#when will horikoshi give me rights

[obsessive-dumpling]

I have reread MHA multiple times. And chapters with good bkdk content, forget about, I can't even tell you how many times I have scrutinized each panel. So explain to me why I am just now seeing this:

Katsuki starts spitting up blood when he tries to reach Izuku in the hospital.

That's all. I'm just gonna leave this here and let you all stew on that.

Bonus thought: Reminds me an awful lot of Izuku leaving the hospital, not fully healed, to go find Katsuki when the LOV kidnaps him.

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Tragic Hero

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Now the final part of the monologue in that chapter.

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

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

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

The second monologue is more denial.

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

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

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

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

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

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

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

As Codenamesanzanka says:

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

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

As @class1akids says in this reaction post:

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

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

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

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

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

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

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

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

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

Pro Hero Arc:

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

Hellish Todoroki Family 1:

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

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

Dabi's Dance:

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

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

The Fight Against AFO:

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

When Enji decides to double Suicide with Toya:

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

Hellish Todoroki Family Final:

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

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

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

As observed by Class1akids when we were discussing the update:

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

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

Batman doesn't fight victims. He saves them.

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

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

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

The Tragic Villain

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

Well, let me explain.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hey buddy, you're being selfish.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Themes Are For Eight Graders

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

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

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

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

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

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

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

Like, no.

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

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

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

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

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

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

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

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

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

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

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

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

"I wish you could be here, Toya."

"We all have to go stop, Toya."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EPILOGUE

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

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

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

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

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

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

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

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

You didn't mention Shoto once in this post:

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

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

[pikahlua]

Okay, here's my MHA criticism.

Everyone has their own personal hangups about the MHA ending, but mine is not about the ending itself. The epilogue doesn't feel rushed to me--the entire final act does, ever since the PLW ending.

But I can't say that the issue is actually rushed writing. There was a change in the writing, and it came with pros and cons. Ever since this change, a lot of people felt a lack of Izuku's introspection, but I still see his introspection all over the place. It's just not compelling introspection, and it's the natural consequence of this writing change.

The thing that changes is the way Horikoshi depicts character interaction and reflection.

To cap off the story's themes, Horikoshi chooses to focus on select emotional beats involving specific characters as short, finite set pieces. Some of them work great, like Katsuki's apology. But what is lost in this process are the other emotional beats Horikoshi doesn't spend time on, such as Izuku's quick, comical, emotionally dissonant reunion with All Might back at UA after going vigilante. The set pieces Horikoshi chooses to focus on at Tomura's end are two moments, one between All For One and Yoichi, and the other between Izuku and Tomura. But what is lost in this case is the strangely off-screened encounter between Nana's and Tomura's vestiges, and we're just given the fact that Nana preserved Tomura's sense of self as an offhand remark. This is a recurring theme where Horikoshi lands the set pieces he has likely visualized for years but that somehow don't have the same impact as the emotional scenes from earlier in the story. The details that build up to these moments are lacking, and it's because the characters don't interact as they should.

Horikoshi has overall messages he wants to focus on, such as the unity in everyone coming together inspired by Izuku at the end. But he places so much focus on his entire cast of characters at large to achieve this theme that the story becomes unbalanced. We as readers have read about his characters over the years, and we've grown especially attached to some of them. Even if there are minor characters we may enjoy, if Horikoshi is doing his job as a writer, the majority of us should be here for the main characters. If Horikoshi wants to feature every single one of his characters in the final arc, then he has to do so with balance. The main characters should be given more emotional weight than the side characters.

Hanta Sero can have his cool moment no problem, but why does it come so late into Izuku's final battle??? It makes no sense emotionally for it to be there. At this stage in the story, we would expect any other major character to fill this role. Hell, Iida is sitting right there with not much going on for his character this arc.

