#I am not a battle manga person!

[ikemenomegas]

Everyone is so Upset but this latest chapter lol

[haikyuustuffs]

Those who have seen the movie....

Can we all talk about how they animated the last point?!

[whos-hotter-jjba]

Hottest Stand Battle - First Round Match 9

Stand abilities under the cut:

20th Century BOY: 20th Century BOY redirects any attack toward Magent Magent into the ground as long as he assumes a kneeling position. Though they are invulnerable while in this state, the user is disadvantaged by the requirement that they remain completely stationary to maintain the effect.

Wonder of U: Wonder of U is able to take on a human form, which unlike most Stands, can be seen by non-Stand users. Wonder of U is able to create multiple visions of itself, which can be designated to specific targets.

Wonder of U's primary ability allows it to manipulate a "natural law of calamity", which is a form of negative energy independent from the Stand. While its ability is active, targets will experience horrible developments referred to as calamities, which always manifest themselves as some form of harmful collision. Objects that come in-contact with Wonder of U can be infused with calamity and trigger the ability when touched.

[traitimdoithay]

actually while i’m here i should state that i’m not a yugioh blog, nor do i really consider my blog to be tied to a certain franchise! i talk about literally anything here (mostly games but) and yugioh just happens to be one of the things i like, sorry to anyone who followed me expecting a lot of yugioh talk 😭

[augustinewrites]

cw: jjk manga spoilers (up to 221), blood, sword fights heh + note: it's finally here, and somehow it's worse than shibuya!

“is he gonna be mad?”

“satoru?” you snort lightly, taking another bite of your frozen yogurt. “he’s just going to ask if you won. he might try to take the sequel of that new book set you got as punishment— but i’ll see what i can do.” 

across the table, megumi huffs, leaning back into the plush booth. you’d picked him up early from school today, the reason being yet another suspension. his second since he’d started the school year. you suppose that’s the reason for his sullen disposition and existential crisis. 

“am i a bad person?”

you glance up at him in acknowledgement, but take a moment before answering. he stirs the frozen yogurt around in its cup, looking rather glum.

there’s a delicate way of going about these types of things. children (especially teenagers) are complicated creatures. they’re still at their most malleable, your words and actions shaping their very future.

“i don’t think you’re a bad person, megumi,” you answer softly, setting your spoon down. 

“but i…i keep doing bad stuff,” he argues dejectedly. “and— and i was mean to tsumiki—”

“hey. no one’s born wanting to do bad things,” you tell him. “and when they do…it’s usually more complicated than we think. there are bad situations where sometimes we have to do bad things. even if we don’t want to. even if we’re not proud of them.” 

“but how do you know that i’m not?” he asks again, and your heart aches. 

“because i know you,” you smile. “i’ve known you for eight years, megumi. yeah, i think you could afford to try using your words instead of your fists once in a while, and be a little nicer to your sister…but i know everything you do comes from a good place.”

megumi doesn’t reply, staring out the window with that pensive frown of his. all you can do is wonder if you and satoru have done right by him. if you’re doing right by him now. (such is the life of a parent, you suppose.)

all you can do is hope. 

“hey,” you grin, holding your hand out to him. “promise me something?”

_____

you stumble backwards, narrowly avoiding being gutted by a sword. gasping, your fingers fumble with the hem of your shirt, the material sliced right above the small, almost imperceptible bump of your stomach. 

your megumi would never hurt you. your megumi, your sweet, gentle boy who still muttered the song about bunny ears as he tied his shoes. who always offered his sister the last bite of cake, even though you knew he wanted it for himself. who cried the first time his shikigami were injured in battle. 

but this isn’t megumi.

you barely dodge the blade again, ducking and sending your demon dogs out to slow him down as you sprint down the alley. your heart shatters at the sound of a high-pitched whine, but you can’t stop, you can’t look back—

“going somewhere?”

you skid to a stop in front of him, staggering back as quickly as you can. 

megumi— no, sukuna stands in front of you now, holding a sword you’d taught his vessel how to make, how to use. 

“please,” you beg, thinking of tsumiki’s body a few blocks away. thinking of gojo in the prison realm. you can’t lose anyone else today. “please let him go.”

“i don’t think so,” he grins, sick and twisted as he slowly makes his way towards you. “if only he’d unlocked his full potential sooner. if only you had.” 

“he’s just a child.” you say, voice trembling. you look around. there’s no use in running. he’s gotten much too strong.

but you’re not ready to die either.

he wasn’t patient, lunging first and taking the offense. it’s a struggle to meet him at every swing, deflecting blows that send tremors down the sword’s point of impact and reverberate through your arms. 

playing defence is the smart move. you’d wait for an opening or a drop in his own defence. then your goal would be to disarm him and attempt to grant yourself an advantage. 

(in theory, at least.)

when your swords lock once more, he forces them to the side, kicking you square in the chest. the impact knocks you onto your back. before you can get up, he’s on top of you, driving his sword into your shoulder.

the pain is so blinding, so white-hot and tortuous that you almost immediately pass out when he pulls it free and tosses it out of your reach. 

sukuna is in your face now, lips peeled back into a smirk as he laughs, the top of his finger slowly dragging down your face.

“putting you down now would be letting this brat off too easy. doing it slowly, however—”

“get off her.”

your heart skips a beat. that voice. 

there’s a flash of recognition in megumi’s eyes. just a for a second. 

“satoru?” 

“is that any way to treat the person who washed your underwear for almost ten years?” he tsks, hands in his pockets as he steps into the alley, quite literally kicking the king of curses off of you.

he sweeps you off the floor as gently as possible, your stomach flipping at the familiar sensation of being teleported.

you’re not in the alley anymore, you’re up on the roof of a building. as soon as satoru sets you on your feet, you look up, studying his face. the eyes you love so much stare back at you. 

the emotions you’d kept bottled up since he’d been gone pour out at once. proof of your heartache, anger, pain, and loneliness spilling over your lash line.

suddenly there’s too much space between you and you tentatively take a step forward. 

“it’s you,” you breathe. “it’s really you.” 

he says your name softly, and arms you’d longed for envelop you. you feel safe, if only for a moment.

“you need to get to ieiri,” he whispers, a hand cupping your cheek gently. “go. i’ll stop him.”

you both close your eyes, as if the words hurt.

_____

“promise me you’ll always be good.” 

megumi sighs, but places his hand in yours, squeezing it tightly.

“i’ll see what i can do.”

[linkspooky]

Are You Satisfied?

As you might have heard chapter 236 of Jujutsu Kaisen ends with the death of Gojo Satoru. The fandom is making a pretty big deal about it. As someone who predicted from the beginning that Gojo was going to lose against Sukuna, the reaction is fascinating to me. This is perhaps the most controversial chapter of Jujutsu Kaisen I've ever seen. So I've decided to throw my hat into the ring.

The central theme of Jujutsu Kaisen is death, so the death of one of the main characters isn't too surprising, but what does Gojo's death mean for the story? What does it say about his character?

As I said above I am a little bit shocked by the extreme controversy over Gojo's death. Gojo was never going to win the fight in the first place, because Jujutsu Kaisen is a story and the story would be over if he defeated Sukuna. He'd easily be able to take care of Kenjaku afterwards and the main conflcit would be resolved. Would it really be an interesting story if Gojo one shotted the villains while the kids just wathced on Television?

The story is also not about Gojo, it's about the students. Gojo may think he's the protagonist of reality but he's not the protagonist of the story.

Once again, Jujutsu Kaisen is a story and stories have themes. We may grow personally attached to characters, but characters are just narrative tools to convey the themes of a story, no different from prose, dialogue, and art. Characters are a tool to be used well or used poorly, and sometimes yes that means killing them. Whether Gojo's death was naratively satisfying though isn't the purpose of this post though we're only asking what does it mean?

Finally, Jujutsu Kaisen is not only a fictional story, it's specifically a tragedy. Full disclosure, it's a manga about death.

The Protagonist of a Tragedy

So, number one shout out to me for making this post 4 months ago where I called the way Gojo would end the fight.

Excuse me while I fist pump for calling it!

The question on everyone's minds is why does one of the most powerful characters in the manga die offscreen in a pretty humiliating way, cut in half and helpless on the ground just like Kaneki. The reason Gojo didn't get a more heroic (or cooler) death is because we're not reading My Hero Academia, this is not a story about heroes or even a typical Shonen manga it is a tragedy.

In poetics Aristotle defines tragedy as:

"an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions" (51).

To paraphrase a tragedy is about human action, actions characters make in a tragedy often have dire consequences. One of the most common consequences if the reversal of a hero's fortune, a hero of a tragedy usually starts out on top and ends up on the bottom because of the bad choices they make. If in normal shonen manga characters overcome their flaws through effort and persistence, in Jujutsu Kaisen we see characters more often than not lose to their flaws.

The reason I posted that Kaneki panel specifically is because it was a brilliant moment of narrative punishment for Kaneki's central character flaw. Kaneki the hero's main flaw is that he always fights alone, and he constantly makes that same choice over and over again to fight alone. One of the characters helpfully explains it as well.

Stories are primarily about change. If a character doesn't change they're not serving the plot, unless that specifically is the point. People have pointed out how abrupt it is for Gojo to get sealed in Shibuya, get let out, and then immediately die afterwards but that's kind of the point. Gojo made more or less the exact same choice (he asked for Utahime's help for a buff but otherwise fought the entire battle himself). The definition of insanity and what not, why would doing the same thing over and over again net him a different result?

Not only did Gojo choose to fight alone, but as I've been hammering on and on about in previous meta the entire fight Gojo cared more about fighting a strong opponent then he did saving Megumi, the child he was responsible for.

Jujutsu Kaisen is not a typical shonen manga where everything is resolved by beating a strong villain in a fight. That's specifically why I used the Tokyo Ghoul reference, because the reason Kaneki is defeated offscreen like that is because he thought the world worked like a shonen manga. He has a fantasy sequence where he's fighting Juzo in a shonen battle tournament like this is Yu Yu Hakusho right before it snaps back to reality and he's limbless on the ground.

