" and then follow with "see that guy fighting against corruption? he's bad, don't do that"

the clever way to make sure no one would agree with stain would have been to make the heroes fight against injustice with good methods. i live for the fanfics in which izuku takes down the hpsc

okay i'm done ranting thanks for reading

[moonchild701]

⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑

Finders Keepers

⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑

[NSFW] ‼ 18+ >MDNI<

Summary: Dabi finds you knocked out in an alley at the end of your patrol. You're pretty, so he decides to keep you.

Pairing: Dabi/Hero Fem Reader

Content Warning: Noncon/Dubcon, Kidnapping, Nonconsensual Bondage. Spanking, Cunnilingus, Choking, Self Deprecation, Victim Blaming, Degradation, Mind Break, No use of Y/N

Word Count: 4.8k

Disclaimer: Character belongs to Kohei Horikoshi

A/N: We're switching it now! :D

My Masterlist

⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑

You groan when you come to, head pounding as a dull ache pulses across your body. You attempt to move your arm to your head, to at least try to ease the pain there.

Except, you can't move your arm.

What the fuck?

Tugging harder, your eyes snap open to find that your arms are restrained above your head in tight ropes. They dig into the soft skin of your arms, creating harsh red lines as you thrash in your restraints.

Your eyes quickly scan around the room, finding it unfamiliar. Though the room is dark, you can vaguely make out a bed in the corner of the room, with plain sheets covering it, and a small wooden dresser next to it. Other than that, the room is bare.

You try to stand properly, to plant your feet firmly, but the position of your arms doesn't allow for more than the tips of your toes to touch the floor. You shiver as the cool air causes goosebumps to rise across your skin. At some point, your clothes had been removed, leaving you in only your underwear.

You try to remember what the hell happened and how you ended up here... you remember being on patrol, and stopping a mugging, the victim running for safety. Then a thud and pain as your vision blurred while the mugger lifted your head, makimg you look into piercing, golden eyes and everything goes foggy after that. You believe he made his escape after that, and you think you vaguely remember another pair of piercing eyes on you; a pretty blue.

But then you let out a soft curse as you remember that it was at the end of your patrol, and no one would really know something is wrong until the next day, because you already signed out on your comms; the mugging just happened to occur right after that, on your way home, and it's not like you could just let it happen.

Fuck.

You grunt in annoyance, panic beginning to bubble up in your chest. Who the hell kidnapped you and what did they want? The numerous senarios flashes through your mind, none of them pleasant as you're both a Hero and woman.

Neither of those things were a good thing to be when kidnapped, but together is worse, especially when you can't use your quirk for whatever reason.

They probably injected you with supressants......

Just as you were about to try to pull on the rope again, the door to the room slammed open, smacking harshly against the wall. You flinch at the sudden sound, and the fluorescent light that floods the room after a sharp click, sensitive eyes shutting at the brightness.

And as much as you tried not to, you felt a trickle of fear go down your spine as you shook.

Get it together!, you mentaly reprimand yourself.

You try to activate your quirk again, in vain, you know, and as expected, nothing happened. Fuck, fuck, fuck.

"Finally awake, I see. You tryna use your quirk, Sweetheart? Cute~." a husky voice coos mockingly; menacingly. You squint your eyes open, narrowing them at the figure as they shut the door behind them, before strolling further into the room.

"Don't bother tryin', Dolly. I injected you with enough quirk cancellin' serum to last....a while." His grin is sharp and dangerous, and you supress a whimper at now knowing just who has you captive.

Tall, healthy skin contrasting against the dark burn scars, secured by silver staples, and tousled midnight hair falling over pretty cerulean eyes...

The villain Dabi.

You've been captured by the League of Villains, and no one has any way of knowing, especially not for a while.

Fuck.

As much as you fear your situation and fate, you refuse to show it, glaring at the villain, waiting for his next move, which just makes him smile wider staples tugging at the edges. You need to be ready for anything... there's obviously a reason they brought you here, right? But you had not an inkling of what it could be, because you've never actually interacted with any of them, only knowing who Dabi is because of his prolific rapsheet and defining looks.

It's hard to miss the scars, obviously.

You silently debate with yourself on whether or not to just ask, before deciding why not. It's not like it would actually change your situation.

"Why did the League take me? I've never had anything to do with you..." you ask warily, eyes trained on the villain as he stalks closer.