And the same emotional underwhelm goes for so many other moments. Why is the primary character screaming in agony over Katsuki's death Neito Monoma??? Aizawa is right there, and all we get from him is a horrified face but no reaction otherwise. He fades to the background immediately. Izuku's reaction to Katsuki's death is built up so much and yet not nearly enough time or weight is devoted to the actual moment when it happens. Compared to such iconic reactions to death in the shounen genre that came before it such as Goku's super saiyan transformation in response to the death of his best friend Krillin, Izuku's reaction to Katsuki's death is utterly forgettable.

The issue is not that Horikoshi gave Sero and Monoma these moments. It's that he either weighted or timed them and many others like them poorly. No one reading MHA wonders what wisdom Sero would have to offer at the end or what sort of reaction Monoma would have to Katsuki's death--or rather, they don't wonder these things more than they wonder about the main characters themselves. Main characters are the characters we're SUPPOSED to care about. If you give Sero and Monoma big moments like what they got, then the main characters have to have even bigger moments following in order to still be impactful. But we don't get that. We get the set pieces, but we don't get any of the logical character interaction and reflection these set pieces beg for. If I have to choose between Izuku's reaction to Katsuki's death and Monoma's, I want Horikoshi to spend all his time and effort on Izuku's every time. It's nice to see how main characters interact with side characters and to hear those side characters' perspectives but NOT at the cost of the main characters interacting and sharing their perspectives. Horikoshi makes too much space for his side characters, and so we lose the detail that could have gone into important moments between the main characters. The overall story remains coherent and complete, but it also leaves something to be desired for the characters themselves. As a result, I find myself both given closure and longing for a more robust, impactful resolution for the main characters.

tl;dr Horikoshi gave too much to his side characters and not enough to his main characters, which particularly affected the interactions between the characters we all care most about

[court-jobi]

Goldeneye Down

((banner by me! I don't own Horikoshi's characters/stories))

Pairing: Hawks x reader (quirkless!(gn)reader)

Words: 4.6K

Rating: T+ (canon-typical post-mission shenanigans, so it gets raw, kids.)

Warnings: canon-typical violence, description of injuries/blood, mentions of medical trauma, anxiety, so many tears, mutual pining, HURT/COMFORT, angst with a happy ending

Summary:

If a kiss would fix him, he'd sooner never breathe again. If you knew it would work, you'd surrender your lungs and anything else for his comfort. He hardly gets tender treatment after a fight- and that shows by how tightly he's hugging your waist for dear life. Alternatively: three times you've witnessed your dashing Hawks masking his hurt, until he can't anymore. Each time is worse than the last- until you finally learn that you're the only one who truly asks how he feels after nights like this. Not 'how are your wings' or 'is he stable'... but it's you who takes the time to wipe his face gently with a washcloth: not to rid Hawks of the sweat and grit to make him presentable, but gifting Keigo the chance to feel clean for once.

A/N: Yall, this man is one of my favorite characters on this show, and I have so many writing plans for him-- so apologies for starting right out the gate with angst??? I love him I swear

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

Read on AO3

The first time you ever saw Hawks shirtless was hardly the stuff fantasies or a perfume advert concocted. He was bandaged across one entire pec, around his middle, and up to his shoulder, after all.

Work as a writer took you to many glamorous locations, but also to the grittiest– recently, hero hospitals when there’s been a close call and you are in for an interview with either a dying hero for their final public wish, or a heartfelt op-ed about a rising sidekick’s latest stand against threat and evil. In either case, you’d wound up at the bedside of a darling rescue agent who’d had an incredible story to share despite their career-ending injuries. 

With a genuine word of thanks and a shared pudding packet, you were leaving the hospital wing in fairly good spirits until your stomach turned in shock at what awaited you in the hallway– a gravely bandaged Hawks standing at the nurse’s station in a half state of dress, locking eyes with you in the first instance where you’d ever caught him off his guard. 

Those gorgeous eyes flashed in nervous panic which melted into boyish charm awfully quickly- standard practice for the secret object of your affections-

“Well gosh, nurse, I thought you’d give a guy a warning if a guardian angel was going to be visiting today… I’d have been decent enough to put a shirt on~!”