Gojo is a major character in the manga Jujutsu Kaisen, literally "Sorcery Fight" and he is the best sorcerer in the whole world. His entire identity revolves around being a sorcerer. Since he is so good and beloved at what he does, he thinks that everything is resolved by exorcising a curse or defeating a strong opponent. He has basically no identity outside of that. Which is why when he's fighting the possessed body of his student, a person he's been mentoring since childhood his priority is not to save Megumi but to beat a strong opponent. Gojo is a sorcerer, before a human being. That's who he is, that's who he always has been since day one.

I think part of the negative fan reaction comes from fans being really attached to this scene in the manga and deciding Gojo's entire character revolves around being a good mentor figure to children.

Which is just incorrect, Gojo's entire character revolves around being the strongest. On top of that though, Gojo can care about children and also care about being the strongest he can care about multiple things at once and have those things contradict each other because humans are complicated. I'd point out even in this panel where he's stating motivation he's not trying to raise these kids up into being healthy adults, he wants them to be strong Jujutsu Sorcerers. Even when he's raising kids, his intention is to turn them into Jujutsu Sorcerers because everything in Gojo's mind revolves around Jujutsu Sorcery. Gojo does not exist outside of the world of sorcerers. Gojo may be the chosen one but he'd never be able to hold down a job at Mcdonalds.

I think in general readers put more investment in the things characters say out loud, rather than their actions. You can say one thing and do another. I can say "I should never eat sweets again I'm going to improve my diet", and then go and eat ice cream five hours later. Gojo can state out loud his intention to foster children and protect their youths, but then fail to properly do that in the story. Characters are not always what they say they are, that's why they're interesting to interpret. This isn't me calling the readers stupid, just pointing out that Gojo is made up of contradictions. He wants to get rid of the old guard and replace them with something new, but Gojo IS THE OLD GUARD.

If the culling games arc has shown us one thing, it's that ancient sorcerers brought to the modern age do not care that much about human life on an individual level, they are all of them egoists. There's a reason Gojo resembles someone like Sukuna more than he does any other character in the manga. I'm not saying Gojo is exactly like Sukuna, he's far more altruistic and uses his genuinely noble ideals but at the same time Sukuna is a shadow archetype to Gojo he represents Gojo's flaws. The flaws that Gojo succumbs to in tragic fashion.

Which if you believe that Gojo genuinely does love his students, and the ideal he's fighting for is to raise up a better generation and allow them to live out their youths, then Gojo throughout the entire Sukuna fight is acting against those ideals. He cares far more about fighting Sukuna then he does saving Megumi, it's shown over and over again in the battle, Megumi is an afterthought to him. If Gojo care moredefeating the big bad and saving the world is more important than helping a child that Gojo is responsible for then Gojo is acting against his stated principles. Why should Gojo win the fight when he's fighting for all the wrong reasons?

Tragedies are like visual novels, if you make the wrong choice the novel will give you a red flag. If you ignore the red flag then you get locked into the route with the bad ending. Gojo always fights alone. Gojo only ever fights for himself, even if he's using that selfishness in support of a more noble ideal like creating a better generation of sorcerers. If Gojo consecutively makes the same changes then in a tragedy he's not going to be rewarded for it.

Gojo wants the old generation out and the new generation in, but Gojo resembles the old generation too much. Old sorcerers like Hajime and Sukuna respect him, Hajime argues that Gojo being able to fight for his pride is far more important than him living to the end of the battle when Yuta wanted to interfere and help him.

Gojo's death isn't a surprise curve ball that Gege is throwing us for shock value, it's a result of his choices throughout the manga. A manga about change, and the change between generations is not going to punish a character for remaining roughly the same. Of course you might find it disappointing that Gege didn't give Gojo the chance to grow and change and experience a character arc like Megumi or Yuji, but Jujutsu Kaisen is a tragedy, and the way Gojo's arc ended is consistent with what Gege wrote.

Jujutsu Kaisen is not just a tragedy though, it's a manga about death. The manga begins with Yuji's grandfather warning him not to die alone the way that he did. His grandfather's dying words are what motivate Yuji throughout the beginning of the manga as he's searching for a "proper" death.

One of the major themes of Yuji's character is a contemplation of death. He accepts that death is inevitable, so he wants to save them from the gruesome deaths they'd experience if they became victims to curses and allow them to have a more satisfying death. Yuji's grandpa died an unsatisfying death because he died alone in a hospital room. Yuji even tries to make his own death a satisfying one because he believes by dying to seal away Sukuna he'll reduce the total number of casualties to curses.

Jujutsu Kaisen keeps investigating the theme of death and what exactly would make for a satisfying death. At one point it's all but stated that death is the mirror that makes humans analyze their lives.

When Yuji fails to save Junpei from the "unnatural death" it calls into question whether or not his goal of saving people from unsatisfying deaths and the gruesome deaths caused by curses is even feasible. Nanami even says that Yuji might not be able to accomplish his goal and warns him away from the path.

We see repeated unsatifying deaths in the manga, each time someone reflecting on their deaths that they weren't able to get what they wanted out of life. This list comes via @kaibutsushidousha by the way I'm quoting them.

Nanami's a character who chose to work as a sorcerer because he didn't want to evade the responsibility of doing all you can to help people, he wanted to believe he's somewhere where he's needed. He never runs away from responsibility like Mei Mei does so he quite literally works himself to death, living and dying as a sorcerer. Nanami or Gojo's dying hallucination of Nanami even says as much, his death is the result of him choosing to go south and returning to be a sorcerer.

Maki chose revenge against the Zen'in over her sister, and as a result Mai is dead. Maki has all the power in the world now, her revenge complete but she's left with a sense of "now what?" She's as strong as Toji now but she failed to protect her sister, and it's the result of the choices she made. Maki's reflection isn't triumph, it's "I should have chosen to die with her."

Even Yuji himself is robbed of his narrative purpose. The manga began with Yuji saying he wants to choose how he's going to die and he'll die taking out Sukuna with him so he can reduce the number of people killed by curses in the world. Both of those things are thrown in Sukuna's face. Number one the amount of people Yuji can save by permanently killing Sukuna is now a moot point because he let Sukuna rampage in Shibuya.

Number two, Sukuna isn't even in Yuji anymore. To build on what Comun said though, this repeated tragedy has a purpose to it and understanding requires understanding that Jujutsu Kaisen is an existentialist manga. Existentialism is basically a school of philosophy centered around the question of "Why do I exist?"

There's nothing about the invetability of death to make you question why you're alive in the first place. In the myth of Sispyhus, Albert Camus boils down all of philosophy to one question.

"There is but one truly serious philosophical problem, and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy. "

All of philosophy is should I shoot myself in the head or should I keep living? Everything comes after that question, which is why in Jujutsu Kaisen a lot of the characters motivations revolve around them contemplating death. Sorcerers exist in a world where they can die any moment, and as Gojo says most of them die alone. It might be the nature of sorcery itself that causes so many people to die, not only are they dying because they are trapped in an uncaring system, but the characters themselves aren't really attempting to live outside of it. They live and die as sorcerers, replaceable cogs in the machine.

All of these unsatisfying deaths may just be the result of all these characters making one choice, to live as sorcerers rather than people. Because to exist means to live in the world.

Even in Mechamaru's case, his goal is deeply existentialist by what I defined, all he wants to do is live in the world with everyone else rather than be stuck in his hospital room but his actions contradict that goal. Instead of letting his friends come and visit he's obsessed with the idea of getting a normal body because he feels that's the only way he can exist with everyone else, he makes a deal with the devil, he lies and goes behind their backs. He wasn't living with everyone else in the world and he could have chosen to, he chose wrong and his death is the result of that choice.

Jujutsu Sorcerers aren't living in the world. They're living in a little snowglobe far removed from the world with its own rules, most of them regressive and disconnected from the rest of society. If you define existentialism as just "living in the world' then a lot of these characters aren't, because they only exist in the world of sorcery.

INVISIBLE BUFFY: What are you talking ab- SPIKE: The only reason you're here, is that you're not here. (drinking) INVISIBLE BUFFY: Right. Of course, as usual there's something wrong with Buffy. She came back all wrong. (moving around on the bed) You know, I didn't ask for this to happen to me. SPIKE: Not too put off by it though, are you? (drinking) INVISIBLE BUFFY: No! Maybe because for the first time since ... I'm free. She tosses the sheet aside. Spike looks around, trying to figure out where she's going. INVISIBLE BUFFY: Free of rules and reports ... free of this life. SPIKE: Free of life? Got another name for that. Dead.

Not living in the world with everyone else is the same as being dead.

A lot of these characters either make the choice to act alone, or be a jujutsu sorcerer rather than a person and because of that they die as sorcerers, b/c sorcerers die that's what they do. Mai didn't want to keep living as a hindrance to Maki so she kills herself. Maki didn't want to be anything other than a sorcerer, so her little sister dies and she's not a big sister anymore. Nanami chose to leave his job behind and become a sorcerer again, he dies as one.

Of course I don't think the manga is punishing characters for being too egotistical, but rather too unbalanced. If anything Mai is too selfless and that is why she died, she didn't want to live for herself and chooses self sacrifice for her sister. An unbalance between selfishness or selflessness results in an underdeveloped ego. Jujutsu Kaisen doesn't punish individualism per se, moreso if you're not a fully developed individual you won't last long. Because it's also a manga about growing up in the world, and a person who doesn't have a healthy, mature, well-balanced sense of self is not a grown up.

This twitter user det_critics points out that Gojo (and also Yuki + Yuji's) failures in the manga can be attributed to the fact they don't have real senses of self.

Gojo has an identity crisis as outlined by Geto, "are you Satoru Gojo because you're the strongest, or are you the strongest because you're Satoru Gojo?"

It's a challenge for him to find some reason to live outside of being the strongest, and in tragic fashion Gojo just doesn't find it in time. Gojo lived for fighting others, and proving to himself that he's the strongest, and that's how he dies.

There's something I like to say about narrative punishment in stories. There are two ways to punish a character, you either don't give them what they want, or you give them exactly what they want. This is the latter, Gojo wanted to find someone stronger than him because deep down he believed that nobody could understand him unless they were on his level. He wanted to be surpassed, and that's why he focused on creating stronger young sorcerers, but he never shook himself of the belief that only someone as strong or even stronger than he was could ever be emotionally attached to him so he made a deliberate choice to draw a line between himself and others.