Now standing directly in front of your bound figure, his smirk softens. He grabs your face, fingers pressed into your cheeks teasingly, turning your head side to side, inspecting, making you freeze, your eyes wide on him.

"I did."

You almost didn't catch his murmured words, but when they process, it just confuses you even more.

"What?"

Piercing, azure eyes meet yours, hot and calculating.

You stare back helplessly into the villains eyes, as he says, "I took you. The League has nothin' to do with this." His voice low, thumb rubbing at your cheek, as he tilts his head. "They don't even know you're here."

Your heart rate quickens, because you don't know if that's better or worse.

"T-Then why—" You silently curse yourself for letting the nervous stutter slip, but you're quickly distracted.

You get your answer.

He releases his hold on your face to slide the hand down to tilt your chin up gently, his middle finger stroking over a pulse point, thumb rubbing at your botton lip, as the other hand brushes up your side, ghosting over the skin there, and he breathes, gaze locked on yours, "You're fuckin' gorgeous, Sweetheart. I just had to have you." Your lips part in shock as your breath hitches.

Ah. He's crazy.

You don't want to be here, you want to be home, curled up warm and happy in the softness of your bed.

Fear washes over you, cold and consuming, and you have to blink away the tears pricking at the corners of your eyes

Because Dabi's lips curl into a smirk as he his eyes drag over your shivering frame, squirming in the ropes that still hold you suspended from the ceiling.

The hand on your chin releases to slide down, over your throat to your chest as he cups your breast through your bra, the other hand sliding down your side, toying with the waistband of your panties.

You gasp at the touch, desperately trying to move away from the hot hands violating your skin.

"N-no, no, get a-away from me." you say shakily. You're confused, frightened, and worried about what's going to happen to you.

This can't be happening.

Dabi laughs, soot tinted and condescending, quirking an eyebrow at you. His lips curl into a playful smirk as he gropes at your breast before grabbing your hips in both hands, pulling your suspended body flush against his, burying his face in your neck, rough scars and staples grazinging your skin.

And oh, you could feel the thick, hard bulge on your leg as he presses his thigh up against your core. You immediately start struggling against your restraints.

"No, no no no—"

Dabi sighs against your pulse, mismatched lips grazing the skin there

"Shut the fuck up, little hero." he murmurs, his hips moving against you as he slides you to do the same, grinding you on his thigh. You whimper at the friction, squeezing your eyes shut.

"Hah" his hot breath on your skin raises goosebumps where it hits,

Why, why, why—

Without warning, you drop; the scent of something burning wafts through the air and you realize it's the rope.

Before you have a chance to recover, Dabi drags you over to the bed by the short piece of rope like a leash, forcing you to stumble your way after him. He throws you roughly down onto the hard mattress, securing your hands to the head board with thick handcuffs after burning away the rest of the rope.

You choke on a sob as you struggle to get away from him. Looming over you, he burns away the straps of your bra, sliding it off and throwing it to the side, before heated hands are roaming and groping your flesh reverantly, familiarizing himself with your skin as he leans in to capture your lips in a bruising kiss.

You clamp your lips shut, but he just squeezes your cheeks to pry it open, tongue slipping in, licking into your mouth.

In a last ditch show of defiance, you bite down on the muscle, hard, the coppery taste of blood painting your tongue.

He pulls away with a curse, glaring up at you with a sharp coldness as he chuckles darkly, and with the blood trickling down the side of his mouth, he looks like the deranged villain you know him to be.

Wiping up the trail of blood with his thumb, he looks at the crimson staining his skin with amusement, before popping it into his mouth, sucking it off, and pulling it out with a wet pop. "Looks like you need some discipline, hm?" He hums, pulling away.

Before you can fully process what he means, he flips you onto your stomach, forcing your arms to cross awkwardly and uncomfortably, before gripping the waistband of your panties on both sides and tugging; his blunt nails dragging lightly over your skin as he pulls it over the swell of your ass, and down and off your legs.

And you shake, as your last piece of flimsy modesty is stripped from you and thrown carelessly to the side somewhere.

Where is everyone? Why hadn't they come to save you yet? How long had you even actually been missing for?

The thought is immediately cut off as Dabi lands a sharp smack to the exposed flesh of your ass cheeks.