It was a detour of hoarse-voiced flirting on his part and masked heartbreak on yours. Seeing the blonde numbed out and paler than you’d ever witnessed him out on the job, your veil of professionalism slipped enough to really see Hawks in this moment… and catch wind of an unaware attendant who slipped the hero’s last name in front of you. 

Said PA immediately recoiled upon seeing you -an extended member of the press- overhear the #2 Pro Hero’s legal name. Though at your insistence that you were here on business that didn’t concern him, Hawks visibly relaxed enough to give you his first name himself the moment the nurse left. 

‘Mr. Takami is far too formal to come outta you; don’t even think about calling me that, dove.’

Keigo Takami truly was a man containing multitudes, but for all the tough talk about how ‘you should have seen the other guy’, you worried about that man you’ve seen now without his gold visor that night when you went home, and wondered if he was sleeping ok with his chest bound like that. 

The next injury sighting took several months of continued text exchanges, private balcony sidebars, and continued endurance of Hawks’ public displays of blatant sweet talking for you to see him less than chipper again.

Your meeting with the HPSC Press Chair was running painfully long, but necessary given the content you were working on publishing for them as side work. It wasn’t doable for you to take on a full-time job with the Hero Commission, but in your philanthropic effort to unite the civilian world with those of high profile heroes, you took on these winded assignments with the promise of a pay bump… as well as a chance to see your darling flyboy. Not that they’d note or care about your budding affections for him. Thankfully, your tight lipped smiles at him were ironclad and his reputation as a charming star preceded him, even to his higher ups so the true feelings never fully sunk in so long as you were mindful.

Pulling a doubletake at your presence in the conference room from the glass windows led Hawks to hang a left inside to quip at you, fully interrupting your meeting despite the scowls he received from the suits lining the table.

“Well isn’t this a pleasant surprise~ hey there, lovedove. Aren’t you pretty as a peach today?”

“Hey there, yourself,” you turned to acknowledge him politely, but pointedly fixed on his eye that laid nearly completely blackened and the cheek scraped to a raw red.  “--aren’t you looking- purple.”

Hawks being sufficiently threatened to report elsewhere didn’t stop him from throwing you a dismissive wink and a smirk at your subtle worry,

 “Oh this? Nah, it’ll fade. I could use the blush anyway~ it’ll save me a trip for photos tomorrow!”

That charming show of optimism wasn’t a surprise as you turned back to your grumpily apologetic managers, though you never did quite forget how Keigo stayed in the entryway soaking in even your curt ending of the conversation. He had to be practically ushered out by some fellow training officers for him to go on his merry way. Your inspection of him had been lightning quick, and you were nearly certain he was black and blue in more places than his face judging by how he sidestepped out the door.

Would he ever take his pain seriously? Under all that swagger, you certainly hoped so. Or else you hoped someone would make a fuss over him. 

Hawks shows on your patio at 12:30 in the morning one day, knocking silly on your side door. It’s been weeks since you wrote another touching piece for the HPCS’s statement on civic protection, and too long since he’s taken a rooftop stroll with you. Hell, far too long that he's had you close. Keeping you at his side, tucked under his towering wing, shielding you from the night winds, peppering each other with soft-spoken words and some stolen kisses he swears mean more to him than a move ‘just for luck’. 

Hawks knocks three times... huffing. He glanced towards the ground, tucking what's left of his wings further in with a wince. He knocks four more times, each more insistent than the last, but mindful of the noise. He even shushes himself in the delirium, canvassing your living room for signs of life.

Your oven light was still on, suggesting you hadn't gone through your full nighttime shutdown yet. That single light bulb in your kitchen appeared to double the more he stared, and tried to blink the unease away. Shit. He's really in no condition to fly. The sidewalk below your floor takes his attention again at the cry he hears. The sound is only cat this time, but still makes him oh-so nervous.