Gojo's essentially gotten what he wanted from that choice in the worst way possible. The student he picked to succeed him Megumi, has his body stolen and kills him. Gojo is surpassed, but it's not by one of his own students it's by an enemy that's not only trying to kill Gojo but is going to massacre his students afterwards.

Gojo's spent his entire life believing that because he's more powerful that makes him inherently different and above others, and being lonely because he himself believed he couldn't relate to ordinary people and he dies like an ordinary person, an unsatisfying death where he wasn't able to bring out Sukuna's best, where he gets unceremoniously cut in half offscreen but yay he's no longer the strongest. He's gotten exactly what he wanted. Megumi is still not saved, Sukuna's probably going to kill more people because Gojo failed to stop him here, but hey at least he stopped to compliment Gojo.

It's empty, but it's empty because of the choices Gojo made in life to just not bother connecting to people or develop any kind of identity besides being a sorcerer. Gojo lives and dies as a sorcerer, and his dying dream is returning to a teenager being surrounded by everyone he was with during his school days, because that's the happiest time in his life. Ironically he was happier before he became the strongest, because that was the only time in his life that he allowed himself to connect to people.

However in the eyes of others, he is someone who has it all. That's why he is always alone. There was no one who could hold the same sentiments and mutually understand him. Geto was the only one who could understand what he was trying to say, and the only one who could communicate well with him.

It's no coincidence Gojo and Geto die exactly a year apart on the same day, if anything I'd say the reasons they die are similiar to at least thematically. They both die because they don't want to live in the world. Geto thinks the world is too corrupt and GOjo doesn't want to be anything other than a sorcerer, both of them fail to adapt.

「 'It's just. . .' It's just that it was what Geto had to do. [...] To someone like him, the reality that the world of sorcerers presented to him was just too cruel. '. . .that in a world like this, I couldn't truly be happy from the bottom of my heart.'」

They can't be happy in a world like this from the bottom of their hearts, so narratively they both die. The things they chose to live for at the end of their life they fail to accomplish, Gojo is no longer the stronget, Geto fails to wipe out mankind or make major changes to the world and they die as normal people unsatisfied because they weren't trying to live in the world and make connections to others. They die almost karmically a year apart because their main connection for both of them, the thing which made them feel connected to the world and other people was each other.

Which is why this panel breaks my heart and is so narratively satisfying because of how unsatisfying it is...

"If you were among those patting my back... then I might've been satisfied."

Gojo reflects that he's not satisfied dying against Sukuna, not because he failed to give him a good enough challenge but because Geto wasn't there to pat him on the back. The one thing that would have satisfied him he couldn't have, because he didn't live to connect to people he lived to be the strongest and he died alone as the strongest. There's just something deeply upsetting about Gojo's dying dream fantasy just him being there talking with all of his dead friends who he never appreciated or connected to properly when he was alive. Knowing that if something had just gone a little differently, that even if he had to die no matter what he could have died happier if Geto was among the people saying goodbye to him because that connection with Geto is what gave his life meaning.

Dazai Osamu: "A life with someone you can say good-bye to is a good life, especially when it hurts so much to say it to them. Am I wrong?" -Bungou Stray Dogs Beast

[kelaeri]

The Many Languages of Dick Grayson

Apparently, according to Nightwing #54, he can speak 12, so I went on a little quest to see just how many I could identify.

Starting off with The Essential Batman Encyclopedia, the entry for Dick Grayson lists him as being trained in French, Spanish, Russian, Japanese, Mandarin, and Cantonese with having some proficiency in an unknown Romani dialect. Given there are multiple examples of him speaking these languages throughout the comics, I am inclined to trust this claim. To start, we've got several examples of French (Gotham Knights #14, Detective Comics Annual #12, Nightwing #73, Grayson #10-- also featuring Spanish)

In Grayson #1 he speaks Russian only briefly, but in Detective Comics #36 he speaks it throughout.

As far as the Chinese languages go, while I believe Dick can speak Mandarin and/or Cantonese fairly well (Batman/Superman World's Finest #3), his Hanzi recognition and literacy could use some work.

Similarly, when the Titans head off to Japan in Titans Annual #1, we have Nightwing speaking Japanese in battle; however, when it comes to the prospective job of being a manga translator in Nightwing #125, he claims he doesn't know Japanese, which leads me to believe he is only proficient in speaking Japanese/Chinese and struggles with the writing systems.

So what about the languages not covered in the encyclopedia? To start, we have another romance language: Italian (Nightwing #72).

Followed by some alleged German (Nightwing #51, JLA #44)

And conversations in Farsi (Robin #175)

While I've seen some Tumblr and Reddit posts claim he knows Kikuyu, The Power Company: Manhunter #1 only says he "brushed up" on his Kikuyu before going to Kenya, so it is unknown how much of the language he actually speaks, but to me it doesn't seem likely to be a lot.

He also, to some unknown degree, speaks Tamaranean-- at least enough to hack into an alien computer (Action Comics #842).

As far as unspoken languages go, Dick is fluent in ASL, which is proven numerous times when he communicates with Jericho (New Teen Titans 1984).

And lastly, the two languages that remain rather uncertain are Romani and Cant-- largely due to the nature of the languages themselves and their representation in comics. "Romani," for instance, has several different dialects, and when Devin Grayson introduced it for Dick (Gotham Knights #20-21, Nightwing #91), she never specified which, and based on the lines she wrote, her research into the language was questionable at best. Writers since have recognized Dick's Romani heritage, but have not otherwise suggested he retained much of the language to be considered fluent.

Cant is an even wider term than Romani and can be seen as more of jargon for a particular language than a language itself, sometimes even being called a "pseudo-language." The colloquial term for American circus cant is Carny, or "Carny speak" as Boston Brand puts it in Batman: The Brave and the Bold #14 when he and Nightwing encounter a kid who speaks it.

So... this leaves us with 11 languages Dick has notable proficiency in: English, French, Spanish, Italian, Russian, German, Japanese, Mandarin, Cantonese, Farsi, and ASL. And ~3 languages he has unknown proficiency in: Tamaranean, Kikuyu, Romani, and Carny/Cant (if you want to count it).

Maybe memory-loss Dick was including either Tamaranean or Kikuyu in that count from Nightwing #54, or maybe he knows some other language we haven't seen yet. Given how close the family is to the Al Ghuls, I personally think it would be cool if one of them was Arabic.

But anyway, hope you enjoyed this post! A lot I've seen covering this topic are very surface-level and label some of his more iffy languages as "fluent," so I hope this cleared things up. I've read tons of Nightwing, and I swear there are more examples, but sifting through the 1,000+ comics I've read of him is a lot haha. If y'all know of some others, let me know!

[revasserium]

burn

umemiya hajime; 3,307 words; mostly fluff, tiny bit of angst, young/freshman!umemiya, pre-canon events, lapslock, no "y/n", librarian!reader, childhood friends to lovers, vague ref to ch. 152, ume is a dumbdumb

summary: "it's a pleasure to burn" - ray bradbury, fahrenheit 451

a/n: am i writing umemiya now? who knows. this takes place 2 years before wbk manga events (the first year ume&co are in boufuurin) so pls excuse the slightly ooc ume...

001. the art of war

the library is entirely your idea.

“mah… you’d have to be the one to keep track of all the books though,” umemiya says, grinning as he watches you stock the shelves, your hair twisted up into a messy bun, your arm straining to reach the top-most shelf with a bundle of paperbacks with fraying covers and broken-in spines.

“of course i would! it’s not like there’s anyone else here i’d trust with that.” you turn to fix him with a stare that is already too “librarian-like” and he laughs, leaning back in his chair with a satisfied sigh.

“okay then, consider me your first patron! gimme something to read,” umemiya says, smiling wide as you narrow your eyes. your lips twitch up at the ends — it’s a familiar movement, an unconscious gesture, but one that’s plagued his all sleepless nights and most of his endless days.

“well…” you say, drawing out the word as you slowly saunter towards him, propping your hands on your hips as you pull level with the table in front of him, “what do you want to read?”

“anything you’d wanna lend me,” he says easily.

“boo, that’s such a boring answer,” you shoot back, shifting to press your hip against the edge of the table, crossing your arms as you turn to look back at the half-erected shelves.

you don’t see the way umemiya’s eyes flicker down to the bend of your waist, or the way he licks his lips as he tracks the plush of your thigh as you move to hoist yourself onto the desk, balancing on the edge.

he swallows, clearing his throat, trying not to think about the strange, burgeoning signs of growing up pestering you both at this vital juncture (just last week, his voice had cracked so hard you’d laughed at him for a whole hour straight; and the week before that, he’d almost rammed into a telephone poll watching you jog down the flight of stairs that leads to your tiny apartment).

“then maybe reading a few books will make me not so boring, hm?”

you roll your eyes, hopping off the table to comb through the handful of books. umemiya lets out an internal sigh of relief, feeling the heat in his cheeks recede ever so slightly as you disappear behind one of the taller shelves.

“here. let’s start with this.”

you pop out from behind the shelf, lobbing a thin volume towards him; he catches it out of reflex and stares at the cover.

“the art of war…?”

you grin, all cheek and no shame, “yeah. i mean… fits, doesn’t it? aren’t you starting at boufuurin next week?” you blink before turning back to look around at the small, abandoned storage facility, tucked between a ramen shop and what used to be a dollar store. there’s half a dozen dusty shelves, a few cabinets along the walls, and even a small stepladder that touma had dug out of the back closet for you.

at fifteen, you’re probably the smartest person he knows (and the prettiest, but that’s neither here nor there); at fifteen, umemiya hajime is an iron-wrought confluence of teenage ambition with big ideas and even bigger dreams (who doesn’t have time for things like crushes or girls… really).

“yeah,” umemiya runs a finger along the cover of the little book and flips to a random page, his eyes catching on the line —

the greatest victory is that which requires no battle at all.

002. pedro reyes

three weeks later, he stumbles back with two black eyes and a matching pair of bleeding knuckles.

“that book you lent me?” he says, dropping into a chair with a groan, “kinda bullshit.”

you make a half-startled, half-annoyed noise as you hurry over, setting down an armful of magazines to lean over and look at his face.

“what the hell happened?”

umemiya winces as you reach out to wipe a trickle of blood from his cheek.