Shocked, you gasp at the sting, pleading, "No, please, d-don't—!" Helpless against the villain, you whimper as he kneads and squeezes your ass, soothing the sting, decietfully gentle and placating, before your vision blurs as he lands another harsh smack against the soft flesh, followed quickly by another. Then another. Then another.

You sob pitifully, body convulsing in an attempt to escape Dabi's stinging touch; the sensitive skin turning such a lovely red.

Your breath hitches as you're suddenly flipped back over onto your back, and then Dabi is on you; looming over and surrounding you, face close enough to yours to feel his breath fanning against your lips, and you're not sure when he got rid of his shirt, but the heat wafting off of him is almost suffocating.

"Learned your lesson?" He smiles expectantly, sarcastically, and you just continue you sob.

"If you don't shut up, I'll have to fuckin' gag you." Dabi's voice is a harsh whisper, and you're viciously reminded that this man could turn the whole room into an inferno within seconds, turn you to ash in less. Though, he doesn't need to because his eyes are the same color as his flames and you already feel like you're being burned alive with them trained on you.

He grabs your face and growls, commanding, "Behave.", and swipes his tongue over your bottom lip before slipping in, and this time you let him, but you don't kiss back, though he doesn't seem to care.

You whimper when his hands wrap around your thighs, hot and firm as he forces them open, slotting himself between your legs, and he licks the sound out of your mouth.

He explores you warm mouth like he's trying to memorize it, kissing you stupid, and you're breathless by the time he's done. He eases down your chest, mouthing and licking and sucking at your bare tits, hot tongue playing with your nipples; the metal of his piercing was an overwhelming surprise to the sensitive buds, before moving back up the column of your throat. And you can't help but whine as scarred hands roam your thighs and up your sides, salty tears rolling pitifully down your cheeks, as you try and fail to calm your sniffling.

Though, when he speaks again, you shiver in more than just fear.

"Mm, you'd like that, wouldn't you?" He whispers against the shell of your ear, voice velvet, breath hot. "You'd love to be gagged and choked, like the sweet little whore I know you are, hm?"

Something between a mix of shock and shame wracks through you, as arousal pools in your stomach at his words.

No.

No, you can not be turned on right now. Fucking hell, Dabi is a man, a villain, who kidnapped you, for fucks sake, and now he's using your body as he sees fit. Nothing about this is okay.

And yet.

And yet, warmth creeps up your neck and cheeks as your pussy weeps, clenching around nothing.

In your dazed, shocked arousal, you don't notice what was coming until it's too late, as Dabi grabs a fistful of your hair, yanking your head back, before crashing your lips together in a searing kiss, forcing his tongue into your mouth yet again. He sucks on your bottom lip, biting into the plush flesh as a sharp smack against your inner thigh makes you jolt in surprise.

"I asked you a fuckin' question, slut. You'd love that, wouldn't you?" Dabi's eyes are sadistic, wolfish smirk on his lips.

You tremble, your body warm all over as shame washes over you. You could still feel the sting of his slap to your thigh, could see the skin reddening and the bruises already forming along your chest.

A sharp squeeze to your thigh, much too close to your heat makes you squeak.

"N-no, no, I—"

His thumb brushes through the folds of your pussy, to your clit, as he bites down on the junction of your neck, forcing a moaning squeal out of you.

"No? Why're you so fuckin' wet then, hm slut?" He growls into your throat as he licks and sucks and bites at the sensitive skin there, rubbing his thumb against your nub, making you leak.

Your breathing picks up as you tug on your bindings in an attempt to distract yourself as you try oh so desperately to contain your noises, to not react.

And then you feel his thumb petting over your entrance, making you gasp and shake your head pleadingly as the thick digit slips in. You thrash and pull at the cuffs locking you in place, as the reality of your situation truly sets in.

"No, no. please, don't- I don't want—mmf!" You plead, getting cut off by a large hand cupping over your mouth. You try to scream and thrash against it, but he's too strong. As you feel the thick thumb pumping in and out of you, easily because of your slick, you sob, beginning to accept what's going to happen.

Your body would react to his touches, to the stimulation, it's only natural...but this is wrong.

So, so wrong.

But it feels so, so good.