Hawks moans his impatience coupled by the searing pain, begging you to come notice him at the sliding glass. He drops his head damp with sweat to the window (intent to apologize for it later) and just bangs on the window like the desperate man he is.

"Please be up, please be up, please..."

When he opens his eyes briefly, he sees a shadow before him approaching. You'd flicked on more light in your living room and were jogging up to the window with shock brightening your features to total wakefulness. He's never been happier to see you so panicked.

Your confusion is palpable behind the door as you push the blind’s interior locking rod aside and flip up the lock, sliding it-- and Hawks-- along with you.

"Who-ooah!! Hawks??" You whisper-scream.

Stumbling aside, he grips his still bleeding hip and winces at what that move causes for his back. Eyes screwed shut, he can't even quite manage a suave, sweet greeting; he merely sighs your name as an answer to prayer.

You take in this poor, disheveled shell of a hero as he looks every bit like he's come from a dogfight. Not only were his wings sparse and bony from overuse, but his left wing was seizing up and stunted at a poor angle you knew wasn't natural.

oh my God, those poor wings… You collected him up with ready arms- gingerly guiding inside through the center of the patio, wary of bumping either's span of the door. 

"carefulcarefulcareful–"

"eh, it’ll-- nnngh!!" Hawks doubled over-thankfully right into you- "I got'kicked in the back-- right under...ahhhh~ "

Not only that, but despite the blackness of his under armour and gloves, you noted now by movement and smell that he was bleeding elsewhere. Besides the hobble, he sports a busted cheekbone and lip– which he likely bit himself.

This was a hard state to see him in and truly frightened you by the blood loss alone. Worse than any other time you’d seen him after a mission by far.

Primal, parental  instincts filled you and spilled out before you could stop yourself.

"Honey, we gotta get you to Dagoba General; it's closest--"

"I can't-" Hawks stopped you with a vice grip on your wrist while he hobbled along, "s'too public."

-Not allowed, even in an emergency. This you remembered from his earlier run through of policies about heroes needing medical attention; where in the city he could go, how it should be handled privately, and out of civilian's eyes.

"oh shit-- well, how bout the hero hospital, the one by that high school? Can't you call- or I can call! Let me-"

"No~" hawks moaned miserably. "I jus' gotta sit."

“Aren’t you -uh- supposed to have your legs up? You can lay back, it’s ok,” you try to guide him, but he only wavers- set on sitting up. His still-sure sights canvassing the room tells you he’s in a protective, alert headspace here in new surroundings. He might need more direction from you to break this..

"Hawks-- this is beyond what I can do,” You tried to reason with him, grappling a random throw blanket semi draped on the couch before he could sit down. “I told you I worked in refugee centers, I only know basic first aid- but this is more than I can help you, honey! They can get you fluids, a transfusion if you need it, pain meds stronger than what I have from the corner store if you’d just- where's your phone, I can call for an ambulan-"

Hawks fired up right away-

"NO!!" He begged, "no- they, they can't.. I don't wan'.."

Helping him sit, you knelt carefully trying to hear through his clear pain-rattled rant.

You assume he doesn't want the trouble of an ambulance or worry it wouldn't get here in time- which scares you more is debatable.

"We’re working against time here, hot stuff.." you tried for levity, caressing his hand. While he took it shakily, he bit his groan back.

He looked at you seriously, but pouted back in a way you'd normally giggle at, "No 'wee-woos'."

"I know you don't want ‘wee-woos’, but I think we're past that now." 

You cup Hawks’ cheek which successfully transfixes his attention right on your face, while you blindly try his jacket's inner pocket for his phone- closer than yours that’s clear in the back bedroom on your charger, 

"Look, I'll even talk for ya, okay? You don’t have to explain a thing about what happened tonight. Let's just get you help-"

"NO!! I can't hav' 'em find you here!"

His outburst startled you so you pulled back from his jacket entirely- at a true loss, "Can’t have who find me?"