“couple of fights — tough ones, but… well, i’m still here, aren’t i?” he says, managing a lopsided grin even as you tut, hurrying away to grab a first aid kit, returning with a warm, wet cloth and a scowl on your face.

“i thought you had a plan,” you say, unable to keep the acid from your voice.

umemiya groans as you press the damp cloth to his bloodied fingers, watching as you wipe each one down, the shocking white of the towel slowly darkening until it’s stained and blotchy with red.

“yeah. i did — punch everyone out till i get to the top.”

you tsk, frown deepening even as he shifts forward to let you wipe at the wounds on his face.

“pretty sure that’s not what sun tzu suggests,” you say, dabbing some kind of cooling gel to a cut right below his eye.

“sun tzu’s never had to deal with the guys at boufuurin.”

you roll your eyes, sighing before pulling back, “there’s an article i read today —” you jerk your head back towards the stack of magazines, “about an artist in mexico.”

“yeah?”

umemiya closes his eyes and lets you do the slow, diligent work of bandaging up his knuckles, one by one.

“he took a bunch of illegal weapons the government had confiscated and melted them down — pistols, knives, shotguns — and made them into musical instruments instead.”

the quiet that follows is thick and steady as churned butter. you don’t look up, your eyes still trained on the careful task of bandaging umemiya’s fingers.

he shifts, pulling closer, his breath fanning out warm against your cheek.

“do you know how hot a fire has to be in order to melt metal?” you ask after another brief silence, finally lifting your eyes as you finish with his hands.

umemiya cocks an eyebrow, “how hot?”

“about 2,700 degrees, fahrenheit.”

umemiya whistles below his breath, “sounds hot.”

“it is. at that temperature, you can apparently force a weapon to forget that it’s a weapon, to remake it into something new — something that wasn’t made to take lives… but to give it instead.”

you wrap your fingers around his, your skin contrasted against the dark blossom of bruises.

umemiya feels his smile slash into something jagged, lopsided and sharp.

“then… i guess that’s how hot i’ll have to burn to turn this whole place around.”

003. grey’s anatomy

looking back, umemiya wonders if that’s the night he changed — the night that you’d held onto his hands as if they were something precious.

he looks up the melting point of metal and the story of the artist in mexico. he thinks about what it must feel like to turn a pistol into a flute, to be the one to teach it to hold a note instead of a bullet —

he stares down at his bandaged hands, feels the dull ache in his muscles and wonders.

once, he remembers when the pair of you were still kids, hollow and lonely and full of a childish rage at the indifferent world — how you’d laughed as he pushed you on a neighborhood swing, but cried when he knocked a guy’s front teeth our for asking where your parents were.

and a week later, he’d found you hidden under the jungle gym with a tomb of a book clutched in your hands. the air had been damp with thunder, the sky grey and electric.

you’d looked up at him with bright eyes, holding out a closed fist —

“ume! did you know that the human heart is the same size as a fist?”

he remembers crawling under the jungle gym to squeeze in beside you, elbow to elbow, hip to hip, peering at the opened book, at the page with a diagram of the human body an all it’s labeled parts.

“oh, cool.”

he’d held up his own fist then, and stared, feeling the beat of his heart reverberating through his chest. he wonders if you can hear it when you’re pressed this close; he wonders, if the sky weren’t breaking apart above you, if he’d be able to hear your heartbeats too.

“isn’t it strange?” you’d asked, leaning over to bump your fist against his.

“what’s strange?” he hadn’t pulled away; neither had you.

your hand relaxes then, fingers loosening till he can see the blood rush back into their tips, tinting them pink. you’d turned your hand and placed it over his still-closed one and squeezed.

“that… a heart and a fist are the same size but… they weren’t made to beat the same.”

004. romeo & juliet

“he loves you, y’know.”

you look up from the makeshift front desk.

tsubaki is sitting with their legs crossed on one of the tables, arms propped on either side of their hips.

“library’s not open for another few days,” you say by way of an answer.

“it’s nice,” tsubaki says, looking around, “you did a good job with it.”

“thanks.”

they hop off the table to peer down one of the aisles of books — all the shelves now labeled with your loopy handwriting, the books clustered by a loose combination of genre, authorship, and spine-coloration.

“it’ll be good for us,” tsubaki’s voice is slightly muted by the layers and layers of books, but the click of their heeled boots rings sharp against the smooth linoleum floors, “having a library — the pen being mightier than the sword, and all.”

they’re smiling when they finally come back around the last row, fingers linked behind their back.

“that’s the hope, anyway,” you say, lips pulling into a wane smile.

you glance up and your eyes catch on the bandage at the edge of tsubaki’s lips, the dark stain at the collar of their otherwise impeccable uniform.

sighing, you run a hand along a yet-unsorted stack of books, shaking your head.

“we’re too young to know anything about love,” you answer, finally.

tsubaki joins you, bending down to pick up the first book at the top of the pile, waving it in the air with a rueful grin.

“i think romeo & juliet would beg to differ.”

you bite your lips, “you know that’s a tragedy, right?”

tsubaki shrugs, “sure, but… wasn’t it beautiful while it lasted anyway?”

you don’t have an answer, and instead, tsubaki giggles, tapping the top of your head with the book.

“can i borrow this? i promise i’ll return it!”

you wave them away with a soft smile.

“that’s kind of how a library works.”

005. fight club

“how long have you been here?”

you jerk up, your entire body screaming with the movement after having been still for so long.

“ume —! you’re awake!” you nearly collapse by the hospital bedside, dropping your head into the pristine white sheets.

above you, umemiya makes a choked off sound somewhere between a cough and a laugh, his hand coming up to pat your head. you melt into the feel of him, the weight and warmth of his fingers as he treads them through your hair.

“where’s —”

“they left — all of them,” you say, lifting your head slowly, “takishii and endo and… all of them.”

umemiya frowns, his hand stilling for a second, “what do you mean?”

you shrug, pulling back till you’re curled up in the bedside seat once more, tugging your knees up into your chest.

“after the fight, they just… picked up and left.”

“so… i lost,” umemiya’s voice is soft.

you shake your head, “no.”

he frowns, “but that’s —”

“you knocked each other out at the same time — it was technically —” your voice snags in your throat as you remember the grizzly scene before you, the crimson sprays of blood, the dirt damp beneath them, their uniforms torn into dark ribbons, the rooftop howling with a savage, winter wind.

“a tie,” umemiya says in a flatlined voice, reaching up and covering his eyes with his arm.

“right.”

you clear your throat, reaching for the tall glass of water on the bedside table.

“here — drink,” you hold the water out to him. he takes it wordlessly and drains nearly the entire glass. you watch, silent, as a drop of liquid trails down his jaw and trickles into the bandages at this throat.

your eyes cut away as he grins, smacking his lips and setting the water glass down.

“ah — that feels much better!”

you’re quiet, sitting vulturine still, refusing to meet his gaze.

umemiya finally slumps back to stare at the ceiling.

“you’re mad at me.”

“i’m not.”

“we’e known each other our whole lives, i know when you’re mad —”

“i’m scared, okay?” there’s a thin, unsteady quiver to the tenor of your voice as your head snaps back up. it’s then that he notices your fingers curled into fists at your sides.

“s-scared? of what? takiishi and endo are gone — you said so your—”

“of you!”

umemiya blinks and feels the blood in his extremities going cold, and for a second, he’s not sure if he accidentally dislodged his iv drip.

the look on your face is inscrutable, anger and uncertainty, but most of all — fear. something about that look makes his stomach curdle inside him.

“i —” he tries to find something to say but nothing else comes out. there’s no excuse, no explanation. he searches you eyes for a tether, for a spark of that familiar warmth and finds none.

slowly, you soften back into the seat and turn to stare out the window.

“it’s not like i’ve never seen you fight… and i’ve never liked it but this…” you bite down on your bottom lip, “it was like… you turned into someone else. someone i didn’t recognize.”

“i’m… i’m sorry.”

you swallow, still not looking at him, your eyes flickering down to your own hands, now lying limply in your lap.

“and then i thought — what if i did this? i — i had to go and make that stupid metaphor about the metal and the melting and —”

at this, umemiya laughs, reaching out to tug you closer. the ease with which he does so startles a hiccup out of you.

“you don’t really think i went and fought like that because of an article about a dude in mexico, do you?”

you purse your lips, cheeks going blotchy with heat. umemiya reaches forward to squeeze your nose, making you jerk back.

“dummy,” he chides, grinning now from ear to ear, but his smile falters slightly as he takes your hands in his, “i’m sorry that i scared you. promise i won’t do it again.”

“hn.” you don’t make to pull away, and umemiya takes that as permission to tug you into his chest, wrapping both arms around you. he buries his face in your hair and breathes in, out, in —

“hm… you really think you have that much power over me?” umemiya asks, a wanton sort of amusement underlying his voice as he finally lets you go, if only to revel in the way your cheeks flood with color.

“shut up! i was — i was freaked out and you were unconscious and i —”

“cause you do.”

your words cut off as abruptly as a dropped call.

umemiya chuckles, scratching at the back of his head, ruffling up his already pillow-mussed hair.

“been meaning to tell you but… i figured you already knew — “ and for once, he sounds his age — young and halting and shy.

after a breath that feels like a century, you finally break into a helpless fit of laughter.

“i can’t believe it…” you say, burying your face in your hands.

“can’t… believe what?” umemiya blinks at you.

“that it took you nearly dying for you to admit that you liked me.”

“hey! in case you haven’t noticed, i’ve been kinda busy this year!”

you roll your eyes, “yeah, yeah — had to go save the world first. then you get to kiss the girl, right? end movie, roll credits.”

umemiya cocks his head, “well, i dunno about the world but definitely — wait, what did you say about kissing me?”

you crinkle your nose, “i didn’t.”

“yeah you did.”

“i did not — i was just making a general statement about cliches in superhero movies —”

“oh, so you think i’m a superhero?”

“ume! stop it — mph!”

later, umemiya would recall fondly to anyone who will listen that yeah, he does get to kiss the girl after all.

006. fahrenheit 451

“451,” you say, standing at the door of the newly minted makochi library.

it’s dark outside, and umemiya stands by your side, stretching his arms over his head with a wide yawn.

“huh?”