You wail at the thought, feeling dirty and ashamed of yourself; too distracted to notice when Dabi pulls the thumb out, popping it into his mouth, groaning at your taste, before reaching to the side, and the dresser. You don't notice anything, until Dabi squeezes your cheeks, holding you still and forcing your mouth open. You make a pitiful, confused sound and he makes a show of making sure you see your panties in his hand, before he stuffs it into your mouth. You scream into the cloth, thrashing, trying to wiggle your way out of his grasp. Dabi just presses his fingers tighter into your cheeks, slamming your head back against the bed roughly. It of course doesn't hurt, but it does distract you long enough for him to cover your stuffed mouth with a thick strip of tape.

You scream against the gag, shaking your head, eyes wide; begging.

"I fuckin' warned you to shut up. No use in your pathetic beggin', baby, you belong to me, now." Dabi cooed, mocking; tapping your cheek condescendingly, before scarred hands are fondling and groping, pinching and squeezing, wherever they wander on your writhing body.

You sob as he roughly palms your tits, sucking bruises into your flesh, your tears flowing freely, eyes glassy and clear. Gorgeous. Licking up the salty tear track on your cheek, he breathes, "So fuckin' pretty when you cry, Sweetheart. Be a good girl, and let me make you feel good, yeah?", pressing a kiss to the corner of your eye.

And he will. He knows you want this, you just don't know it yet. Don't worry, he'll make sure to show you.

Swiping his pointer and middle finger across your other wet cheek, gathering your tears, he strokes your wet cunt with them, before slipping the two long fingers into you in one slow push. You scream, and you don't know whether it's out of despair or desire, but you couldn't deny that as fucked up as it is, Dabi fucking your literal tears into you was one of the hottest things ever, your cunt pulsing at just the thought of it.

Dabi groans as you cry on his fingers, barely giving you a second to breathe as they're dragging along your walls and crooking deep, before he's sliding it back out, and pumping into the tight warmth again and again.

Leaning forward, he places a kiss against your gag, before trailing kisses and nips down your throat, chest and stomach as he bullies a third finger in. You reflexively clench around him when he kisses your mound, the stretch making you breathe sharply, before he throws your leg over his shoulder; pressing the tip of his scalding tongue against your clit, rubbing in circles, then slipping in, beside his fingers.

And your brain blanks.

You give in. It's not like anything is gonna change anytime soon, so, well. Why not enjoy it.

Besides, if you say you've never at least thought the villain was hot, no pun intended, you're lying to yourself.

So, you let go.

Even with the acceptance, you feel embarrassment and self loathing flood through you, as you keen, high and needy, as you grind down on him, shoving your pussy further into his face, fucking yourself on his fingers and tongue, which....was a very pleasant surprise for Dabi. After all, he's the oh so, big, bad, scary villain that kidnapped you; that's violating you.

Yet here you are, grinding and moaning against him, like a needy little slut.

Pumping his fingers roughly, his other hand digging harshly into the flesh of your thigh, he groans against you,"Fuck, not complainin' so much now, hm?", dragging blunt nails along your sensitive skin and his hot tongue up your clit. "Don't worry, sweetheart, I'll fuck the thoughts right outta that pretty little head."

You moan lowly as your pussy pulses around his fingers, helplessly leaking at his words.

"Shit, Sweetheart. You're swallowin' my fingers so fuckin' good. Can't wait to feel you 'round my cock.", he breathes, hot breath hitting your swollen clit, pressing one last kiss to it before pulling away; your hips involuntarily jumping to chase his hot mouth, the cuffs rattling against the headboard.

Dabi smirks, his eyes wide, huffing out a laugh of disbelief, as you whine at the loss of contact, before pressing hot kisses along your hip bone, muttering into the skin there. "You're really just a little whore, aren't you? Actin' all innocent earlier like you didn't want it," he says mockingly, but you can hear the underlying awe in his voice, before he curls his fingers, twisting them, as he makes his way up your abdomen and chest; and he continues, "but really, you're just a little cockslut, huh?"

You moan loudly into the gag at that, but shake your head rapidly, denying it even as you know deep down that it's true; as you both know it to be true.

It becomes even more clear when he drills you with his fingers, thumb rubbing your clit, and you're a mess beneath him; writhing and moaning, and crying and grinding as he brutally nudges against that sweet spot inside of you; all while he peppers open mouthed kisses along your chest, taking his time, tasting your skin, sucking and nipping at your pearled nipples, his tongue hot and slick on you.