"I won' let 'em," Hawks shook his head, pressing into his side, "I-- they don' know I'm here- they can' see only the pinpoint. Not ell'vation. Ahh. Don't wan'em know.. where you live, f’they don’ already."

You fought to keep up. He's clearly distressed- but you're surprised it's by the thought over your residence being found out. Who would be upset at the fact of him being here enough to have him shaken from even emergency services finding out?

Then you realize, he’s on the clock. He’s gotten hurt at work, and he’s not patrolling anymore. ‘The asset is damaged,’ and he’s laying low effectively out of sight.

"Your.. what, your bosses? Is that what you're worried about right now?"

Hawks was fighting for some deeper breaths. Some old instincts finally kicking in, he’s pushing air out forcefully though his lips in a decent try to slow himself down. He knows you know that much– how his work is essentially divvied into two piles: the stuff you hear about on the news, and the stuff you don't. The HPSC handles both, but primarily involves him in one. Thankfully, he knows you're quick enough to know tonight is a night of the latter and one that you know you shouldn't ask too much more of, despite your clear desire for understanding. 

But he’s bleeding on your sofa and he is about to damn near break or bleed out and you feel drawn to his heart and feel a selfish urge to know.

"I don't understand- why, ... why come here if you were worried, Kei?"

"I was.. close,” he offered with some huffs again.

That answer felt too loaded, but you were too groggy yourself to reason with such a clammy man dealing with who knows how much blood loss.

He forced as much clarity to his vision as he could, while watching you get up to close the patio door up. You shut the blinds for good measure too before debating whether to run back to the bathroom and  grab what gauze and antiseptics you had. For both the sake of time and to keep the poor man from following you throughout the apartment like you knew he’d try to do, you settled on wetting a few washcloths by the sink and came back to him.

"Your fight was close to here?" You kept him in the moment while attempting to get off his coat. He sat forward to help in this, but his eyes shut hard as it forced his shoulder blades together, to feed the gap over the wings.

Through steeled grunts he manages it, then strangles out the basics for you, "Y-yeah.. small.. weap'n traffic ring. But we had intel they'd.. Had a hit out on’the magistrate."

You set the bloodied jacket to the ground- torn between looking at his pained face and getting a look at the hip he was leaning into.

"They hadda few tough quirk users," Hawks gritted, separating his hand at your insistence. The shirt peeling back sticky was the least of his worries when you laid the wet washcloth at his side, "one had blades for legs, n’the other had a kind of whip-AHH!!"

Only water, but it burned like hell. Burned through the mess he'd made of himself. Proof he'd been sent in there outmatched-- 5 to 1 so he says, but even for the #2 Hero, the odds were stacked against him for a covert attack. You whispered a gentle apology over the sting.

You hated hearing the challenge and clear surprise of the incident that caused this version of your hero to be brought to the surface, knocking on your door like a kid trying to sneak back into the house in the middle of the night.

"So they nicked you here– and your back?" You asked gently, "Anywhere else?"

"They were gonna take out the block--"

You heard the panic rise in him again, the tremor in voice and wings.

"Haw-.. Keigo."

"They were gonna-- they didn't even know you lived up here.. you of all people.. but they were gonna do it. I had- said I hadta stop em, whatever it took.."

You set the first soiled cloth aside, centered between his spread knees, and cupped his face in both hands now. He's trembling all over and pulse is going wild under your fingers. He locked onto your necklace- avoiding your eyes in anger, guilt, and a messy, gnarled ball of exhaustion while you cleaned his face.

It wasn’t clinically necessary, but you wanted to.

 "But you stopped them," you reminded, "You said you got 'em, right?"

Something flitted across his face that looked hollow- like a younger side of Keigo Takami was looking for help finishing his thoughts. Like he was reverting to a shadow self that was about to cry just feeling you cool down his neck with the clean side of a washcloth.

"I got em." He barely whispered, new frustrated tears flooding his eyes and forcing his brows together. "I did it. I did-- what they wanted me to."

The way he says it is not a victory. It's guilty, not even proud in a sense of justice. It was forced; not unlike a militant following orders.