“451 degrees,” you say again, turning to press a small silver lighter into his hands. he stares owlishly at it before looking back at you, clearly at a loss.

“that’s how hot it has to be for paper to catch fire.”

umemiya stares.

“i was thinking,” you say, turning back to the dark, but pristine library.

“uh-oh — oof — ow!” umemiya makes a show of clutching his side as you jerk your elbow back for another blow. he dodges out of your way with a dopey grin.

you sigh, turning back to the library, “but i was thinking that… there’s gotta be a better way — an easier way, right?”

this time, he stays quiet to let you speak.

“because yeah, it’d be nice to melt all the weapons in the world and turn them all into nicer things but… there’s a better way to do things.”

“yeah? and what’s that?” umemiya turns the lighter around and around in his palm.

you turn and head for the door, locking it behind you. the moonlight washes your skin in a ghostly silver as you turn to face him.

“we rewrite the story,” you say.

umemiya flicks on the lighter and lets the fire dance between them. his breath catches on the liquid gold in your eyes.

“is… that even possible?” he asks.

you reach out a steady hand, letting the tips of your fingers barely skim over the shifting flame.

“sure it is. all of human history is just a story written by the victors. and… 451 degrees isn’t nearly as hot as 2,700.”

umemiya smiles then, letting the lid of the lighter click shut. the fire snuffs out, leaving only a thin trail of spiraling smoke behind.

“sounds a lot more reasonable, too. much less scary,” he says.

you laugh, turning towards the main street. he watches you go for a second before pocketing the lighter and making to catch up. when he levels himself with you, he reaches out to take your hand.

“fires don’t have to be scary,” you say, giving his hand a quick squeeze, “for most of human history… it’s brought people together — over a hot meal or a good story. a lot of the time… it’s the only reason we get to survive.”

umemiya pulls you in to loop his arm around your shoulder.

“hm. i like the sound of that way, way better.”

bonus:

“so… just makin’ sure — you don’t want me to burn down the new library you spent all this time setting up, right?”

“no you dumbass! it was just a metaphor.”

“oh. right — yeah, a metaphor, duh.”

[kaiser1ns]

KIKI'S CHARACTER ANALYSIS ON TAKIISHI CHIKA

BEFORE PROCEEDING TO READ i want to clarify that this is my opinion and my take on his character before we get to know more about him in the manga. i know that the way i write about him is not what he really is, and that can cause conflicts but i am trying my best! contains small spoilers ahead! anyway hope you will enjoy!

Written on August 9th 2024. Posted on August 10th 2024. Edited on

Takiishi Chika is expressive only when he wants to be, but most of the time he is with that bored expression making it look like he is some kind of robot or haunted doll. As already known his face changes when he feels anger or when he fights with someone at his level or higher, it's when he gets happy and excited, because there is someone who will not bore him and keep up with the adrenaline.

He will not listen to anyone in whom he finds no interest. People can talk to him, but he will pay no attention to them. He will listen, catch a sentence here and there, and when someone mentions something that intrudes on him, he will listen without hesitation wanting to know more.

Strikes me as a type who is also very observant. Not only in a fight but when around people in a calm setting. Also intelligent, may not show it because he acts on impulse but everything is calculated.

Likes to light up fireworks when there's nothing better to do or people to fight. It's nice and something he can do on his own.

He likes to sit on the rooftop of buildings and look down on everything and everyone, either enjoying the view or the feeling of power. We again don't know why. But in Chapter 134: The Moment Longed For, when Endo Yamato receives a punch to his face because he stopped Chika's sudden charge at Umeniya, the conversation goes as such "But hey, Umemiya told us to go to the roof with him. It's been ages since we have been there. You like the roof don't you?" and then Chika freezes agreeing with what Edno said "Right. That's true." Then he walks past Umemiya telling him to go there, leaving everyone behind.

The question here is why Chika likes roofs so much, and what exactly does Furin's rooftop that Umemiya wants to show him? My mind directly goes to the garden. Is it to see one's growth despite its roots? What if Chika used to take care of the garden too? I know, it's a laughable idea and seems impossible but what if? So many questions, but not many answers. This is normal, seeing as how their battle is just beginning and the characters' internal and external conflicts are yet to emerge.

As stated, he is violent and short-tempered, he would never let anyone or anything block him from doing what he wants, it doesn't matter if it was a friend or an enemy. He is capable of destroying everything in his path. But personally, I think he won't hit someone if there's no reason to or if he isn't provoked in some way.

He doesn't care about the others, he only cares for himself and his enjoyment.

Of course, he knows many people and many people know him. But he isn't close with anyone besides Endo Yamato, even if they are childhood friends and their friendship is weird, Chika just lets Endo do whatever he wants — buy him clothes, paint his nails, find him opponents. He probably never asked for him to do such things but Chika knows how devoted the tattooed fool is to him, and so he played along. That leads me to a theory that he was spoiled as a child, that's why he doesn't question Endo, because he is used to getting what he wants and if something goes in his way, he will eliminate it.

Endo stated that Takiishi "began to fizzle out when he left Furin" meaning he was slowly losing his spark and maybe fighting out of boredom and not excitement. Chika is "The Strongest Man in Furin History". Probably in his first year, there wasn't anyone worthy enough to keep up with his pace and cause that fervor to ignite his flames.

Two years later when he dropped out of Furin Highschool he became a shadow and it was a few in the school who knew the truth about him, including Umemiya, the person Chika probably wanted to fight from the start.

In Chapter 142: Revelation, we see Takiishi in Endo's memories, and he has always been so aggressive towards the world, but unfortunately, we still don't know the reason why — perhaps a family conflict that indicates him being abused as a child; himself being bullied and then turning into a bully, or he was a prodigy too doing everything before other kids his age making him develop faster and he took advantage of that. So many theories. Hope we know in the future! [this part will be edited once his backstory is out]

God complex which may also be associated with mania or a superiority complex. Someone with a god complex may exhibit no regard for the conventions and demands of society and may request special consideration or privileges. GD is linked to Narcissistic personality disorder (NPD) with a diminished ability to empathize with other people's feelings. Even tho we don't see Takiishi being 'in love' with himself, he only cares about himself, and thus I will say he is probably narcissistic but not to such an extent.

But here I think the right word which should be used is Egoist — a self-centered, selfish person or arrogantly conceited person. Egoism comes in different forms as there are several reasons as to why someone may act in their own self-interest, such as ethics or rationality. The three main types of egoism are physical egoism, ethical egoism and rational egoism.

1. Physical Egoism

This type of egoism refers to the basic, instinctual drive for self-preservation and personal survival. It is often associated with natural instincts and physical needs, such as hunger, thirst, and the avoidance of pain. Physical egoism emphasizes the inherent tendency of living beings to prioritize their own physical well-being and survival above all else. In this view, self-interest is rooted in biological imperatives.

2. Ethical Egoism

Ethical egoism is a normative theory that suggests some individuals act in their own self-interest. It is a prescriptive approach, meaning it provides guidance on how people should behave. Ethical egoism posits that morally right actions are those that maximize one's own welfare. Unlike physical egoism, which is based on natural instincts, ethical egoism is a philosophical stance arguing that self-interest should be the guiding principle of moral decision-making.

3. Rational Egoism

Rational egoism posits that it is rational for individuals to act in their own self-interest because doing so leads to the best outcomes for themselves. This form of egoism is based on the idea that reason, rather than mere instinct or moral obligation, should guide self-interested behavior. Rational egoism suggests that acting in one's own long-term interest is not only logical but also the most reasonable course of action for achieving happiness and success. It often involves considering the consequences of actions and making choices that best serve one's goals in a rational, calculated manner.

In conclusion:

Takiishi Chika is impulsive, violent, and primarily concerned with his own physical needs and desires, aligning most closely with physical egoism. He doesn't seem to consider the long-term consequences of his actions, nor does he follow a moral code that dictates acting in his self-interest in a socially constructive way, which would be characteristic of ethical or rational egoism.

The behavior could be indicative of several potential mental health conditions or personality disorders, but it's important to note that diagnosing someone, especially when a real person requires a qualified mental health professional. However, I am not a professional and I am doing this only for my entertainment in the fictional world. There are a few possibilities that might align with the characteristics of Takiishi Chika.

1. Antisocial Personality Disorder (ASPD):

Individuals with ASPD often exhibit a disregard for the rights of others, lack of empathy, and can be prone to aggressive, violent behavior. They may engage in fights, show little concern for the safety or feelings of others, and may be manipulative or deceitful.

2. Borderline Personality Disorder (BPD):

While not always violent, people with BPD may experience intense emotional reactions, including anger and aggression. They can also have a pattern of unstable relationships, self-harming behaviors, and fear of abandonment, which might be linked to masochistic tendencies.

3. Intermittent Explosive Disorder (IED):

This disorder is characterized by sudden, explosive outbursts of anger or violence that are disproportionate to the situation. The person might feel a sense of relief after the outburst but may also feel remorse or regret later.

4. Sadistic Personality Disorder:

Although not recognized in the DSM-5, some traits could align with what was previously considered Sadistic Personality Disorder. This involves deriving pleasure from the suffering of others, which could explain sadistic tendencies.

Chika's behaviour is explosive or volatile sadism. This type of sadism is characterized by sudden outbursts of aggression and violence, often triggered by frustration or when the person feels someone is in their way. Individuals with this type of sadism tend to lack empathy, and their violent behavior can be unpredictable and intense.

In addition, his potential sadomasochistic tendencies suggest he might derive some pleasure from both inflicting pain on others (sadism) and experiencing pain themselves (masochism). This combination can make his behavior particularly volatile, as he may be drawn to situations that allows him to express both these desires.

5. Conduct Disorder (in younger individuals):

If the individual is younger, this could be a sign of Conduct Disorder, characterized by aggressive behavior, a lack of empathy, and a disregard for rules or the rights of others. This condition in youth can sometimes progress to Antisocial Personality Disorder in adulthood.

6. Narcissistic Personality Disorder (NPD):

While not typically associated with overt physical violence, individuals with NPD can display aggression when their ego is threatened. They may lack empathy and be manipulative or exploitative in relationships, only caring about others when it benefits them.

7. Psychopathy:

A more severe form of ASPD, psychopathy involves a profound lack of empathy, superficial charm, and often a tendency toward manipulative and violent behavior. Sadistic tendencies may also be present.