You moan and whimper into your gag, head lolling back to hide behind your raised arm at the continued the abuse to your sensitive buds and cunt.

And then they're suddenly taken away, as he releases your tit with a wet pop and withdraws his fingers with a squelch.

Your hips twitch and lift from the bed, chasing him in a silent, desperate plea for more. Dabi could see your stretched hole, clenching on nothing as it just wants to be filled.

He's more than happy to oblige.

"Aww you want me to fuck you, baby? Shit, look at you. Fuckin' needy, mm? Done pretendin' you weren't desperate for me to stuff you?", he teases, hungry eyes betraying his calm demeanor. You tremble, feeling so empty, as tears streamed down your cheeks.

"Fuck, you're already so cute, I don't know if I'll be able to control myself when I have you cryin' on my cock, Dolly." He groans, palming himself through his pants, as you wiggle your hips enticingly, legs spread and your puffy pussy on show for him.

And Dabi laughs, breathy and fond, "Slut. Fuck, c'mere." He says, the sound of his belt unbuckling and hitting the floor with a clang just makes you somehow gush more.

You look down in anticipation as scarred hands grip your thighs, holding them spread. Your cunt throbs at the sight of his cock, thick and veiny, long and so fucking hard; precum beading at the tip.

He grips his length, tapping his sticky cock head against your clit, dragging through your folds, coating it in your juices.

"Relax for me, sweetheart, don't wanna break you, hm?" He purrs, before pushing the thick mushroom head inside lightly, making you whimper.

Dabi's grin is predatory as he slides in all at once, in one slow drag, impaling you on his fat cock. He groans at the feeling of your tight heat wrapping around him so obediently, "Fuck, you feel so fucking good. Like you were made for me, sweetheart."

Your eyes wide and glossy, you couldn't help but moan at his words, at the delicious stretch, at the hunger in his eyes.

His thickness stretches you so good, almost painfully, but you could take it.

You were his good girl now, he would make you take it.

But you don't really have much of a choice now, do you?

You choke on a sob, body shaking and hands clenched into tight fists where they rest in the cuffs. Because the thought should bring nothing but disgust and fear, yet all you feel now is shameful want, as your pussy tightens around him, gushing.

"Haah, you take me so good. Mm, such a good girl, c'mon..." He mumbles, grinding deeper and deeper into you, his hips flush against you.

Your whimper is sweet even muffled by the gag, and Dabi's composure slips.

He pulls back before shoving back into you roughly, making you sharply breathe. Not giving you any time to catch your breath, he thrusts deep into your tight hole, snapping his hips mercilessly. A scarred hand grips at your tit, the other bouncing and swaying lewdly with every brutal thrust. The gag muffles your cries and whimpers, but the scream you let out when he hits your sweet spot is still loud.

You grind down to meet his thrusts, pleasure completely taking over as all rational thoughts are fucked out of you; unable to think of anything but the way his cock feels, stirring up your insides, reaching so deep you swear you could feel it in your stomach, and the single-minded need for more.

Dabi moans, slowing his thrusts, admiring the way your hips roll sinfully, bouncing yourself on the villain's cock. "Fuck, pretty little slut...", he breathes, "So fuckin' pretty when you're bein' honest, hm?" His hand gropes and pinches your breast, as he licks his lips, eyes trained on you.

When he took you, he certainly hadn't expected that you'd be such an eager slut, but he's definitely not complaining.

You whine, the shallow, uneven thrusts, making you needy for more, faster, deeper, as you rhythymically clench around him.

Releasing your breast, he wraps the heated hand around the expanse of your throat, squeezing lightly, feeling your quick pulse beneath his fingers as he rolls his hips to meet yours, slow and deep.

You moan and choke behind your gag, eyes rolling back in pure ecstasy. Dabi smirks cruelly, finally speeding up his delicious thrusts; your body forced to move further up the bed with the speed and strength, and he just drags you back down to take it, your little display of hedonistic pleasure inciting him.

A whimper escapes you as you feel the warm coil of pleasure spread through you, you're so close. Your thighs shake, your moans spilling in a sweet mixture of pleasure and pleading.

"Fuck, look at you. Gettin' fucked by a big, bad villain and you fuckin' like it. Your little Hero friends know you're such a goddamn whore?" Dabi grunts out, cock hitting your sweet spot so, so good, fucking you so, so deep, as he pummels your insides, giving your throat another squeeze.