"The safety commission, keeping folks safe at all costs," you answered for him, forcing his eyes to blink at the name. What crimson feather remained ebbed and rustled on impulse.

Suddenly, he frowned down at his own hands, suddenly wrenching himself free of his damp, tainted gloves, like they were burning him alive the longer they stayed on his fingers. 

"Cost them," Hawks croaked, "Wanted t’take ‘em in, make them pay the way we always do. But then they said they're taking the block out- and I couldn't let em- I couldn't let them get you or anyone else--I shoulda felt like a damn hero they say I am."

Hawks shook his head pathetically, nearly collapsing forward at the feel of you raking his bangs back, before he sobbed,

"but I didn't want to. They begged. Couldn’a run when they knew they couldn't win, so they begged. I don't wanna do it this way, don't want it to come to this. I can't keep ending it all just because I can!! I’m no–"

Hawks wipes harshly at his eyes with the heel of his palm, his anger at a tipping point.

Your heart sobers and breaks altogether. He's confessing to you because he knows this whole ordeal is going to be painted so differently by the media in the morning. Heroes have to make impossible calls- and you know his handlers don't make it easier on him when it comes to completing these covert assignments. They’ve essentially given him a license none others do- allowances that dance in the world of grey.

Hawks and heroes like him have been granted permission to take lethal measures. But it’s a grim, fell thought that when you’re in the moment- the choice to kill or stay in your armed hands. The pressure is bound to weigh anyone, make them crack and doubt their sensibilities.

Any bystander would call Hawks heroic for saving more lives than taking them- but fear is what forces him to kill. Fear of loss, of the catastrophic unknown that he continues to fight for faster and faster. 

You leveled with Hawks’ sightline, forcing terrified eyes to yours. While the sight of this confident man worn down grieved you, schooling your face and brows to be strong was an easy ask when he needed you.

"I know you didn't,” you affirmed all he said, “You were so brave, Keigo. You were really brave, no matter what. No matter how these fights end. You always are brave."

Keigo listens and heaves an ungodly sound at your words. 

Suddenly, he's pulling you close and crying into your chest and you meet him all the way. You lock your grasp around his shoulders gingerly at first afraid to hold too tight. Cradling his head to you and hushing him seems to work for now, since he’s able to speak again after more schooled breaths. 

But this reaction from him is far from assured; he’s afraid. Unheard. And it seems with you, he can finally air these harsh truths without outside ears listening in stopping his tongue.

"They don't care how hard it is. They don't care. They just push and push and push me, and 'm tired and it hurts!!"

All you can do is hold him.

"I know, baby,” you barely speak, “I know it does, I know it hurts..."

“It always hurts,” he sobs, “It does every time. When you saw me and you looked at me, and you asked me if it hurt, I lied because I had to. But shit, this hurts…”

Hawks’ heated hands grasp at you: the contour of your body is the altar he's kneeling at- from this very spot of your couch. He's wailing now- half in pain, half in misery of being failed over and over again and only now -in secret- ever receiving someone to listen in return. The sound barely makes noise as its buried in your middle, but it rocks you where you kneel up straight to keep him close.

You let him grieve and hold space for every bit of it. He's never once been this vulnerable with another soul in his life, you’re convinced, and he sounds just so grateful to have your hands on his. Grounding. Giving him relief he's been starving for since you first paid attention to him across that crime scene where you first met.

Once he began mimicking your pronounced breathing he finally starts to feel more calm. 

To give him air, you robbed one hand from around him in order to push back some hair from his face and check his temperature. He could actually feel how cool your hands were once he started getting color into his face from his spot at your chest. Drained and pliant, he mumbles something at your sternum, and you ask him to repeat it gently,

“Hands’re cold,” he whispers.

“Oh, m’sorry.”

“No,” he shuts his eyes. "Feels good. You feel so good. The other docs, they're just so-- clinical.. They don't- they aren't gentle. No one feels as good as you do.”