8. Post-Traumatic Stress Disorder (PTSD):

Individuals with PTSD may experience anger as a response to trauma reminders or as part of the hyperarousal symptoms. Irritability and angry outbursts. Feeling constantly on edge or easily startled.

PTSD develops after exposure to a traumatic event, and anger can be a coping mechanism or reaction to perceived threats.

9. Trauma and Childhood Experiences:

Anger issues can also stem from unresolved trauma, especially if it occurred during childhood. People who have experienced abuse, neglect, or abandonment may develop anger as a defense mechanism. Difficulty trusting others, leading to anger in relationships. Feeling easily threatened or provoked. Chronic irritability or anger without a clear cause.

This is all I can think of when I did my research. Chika definitely has something traumatic happened to him or he was someone's trauma.

But there can be a scenario with him just being born like that even if love and kindness were shown to him. We will know more once Satoru Nii drops his full backstory like he did with Endo and Umemiya.

TAKIISHI CHIKA'S CHARACTER IN MY WRITING STYLE

I don't want to make him too out of character for the sake of the people who like or will like him, as I want them to have the best experience while reading any of my works that includes him.

In many of my drabbles readers will get to see him being more soft towards the female character or his girlfriend as stated in the most scenarios. He is being vulnerable towards you. It is simply the way I imagine him when he gets to like someone who catches his attention: he wants to know everything, is being possessive, is more expressive, making space in his heart only for you, though his ego and pride would no go down but instead they will go up because he has something the others don't.

As I stated earlier, he will not listen or look at anyone in whom he finds no interest. That being said, and as a cliché as it sounds, you are different, he wants to have you to either a) play with you until you break or b) learn about the way you are making him feel, because his heartbeat only rises when he fights.

When Takiishi Chika learns to love, or at least tries, he realizes that he can tolerate people who get in his way, meaning he tolerates you and is extremely important for him to see you everyday. And if his nonchalant behaviour is due to a trauma, you are his free therapy.

I saw people who think he doesn't talk much, again he does, he chose to who, how and when. Even if it's one word, sentence or a punch, he will talk.

In my opinion the way he loves is unique, everyone has their own way to express their longing for the other. He doesn't know what love is, its a new term in his vocabulary, and you teach him the ways of being soft and tender.

He is protective of you, very fond by the way you show him how to do things and he acts on instinct. If he wants a kiss, he will get one no matter what. If he wants get intimate or just to initiate a physical touch, he without thinking twice would. Takiishi Chika is not a person who waits, unless necessary, because when he wants something he will make sure to have it. If he wants you he will get you. He is the living prime of "If he wanted, he would."

But then again he has another dark, manipulative and toxic side. Again he is not good or used to expressing his emotions that well, if he wanted to hurt you, unintentionally or not, he would. I know I'm repeating myself a lot with words, but it's true. Was it with a real or non-existent person, if they wanted to, they would do anything to or for you.

This is mostly what I have to say about him, in hopes of your understanding and if you got to the end of this long post, thank you! Takiishi Chika is not that complex of a character, he is pretty easy to understand in my opinion, as long you want to do it.

But it's my profile, my own way to express myself amd how i view a certain character. I would be happy if someone wants to discuss further issues with our blazing inferno Chika <3

And as the manga will continue and more will be understood, I will give it my best to describe and write not only about Chika, but also about all the other characters. I hope this was a hopeful guide to answer questions if you even had one.

Thank you Chika nation for the support, and thank you for reading and following through my writing journey! More is yet to come (⁠｡⁠･⁠ω⁠･⁠｡⁠)⁠ﾉ⁠♡

[burquillos]

I’d love to hear your thoughts on the final MHA chapter because the internet seems to be very divided

I waited till MHA officially ended! Long post ahead!! People being divided on the ending makes sense. Different people come to watch shows and read comics for very different reasons and with very different expectations for an ending in mind. Especially for a series like MHA which is a battle manga that seeks to subvert shonen genre tropes.

I think part of the reason why people are so divided on it right now is because of leak culture and reaction culture. People have to remember that comic books and manga are a storytelling medium. The author actually thinks about the arrangement of the panels, what’s in the panels, and how the combination of these things can form a narrative. Reading it from twitter thread/discords from people in a rush to translate to get the information to you as fast as possible is NOT the intended way to experience the story.

The “leak format” kind of encourages people to put too much focus on certain panels and roughly translated text that would otherwise feel very different when you are reading the story through the intended medium, and when you pair that with the highly reactive way people ‘consume content’ nowadays, the result is a snowball of very volatile emotions being thrown around without a moment for people to breathe, think, and wonder for themselves “Why did the author write it like this? Was there something I missed? How does this re-contextualize story? Have I actually missed the point this whole time?” etc.

That being said, I sort of have a philosophical way of approaching MHA?? When I got back to it again, I was hyper-critical of it especially because I just came back from reading One Piece (and the writing styles and messages are VERY different). I slowly learned to judge the writing for what it is rather than keep comparing it to other series and I learned it was more enjoyable to experience the story like that.

The ending is a very hard pill to swallow for a lot of people which is understandable, but it didn’t come out of nowhere. I mean, just look at the ending lines of "Do Not Be Defeated by Rain", the poem that inspired Deku’s character:

I am also a stubbornly optimistic person, and my number one rule is never to engage with anything in bad faith. I CHOOSE to see hope through the margins and the final chapter being so open to potential encourages that thinking of mine.

So even though I think there are some things that could be handled better (the villains) and storylines I WISH were explored (OFA vestiges my beloved) there’s no reason why it couldn’t be fixed.

There is this openness to it that leaves so much room for hope and imagination that I can’t truly be mad at it.

I might find MHA lacking as an entertainment piece, but I will defend it to the end as an artistic piece.

Horikoshi has said before that he doesn’t care if his manga is popular or not, MHA is basically a culmination of the stuff he enjoys, and I KNOW drawing whatever the hell you want despite knowing not everyone will like it takes a lot of guts and it’s what makes MHA so human.

All the traces of him are in there, flaws and everything, so you can endlessly turn it around, flip back and forth and there will be always something new to unpack, learn, and realize and the thought of what could've been will always haunt people (just like Star Wars, a series he also likes kajdbaldnlk)

[a-land-lacking-sleep]

A brief thought on the parallels of the Subway Bosses, The Tao Trio, and Warden Ingo's place

@waywardstation just made an amazing post on her thoughts of Warden Ingo's parallels to Kyurem. Nothing in the game directly connects the two, just like nothing in the game connects the Subway Bosses to the Dragons in Generation V. But the connections are still there regardless, because Game Freak made sure to fill Unova with so much symbolism.

These are the basic thoughts that connect each Man to their Dragon.

Subway Boss Ingo - Ideals; Aspire to greatness, never give up in your journey

Subway Boss Emmet - Truth; You are who you are, there is no need for a mask

Warden Ingo - Void; What is there when you lose who you are? No drive for greatness, nothing to mask. Ideals, Truths, nothing matters except the ground beneath your feet.

In each game that they appear, Ingo and Emmet are relatively flat characters. In Gen 5, they have enough personality to stick in your mind, and nothing past. And in PLA, Ingo's whole personality is "I lost my memory and am depressed, but have hope". Instead, we end up looking at word choice, and in the Subway Bosses cases, other media.

Subway Boss Ingo, across most media, embodies Ideals. He has his eyes to the future, always pushing himself and others to continue onwards. He frames battling and training as a journey ("What can I see after winning, winning, and winning? Where is my destination?"; "Your talent has brought you to the destination called Victory!"; "There is no terminal called End in your life!"), most often when he is victorious. He seeks to create his Ideal self, and wants to push others to do the same.

This comes up in Pokemon Masters EX as well, where the "no terminal" line returns (in an appropriately spooky tone), he also spends time in the Day With Ingo story event talking about how he seeks to better himself and "break through the mold of [his] past self". This event is also the first time he mentions the phrase "greater heights", which appears another 6 times in various snippets in Masters. And finally, we have a triple whammy of travel metaphors for growth in his level up lines.

For Subway Boss Emmet, his connection to Truth is admittedly a bit more tenuous. He doesn't have any tendency for truth-seeking or investigations (outside of the famous behavior in the manga where he likes to eavesdrop on drama, which gossip isn't exactly truthful), but what he has is a strong showing of being truthful, even if he ends up being blunt or disrespectful.

As a consequence of his writing in Japanese giving him a very casual way of speaking, the English translation has him speak in shorter clips, just the bare essentials. The naked truths of his thoughts. He doesn't seek the Truth, or give a Universal Truth; Emmet is True to himself and to those around him. (As a side note, I love when people give power to other usages of the word True through Reshiram. I did it in my fic with a turn of phrase, but I've seen it done beautifully in other works too).

In Pokemon Special, Emmet doesn't hide the truth of why they asked White to train on the Battle Subway ("We're studying you as an example of a Trainer who gets overwhelmed and loses every battle!" "That's not nice, Emmet."), not because he is intending to be rude (Ok, a little bit), but because that *is* what they are using her for. In the games, he speaks of how Pokemon battles can be decided on luck ("I won against you. But I think I just got lucky."), because the Truth of the matter is, you can be highly trained and just have a bad day or get hit by a critical hit. But, most importantly, he believes that battles must be serious for them to be fun. Because what fun is there in putting up a fake fight, when you could just be True to yourself?

Now, to speak on the connection of Warden Ingo to Kyurem, we must first understand what Kyurem is to Zekrom and Reshiram. On a surface level, it is a Husk, a leftover revenant that can be reassembled into a simulacrum of the Original being. But looking into the actual symbolism of them all is where you find threads of connection to the Warden.

Reshiram, the Dragon of Yin, is representative of a more static element, receptive of change but passive in how it does so. It is a recursive existence that reaches out and pulls back towards itself - Everyone has an individual Truth, but that is still able to be changed by The Truth. However, one does not go out and change The Truth, only altering the perception of it while it passively exists. You cannot change what is already there, only create something new. In comparison, Emmet is never really shown to focus on the future, but rather on the present. He knows of the Truth in his life, and while it can be changed by present actions, he knows that he cannot go back to change it, so there is no need to try, or to hide it.