You let out a choked, sobbing moan, back arching from the bed as you feel yourself just on the edge of your release. You look up at Dabi pleadingly, eyes pretty and glossy, wide and blown out, almost completely black with lust; your chest heaving as your cunt pulses around him.

"You wanna cum, little hero? Squeezing me like you wanna milk me." Dabi groans, hips beginning to stutter.

You nod frantically, eyes wide and begging, tears streaming down your cheeks, moaning desperately against your gag; the panties soaked with your spit and drool.

"Yeah? Fuck, you want my cum, baby? Shit, do it. Cum for me, slut." Dabi moans, pistoning into you, muttering, "Wanna see it, wanna see you fall apart on my cock"

The pleasure burns.

Back arching off the bed, toes curling, you cum with a scream; clamping down on his cock as you gush and squirt around him, your eyes rolling back; vision going white.

Dabi fucks you through your orgasm as he chases his own, growling, "That's it baby, fuck. I'll fill you up real good, and if it spills, I'll just fuck it back in. Doesn't that sound nice?"

Your pussy squelches loudly, his thighs smacking wetly against yours as Dabi continues fucking you, frantic in his desperation to paint your insides with his cum.

The feeling of your tight cunt squeezing him so good and the sight of you cumming from just his cock was enough to push him completely over the edge with a moaning curse. Buried as deeply as he could be inside of you, hips flushed and grinding against yours, his thick, hot cum pumps into you, marking you from the inside as his; branding you and filling you up.

He collapses on top of you, holding himself up on his elbows, not pulling out just yet; keeping you full and plugged. Chests rising and falling in heavy pants, you bask in the afterglow of what was probably the best orgasm you've ever had.

He gently removes your gag and unlocks the cuffs, freeing your hands, rubbing soothingly at the irritated skin of your wrists, pressing light kisses to the sensitive skin, before trailing his lips up your arm, over your shoulder and throat, to your own.

The kiss is slow, languid and savouring, and you moan softly into his mouth as he licks into yours.

He groans softly, before kissing down your throat, breathing out a short, hot laugh against the myriad of bruises littering your neck and mumbling against your skin, "Fuck, I can't let you go after that. I'm keepin' you, gonna take care of you, and if you don't love me now, I'll just have to teach you, I promise, Sweetheart. You'll be my perfect little cock sleeve.", nuzzling into you.

The words don't match his saccharine tone as they send a trickle of fear down your spine at the dark promise, but the fog of arousal clouds your mind, and you slump back against the sheets as he looms over you, eyes piercing through you.

You feel his hips begin to roll against you again as he grinds into your abused cunt, making you gasp.

He grins. He'll fuck you until you're gaping and dripping with his cum, cock branding his name into your sweet spot and he'll make sure you never forget who you belong to.

⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑⭑

[mamashenanigans]

People: AFO killed Yoichi without hesitation or remorse! Yoichi was just a toy! He never really cared about him! He was born evil! So GLAD we finally have an evil villain that is just evil and doesn’t have a meaning!

AFO: spends 100+ years blaming Kudo for Yoichi’s death, heavily projecting to the point he kills all of Kudo’s family.

Embalms and carries around Yoichi’s hand for 100+ years. (He also refers to the hand as Yoichi in the present)

“Talks” to Yoichi in his head(this happens multiple times). Says he “needs”/“it’s all for nothing” without Yoichi.

Admits he hates thinking back on when Kudo snidely told him he killed Yoichi because it brings back all of the terrible memories(which would include Yoichi’s death and their horrible childhood. Also, see the last image for that too).

Says that all color has left the world after he heard Yoichi breaking into pieces; only a gaping hole of loss remains.

Screams at Deku not to look at him (though all he keeps saying is how he wants everyone to look at him) when Deku realizes he’s not a monster beyond understanding, not a demon lord, but just a very lonely man.

Begs to see Yoichi’s eyes, his face—you can’t go! Screams at Yoichi that he loves him more than anything, he’s hopeless without him—he’s nothing.

Horikoshi’s own words from the Da Vinci Magazine interview:

“By stripping away the things that the diabolical villain wears, I find that there are parts of him that I can empathize with as a human being. I’m going to look for it to see if it exists”

People: …nuh…nuh-uh!