Honestly Laudna freaking out that Imogen pretty much vanished isn’t actually surprising.
Unlike Imogen (who had that week where Laudna was dead), the longest that Laudna’s been apart from Imogen was during the Solstice - part of which she spent not even knowing Imogen was alive and then being horrendously traumatised.
They haven’t left each other’s side since reuniting and suddenly Imogen disappeared without her notice. I am entirely unsurprised she freaked out a bit.
Are they a bit unhealthily attached to each other? Sure. But also they were like that before.
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didnt wanna ramble more in my newest post but like. The implications of steven having 4 charizards in doors open is so fucking confusing, and unironically i am glad nobody takes doors open for characterization bc fanon steven would be even more confusing and worse. If we took s!3v3n characterization from doors open every interpretation of fanon s!3v3n would be "I HATE YOU IM GUNNA KILL YOU!!! IM YELLING AND IM GUNNA KILL YOU!!! THE YEAR 2010! SCARY! DIEDIEDIEDIEDIE" ( <- hyperbolization but literally how he is in doors open just exaggerated Literally only a bit. ) instead of a creepy tall guy who lurks in the shadows or whatever.
Canon s!3v3n in doors open and strangled ( not strangled red hes just kind of creepy and silent there ) is like. The mental asylum pov video on tiktok. Which is really funny but not a good character(*&^
I am certain its just a "he has four bc they spell out one letter of MIKI in each of their names in order!" and its probably just for that but like. whyyyy does he have four of them.
Who gave you four charizards. Did he clone more. Did he get that insane. I dont want to seriously think abt lore implications of doors open other than the small details it gives abt stevens appearance and mikis moveset, because it is once again, Not Fucking written Well its just GRRR ill KILL YOU i HATE YOU IM GUNNA KILL YOU!!! so its not narratively interesting, especially from characterization standpoint for steven/s!3v3n and therefore i dont trust it but God.
Why does He have four of them. Did they split. The seven (aka four) miki souls ??? omega s!3v3n. This is going nowhere.
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Not "AFO being the final boss undoes all of Tomura's development," or "the body snatching plot line was a last minute decision," but a secret third fourth fifth sixth and seventh thing....
3. ("Weekly manga is an inherently flawed storytelling medium when it comes to telling cohesive stories, and authors are often required to stretch their main plot points thin over hundreds of chapters/several years. When you sit down to analyze or critique MHA, I sincerely feel you need to take the restriction of its medium/genre as well as the restrictions on the artist into consideration. One must also consider that this is a story that has been written over the course of a decade-- A certain degree of "mutation" between the story's beginning and its ending is both acceptable & anticipated within this medium.")
4. ("That being said, Hori does consistently do a much better job of telling a coherent story with consistent themes than people give him credit for, and credit should be given where it's due-- while there are some poorly/hastily implemented narrative elements and plot points where it can be argued that Hori decided to change gears, they are not the story-breaking sins that people make them out to be. And ultimately, Tomura's possession does work as a natural progression of the story Hori is attempting to tell and as something that builds off and solidifies the themes established throughout MHA.")
5. ("Tomura's arc is that of a victim trapped in the cycle of abuse told through a lens of fantasy. He was always a victim of AFO and always someone who had his identity abused out of him, and the body-snatch plotline is just a variation of telling that story in a way that leaves no room for argument. Tomura's arc and Izuku's arc also foil and build off each other, and a lot of the misunderstandings I've seen re: MHA's trajectory come from fans who either disregard Izuku's arc in favor of fixating on Tomura's arc (or vice versa) instead of reading these arcs as two parts of a whole-- both arcs grapple with "identity" and how you define yourself vs how others try to define you, the romanticization of self-destructive traits and how it's necessary to have good social support and people who are willing to step in and stop you from hurting yourself, systemic and individual dehumanization, adults failing to protect them when they need it, valid anger and an intolerance for injustice being taken advantage of a twisted into something intensely self-destructive, etc. Ignoring Izuku's arc and how it both reflects and intertwines with Tomura's (& vice versa) means missing out on understanding the core of both characters and what their respective roles in this narrative is. TL;DR Tomura being a victim in need of saving and Izuku being the one in a position to save him is something that has been cooking since Tomura's debut at USJ *more on this later*")
6. ("Hori started off not wanting to give his villains any humanizing qualities because he wanted them to remain "scary" to his readers-- but it's fairly clear that he developed a sense of appreciation and sympathy for his villains as his story progressed and his ability as a writer developed. As a direct result of this, his story eventually grew beyond treating the LOV as hollow tools to "scare" the readers. Hori grew, and so did MHA. The trajectory of the story changing to reflect Hori's growth should not be treated as a bad thing bc, again, this change/growth does not actually violate the initial premise of MHA in an unforgiveable way-- it actually services the natural progression of the story and its characters.")
7. ("Saving Tomura and the LOV is the ultimate goal of the series, and that goal is built off of literally everything Hori has established up to this point. You will never find inner peace or enjoy the manga's good qualities if you keep agonizing over what could have been. Reacting to the manga as a whole on a week-to-week basis will only skew your understanding of the story as a whole. Et cetera Et cetera Et cetera.")
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