Zekrom, the Dragon of Yang, is active, ever expanding, and pushes up against those around it in it's search for Ideals. Ideals cause you to seek out a goal, to leave your home, your comfort zone, and push away from the past. To represent Ideals is to be in constant flux; Settling into a form makes you into a Truth, as an Ideal is a goal, something attainable, yet unreachable. We've gone over Ingo's future-forward gaze, constantly thinking about what is to come. Life is a journey, and every step you take in life is a step to self-improvement.

Kyurem is a Husk, a Shell. According to Bulbapedia, it is representative of Wuji ("Without a roof"), the absense of Yin and Yang, or "The Ultimate Nothingness". For this reason, I personally also attribute to it Mu, a concept of non-existence and negative space, specifically the lack of something normally there (modern Japanese actually uses "mu-" as a prefix the same way English has the suffix "-less"). Interestingly, the Japanese transliteration of Wuji is "Mukyoku" (lit. Non-polar, another translation of Wuji), connecting the two concepts neatly. In short, Kyurem represents Nothing and Everything.

Kyurem was supposedly the Original Dragon, the deity of Unova that represented Truths and Ideals in unison, a embodiment of Yin and Yang's harmony. In a sense, the Original Dragon was an embodiment of Everything, Unova's spirit of unity. Then, with the war between the Twin Princes (another pair also frequently compared to Ingo and Emmet, in case you think I forgot my boys), it was split into 2, but secretly 3, parts. This third secret part became Kyurem, a being lacking in its original qualities, leaving Nothing but the Husk.

Now, finally, we can get to everyone's favorite uncle, Warden Ingo. His connection to Kyurem is probably the least intentional of them all (which is saying something, because I'm honestly convinced that the Subway Bosses' own connections aren't intentional, but rather just a result of how Unova games were written with Truth vs. Ideal being ingrained heavily), but there still is one. As Wayward says in her fateful post, "Warden Ingo is an empty husk of who he once was ever since he was separated from his life, and from Emmet." Ingo as the Subway Boss may not have embodies the Everything that the Original Dragon has, but pairing with Emmet so closely still meant that Truth and Ideals mixed so cleanly that it might as well have been Everything.

However, the most important connection for Warden Ingo are the concepts of Wuji and Mu. To be "the Ultimate Nothingness" or "Non-Polar" means to be devoid of Everything, yet still have the capability to be far more than Nothing. The singular concept of Mu may mean that Warden Ingo is missing who he is and was, but that is not who we grow know in the game; We connect with a man who is slowly piecing together his sense of self, remembering facets of his past and growing happier with who he can be. Thus, the Mu transitions into Wuji, a void that isn't Empty so much as lacking.

The importance of distinction is that Mu is by nature Empty, while Wuji is Empty and Everything, limitless and confined. Similarly, Ingo is devoid of what made him him (His drive for self-improvement is impaired, even while he pushes the player to climb to greater heights), but becomes something new in the meta-narrative of the story. His actual, plot-related story ends when you quell Electrode and he becomes a challengeable NPC at the Training Grounds, but he becomes something of a kindred spirit in the greater plot of the game. He's like you, a Faller who has lost themselves, and also like you, an avid battler who pushes the system to it's limits (especially in the Path of Solitude).

In short, the connection between Kyurem and Warden Ingo isn't anything in the text, as Kyurem has no explicit in-game theming attached to it like Zekrom and Reshiram, and Warden Ingo doesn't have strong philosophical points that seeps out of the words he says to you. But when you look at the meta-theming for Kyurem, and subsequently Warden Ingo's meta-narrative, the connections become clearer.

Does some of this make no sense? Of course! A lot of this is extrapolating what was said in Wayward's post, and what came from my head as I thought of it. A lot of the connections of the twins to the Dragons has been discussed since 2010, but for all intents and purposes, Warden Ingo is a different character from Subway Boss Ingo. Narratively, he is the same person, hence why his appearance is a tragedy in Legends Arceus, one which we never get to solve. But on a meta level, he functions so differently, and lives so differently, that the themes he inhabits do not match up to the Subway Boss in any way. To end this on a sad note, Warden Ingo is exactly like Kyurem - Broken. He has lost what made him whole, and we've been shown that just reinserting Ideals isn't enough. Hopefully, if Game Freak decides to touch upon the Warden once more, we can find a way to reinsert his Truths as well.

[yuurei20]

I've got a question if you wouldn't mind answering!

I saw that the voice actor for Grim commented that Grim always ends his phrases with the word "zo", I was wondering if it had any meaning? Or if maybe it's just something to make his character more unique? Similarly, I've noticed Ruggie tend to use a lot of "su" at the end of his phrases, and I was wondering the same thing, if it had any meaning at all or if it's just supposed to be a character quirk!

Ty for your hard work and don't feel pressured to answer this if you don't want to! 🫶🏻

Hello hello! Thank you very much, you are so kind! ^^

Yes yes, Grim's Sugiyama comments on how difficult Grim's "zo" was for him in his interview (published in vol. 1 of the fanbook).

"Zo" can have a meaning of its own (I liked this explanation on jlptsensei.com, for those who may be curious), but it is generally not used in the way that Grim is using it 🐱 He adds it just to everything!

And verbal ticks like this come up a lot in all kinds of Japanese-language media! Videos games, manga, anime, TV dramas, comedians, etc.

Ruggie's "su" is also kind of a verbal tic, and also has its own meaning:

Discussed in more detail in another post (ref: Idia's "degozaru"), the Japanese language has the word "desu," which has different forms depending on how polite you want to be!

Grim and Jade use the word in two of its more normal (least slang-like) ways, casual for Grim (da) and more polite for Jade (desu).

Ruggie is also using it in a casual way, dropping the "de" part and only using the "su," but it all means the same thing ^^

A verbal tic is even the catalyst of Spectral Soiree!

While not as often as Grim, Malleus is also known to end his sentences in "zo."

He keeps this speaking pattern even during Spectral Soiree, when he is pretending to be possessed by the ghost of an emperor.

But he then slips mid-conversation, saying "zo yo."

Leona noticing this inconsistency starts a domino effect that ultimately compromises Malleus' charade, leading to Malleus' confession (more here).

So verbal tics can be very important! ^^

Crowley's "since I am kind" might also be considered a verbal tic, as it is generally repeated in the exact same way throughout the original game (original-game-to-EN comparison here!).

I think I will add a deep dive into the various speech patterns there are to my TODO list because this post keeps getting longer ww But here are a few pick-ups for right now:

・Idia's use of "degozaru," "-shi," otaku-/net-slang and his stutter are unique to his character.

・Ace will often say "papatto," for getting something done quickly.

・Epel has many things going on with his various forms of speech, and his "kana" might count as a verbal tic?

・Vil will often say "choudai" (apologies for the twitter link)

・Lilia will often use the adjective "rippa," which is similar to admirable/splendid/impressive/respectable/etc. in English!

・Riddle will often end questions with "dai"

・A line that Riddle also says before battles, Riddle will often say "ii dokyo ga oari dane," which is something like "to have some nerve." Other characters will say variations on "ii dokyo" (usually Vil and Leona), but this full phrase is unique to Riddle.

・Riddle will also often say "owakari dane," usually to mean "You understand?," as in, "if you don't do as I say, you understand what is going to happen to you, yes?" (re: he is going to behead someone).

・Maybe my favorite, Rollo will often end his sentences with "kane."

In the way Rollo is using it, it is just another verbal tic, but then there is the Bell of Salvation from the event or 救いの鐘 in Japanese:

Sukui no Kane. "Kane" means bell!

Rollo is ending so many of his sentences with the word "bell" ^^ It is wordplay!

Language is personalized to each and every character in the game, to the point that most of the time (on JP) you can tell which character is speaking before they even enter the room based upon verbal tics and honorifics ^^ It is all very interesting, but unfortunately all very impossible to put across on EN!

[keen-observations]

Keen observation: Giyū is a hypocrite:

Let me explain:

Alright, to prove this point I am going to focus on two specific points (With Anime episodes and Manga chapters listed)

Okay: the first point to be made is with when Tanjiro is trying to convince Giyú to come and train the other demon slayers, and Giyú is doing all he can to avoid and // or ignore poor sweet Tanjiro.

Exhibits A // B // C:

"Giyú sannnnn!!" // "Mr. Giyuuu!!"

Throughout Season five, Episode two "Water Hashira Giyú Tomioka's Pain" (Covering from chapter 130 of the Manga), we get to see Tanjiro's sheer determination to convince the stoic hashira to join in training the younger // lower ranking corps members - to which Giyú consistently either flat out refuses him, or ignores him - leading to a rather hilarious sequence of events that last over a few days.

And at one point we get to see things from Giyú's perspective - and what he says made me get thinking: HMM THIS SEEMS AWFULLY FAMILIAR - OH YEAH THAT'S BECUASE IT IS.

(Thoughts) Is he going to… keep this up for the rest of my life?

(Thoughts) If I talk to him, will he stop stalking me?

AND THAT LEADS ME INTO POINT B. Throughout Season five  Episode 7, "Stone Hashira Gyomei Himejima" - We find Giyú and Sanemi in the midst of a heated spar - only for Tanjiro to intervene because he thinks that they are actually fighting each other.

He then proceeds to talk about Sanemi's enjoyment of Ohagi (For reference Ohagi is a Japanese sweet that is made of glutenous rice flour and red bean paste // it is also sometimes called red bean mochi and is like an inside out Daifuku) - And Giyú displays interest in this, notable by the remark he passes to the other Hashira

"You like Ohagi?"

(Also how refreshing was it to see Giyú actually trying to make friends?? Like AHHHH he's trying so hard and WHO DOES THAT SOUND LIKE?? - TANJIRO.)

Giyú then goes on to tell Tanjiro his silly little plan; the next time he sees Sanemi - he's going to hide some Ohagi up his sleeve to give to him. Now see, that sounds really cute and all, but imagine this from Sanemi's perspective.

He's clearly embarrassed by Tanjiro talking about his liking of Ohagi - based off his reaction to Tanjiro bringing it up. He shouted, and then stormed off.

Now picture the person who he hates on a level nearly par with demons (Someone who is always painfully quiet and uninterested in him) suddenly acting all smiley and enthusiastic, brandishing Ohagi from... up his sleeve? I don't know about you, but that would seem quite odd to me, condescending even.

Personally, I headcannon that Giyú went full Tanjiro in his pursuit to give Sanemi some Ohagi and become friends with him, but a more so silent approach. Like he'd still be overbearing, but with that little smile of his accompanied by an empty stare and total silence.

MIt'd creep the hell out of Sanemi and probably make him feel a little insecure, almost embarrassed of himself if Giyuu was going to this length in (what he thinks is) teasing him.

Another instance of miscommunication for them. Sanemi would probably start thinking like Giyú had-

"Is he going to keep this up forever!?"

"Goddammit, if I entertain this will he leave me alone?!"

(Just look at his silly face // he is both pure of heart and dumb of ass)

but I think Sanemi's face was bound to look less like that ^^^ and more like this: vvv

AND THERE IS MY LITTLE ESSAY ON WHY GIYU IS A HYPOCRITE - WHETHER HE KNOWS IT OR NOT.

I have a headcannon // Oneshot for this that I will link HERE when it is finished x.

And an abridged one below:

( I think he would have eventually taken a piece of Ohagi from him, and that it would have made Giyú insanely happy - but Sanemi takes that as him being sarcastic - causing more friction on his side, whereas Giyú thinks they are making progress, making him do it again.

I think this kerfuffle would have only been cleared up after the final battle, to which Sanemi feels a little worse for being so cold to Giyú - but is immediately forgiven and gifted with a bunch of Ohagi, as Giyú grew quite skilled at making it after so many practice runs. )

THEY'RE SO SILLY I LOVE THEM

[phantom-sleuth]

Wanted to make a rec post about a bunch of random sci-fi manga i like and hope that others enjoy as well.

Dead Dead Demons Dededede Destruction:

A story about 2 young women in their day to day lives as a giant alien ship looms over Tokyo. A fair bit of the story focuses modern social political issues in Japan and the mystery surrounding the mothership and the aliens and why they are there.

The series will get two movie adaptations later this year.

Dai Dark:

The story mainly revolves zaha sanko and how a legend exist that if one gets ahold of his bones they will have any wish granted to them, and so sanko needs to search through space in order to find whoever put this curse on him and kill them. The manga is made by Q Hayashida and features a very gritty world with very goofy and fun characters.

Battle Angel Alita/Gunnm:

A story mostly about a cyborg with a sense for battle wanting to fin her origins after crashing on earth. The series has 3 entries so far with the third being on hiatus sadly, the 3 series being Alita battle angel, baa last order and baa mars chronicle. However the series has excellent art a very good story and great action.

It currently has a 1993 anime and a live action movie

20th Century Boys

The story revolves around a group of adults who in their youth created a symbol to represent their friendship which is then used by some malevolent character called friend in the future for his own cult and his goal to take over the world. With most of the story being about trying to recall who he may be and how to stop his plot. Its a VERY story and dialogue heavy series, but its all worth it once everything starts clicking.

it has a short sequel series that contains the ending of the actual series called "21st century boys"

Pluto

Made by the same person as 20th century boys Naoki urasawa, its an adaptation of "the greatest robot on earth" story with its own unique spin. Its about the ongoing murders of the seven most powerful robots on earth. It deals in a lot of stuff about the sentience of the robots and their rights.

It currently has a full anime adaptation on netflix.

Planetes

A lot of the story mainly focuses on the struggles and relationships of the main characters with space mainly being a backdrop. Its a very interpersonal story and i can't really do it justice by just describing it so i recommend reding or watching it yourself.

It also has a full anime adaptation.

10,000 light year binoculars

This one is just a oneshot but i enjoyed it so much that i really had to rec it. Its about an alien girl with binoculars that allow her to spy on a boy on earth from her own planet and wanting to meet him someday. The entire oneshot is in color, the art is great AND its short.

Star tripper: Planetarium Ghost Travel

A very comfy manga that only recently stared to get fantranslated. Its about a guy called 303 going to "ghost planets where most of the inhabitants have gone into a deep sleep and turned into trees.

Heavenly Delusion/Tengoku Daimakyou

And finally Heavenly, it has two concurrent plotlines with the first one being about a boy and a girl going through a post apocalyptic Japan looking for "new heaven", while the second is about a group a kids in a sterile facility wanting to go explore outside the walls of said facility.

It has an anime that covers the first 5 volumes.

And those are all my sci-fi recs for the moment!!! Hope someone finds something new to enjoy of these here. apologies if the writing ain't the best i wrote this at like 3 am.

[tozettastone]

hidan and kakuzu were literally so fucking married.... team 10 should not have won that fight

Ohhhh, the fight. The fight. Hahaha.

I think the really egregious parts for me were:

Hidan not noticing that he had not hit his enemy. That one's weird. Pressure and impact communicate themselves pretty well through an object you're holding and he has a lot of practice hitting people.

Kakuzu just kind of standing still waiting for his rasengan. Naruto canonically is very slow at making those things at this stage. He needs his shadow clone to help. There's a weird part where Kakuzu just stops fighting at all and stands there. Like... you don't want to mount a retreat, buddy? You don't want to, idk, block? Dodge?

I think if they'd given me a really good Kakashi and Tenzo v Kakuzu and Hidan fight (perhaps using Shikamaru to provide the battle plan to provide closure on the Asuma thing, even though I don't really like Shikamaru), I'd have bought the zombi combi defeat. Grudgingly.

But yes I think the canon end to Kakuzu and Hidan was a bland cop out. I'm biased but I'm also correct.

But also even though I love Kakuzu as a character, I do think shippuden Kakashi could have won against Kakuzu. I think they both would have had a pretty good chance of winning that fight, so if the story requires Kakuzu to die, it could have been written as a Kakashi victory.

Hidan... I'm not sure what even happened there. Shikamaru should never have won that. Shikamaru's entire plan hinged on tricking him about whether or not he'd actually hit something?? What?

I am really biased about this one because I also think constructing the Shikamaru-avenges-Asuma story beat as personal revenge arc, using this established setting in which everyone's one mission away from being a hired killer, is tone deaf to the point of absurdity. To me it is misaligned with the setting and represents a frustrating flaw in the delivery of the themes and tone of the manga. (This marks the point in the story at which I took a break for many months lol.)

[ihatetaxes99]

Alrighty, fun theory time: What if Neito Monoma was actually brain-damaged?

I swear, this isn't a joke post, this is a genuine headcanon/theory I like to consider that possibly explains the... Sharp shift in his behaviour. Of course, it obviously isn't actually canon, I don't think anyone would believe that for a second, but it's an idea I like to ruminate upon. That said, time to elaborate:

It's no secret that when the character of Neito Monoma was introduced during the Sports Festival story arc of the Boku No Hero manga, he was rather different from his later portrayals.

Unless I'm forgetting something, this was the first proper panel introducing Monoma in the series:

As you can see, there were some... Changes later on down the line:

Anyone can tell that something happened here. Anyone who has a basic knowledge of the manga is aware that this second image is not an outlier. Monoma has been consistently portrayed as arrogant, over-the-top and borderline mentally unwell. There's clearly something wrong with this boy, this isn't just a kid being energetic.

Monoma in his initial appearance was clearly a bit underhanded, yes. He was a schemer, a trickster, almost like the heroes' version of Mr. Compress (I had to fit a reference to my G in there somehow) in how he relies on subterfuge and deception over raw strength; None of this translates to the psychopathic brat he became as early as the Training Camp arc. The question is, what happened to cause this? I mean, yeah, there are a few pretty good guesses as to why his personality was retconned out-of-universe (I've always taken an interest in the theory that his insanity was turned up to make Kendo's behaviour towards him seem more justified, somehow, and have her come off as less unlikeable, though there is also the popular theory that Bakugo's popularity had a hand in things as well, which I won't get into here), but that's boring. I am an Autist, and what I want is an in-universe explanation to use as my personal headcanon.

And so, we come to this delightful little panel:

Acquired Brain Injury (ABI) refers to a form of brain injury brought about by physical trauma or other damage caused sometime after birth, as opposed to genetic brain damage. As listed by the Scottish Acquired Brain Injury Network, symptoms of ABI can include:

Reduced motivation.

Reduced ability to initiate activity.

Reduced motivation.

Reduced empathy.

Emotional Lability

Reduced impulse control (i.e. reduced ability to control expression of emotions and behaviour).

Agitation.

Aggressive behaviour.

Impaired judgement.

Socially inappropriate behaviour.

Sexually disinhibited behaviour.

Reduced insight/awareness of the consequences of brain injury and its impact.

Obviously, not all of these symptoms are relevant to Monoma's case, but some - such as emotional lability, reduced impulse control, agitation, aggressive behaviour, impaired judgement and socially inappropriate behaviour - sound very familiar.

In short, it's proven that physical trauma to the head can very much influence and alter a person's personality, resulting in instability. And as we can see from the image, Bakugo very nearly blew Monoma's head off during the climax of the chariot battle. The way that his head snaps back is clearly indicative of receiving some sort of sharp blow.

And that is where the basis of my theory is formed. Neito Monoma starts out his UA career as a somewhat ambitious and devious, but intelligent and well put-together kid. Then, during the Sports Festival, he receives a severe blow to the head from Bakugo. Given the nature of UA's training regiment, it's even possible that he would sustain more injuries off-panel between the end of the Festival and his next appearance at the Training Camp, possibly even developing the situation into Chronic Traumatic Encephalopathy. And that's not even considering all of the times Kendo has been seen striking him hard enough to knock him out cold. We're also well aware of how lax UA is in regards to their medical care, with a kiss from Recovery Girl and a few days' rest typically being seen as the best way to deal with incidents. In this environment, Monoma's head trauma would go on to manifest itself in more and more personality defects, transforming him over time as his intellectual capabilities were diminished and his aggressive and socially unaware behaviour grew more and more pronounced. It puts a tragic spin on what is essentially a mishandled joke character, holding the lens to UA's negligent behaviour that the manga barely touched in any real depth.

Of course, as I said, obviously none of this is the case. Monoma was rewritten to be a joke after the Sports Festival and that is the long and short of it. There isn't really anything deeper going on there, not intentionally at least. But I like to dream. And I've really grown rather fond of this little headcanon.