Softness seeps from the very pit of you. What you won’t give to protect this hero now. 

You see a slumped pillow at his side and think to use it as a bolster until his back spasms lessen.

"Here, babe. Let's get one of these behind you. You can lay back a bit-"

Hawks chips his chin up to you, a bat of his eyes pleading, ‘don’t go’.

It’s official: you love him.

"I won't go,” you coo down to him, “I won't make you get up. I'll be here. Right here." 

You kiss that hot, flushed forehead, and he wants to crumble again by the way you hear him swallow. 

“I-” Hawks tries to recover from his overwhelm, "...I need you..."

Your answer would never deny him, "What do you need, pretty bird."

"Need you– hold on t'me." Hawks nuzzles your neck in relief.

"I've got you. I've got you this time. You always have everyone else; now I have you."

This is the way you’d keep him, if he were all yours. After a day of things he’d rather forget, you’d replace them all with kind words and soothing touches that settle his restlessness. To his nature that never stops moving, you’d make it your mission to bring some stillness and comfort to the forefront of his burdened mind.

While you’d love for reality to keep on pause, a flash of movement at the window gave you hope rather than alarm, 

“Hey, Kei. Lookie there. You've got a little pile waiting for you~” you nod back to the patio, catching some blips of red near the unobscured vertical blinds. “Would having them back on you help? Make you feel more steady?"

Interest piqued, Hawks sounds pleasantly surprised seeing them with his own eyes. 

"Ah. Yeah."

"Wanna rinse off, too? You can; use my shower, get yourself a lil more fresh?” the offer is true and comes from you easily. Happy to offer whatever healing measures possible to him while you wipe away leftover tears from a set of perfectly golden eyes. “I can’t promise I have something that fits you super well, but let’s see what I got.”

You knew the hot water would likely sting his wound, but would also buy him more time before he's  ready to fly again and go get checked out more formally.

Still wilty, Hawks gives a comical grimace in the face.  “I’d sure hate t’bleed all over your stuff.”

“Stuff can be washed; there’s only one you.”

And at this, he finally looks back up to you like the Keigo you know and sinks at the idea, giving in to the tempting idea. He nods. Any trace of boiled over bitterness in his aura has faded to a low simmer, and has left a warm, comfortable, gorgeous-looking man to peer up at you. 

You help him up, open the door once more, and Hawks is able to stand a bit better on his own now with a wingspan full of settling feathers preening themselves into place. Once face to face, he finds his hands are still seeking out your waist, and his face furrows– unwilling to let go fully of his personal painkiller.

You still his hesitation with a mouth’s warm press to his cheek followed by a gentle kiss on the lips. His palms go lax and a moan leaves him softly.

“I'll hold you all you want when you get out,” you whisper gently to him. “No funny business, I promise. Yeah?"

As if he held any true worries. 

"Wouldn’t ever mind if you did, dove. But yeah– I’d like that."

With another lingering kiss, you do your utmost to take things as quickly as he can manage for the sake of getting him to rest quickly… but by the way Hawks eyes you from all your puttering about the apartment, he holds no urgency or rush. To the contrary, he's happy going slow and steady while he’s with you. 

His hand catches yours any chance he gets until he’s ultimately able to lay his head to rest on you at the first idle moment of the evening. Its in these, the wee morning hours, that he’s eager now to remember this as the first night you got to help him heal and not just recover.

"You sure you aren't rushing it?" the slight worry tinges your sleepy morning voice in just the next few waking hours. All you both had was a glorified nap given his late arrival.

The song of your concern obviously pleases your loving company, as the edges of Hawks’ eyes crinkle at your worry. 

"I gotta report in by six. I'll stop at my place, change before I go in, heat up something to eat. And I’ll text you when I get there."

The checklist of answers is sweet and characteristically Hawks, but you hope Keigo hasn’t checked out of your bubble yet.

"Okay. But.. take some time if you can. Come see me if you still need me."

A noticeable fondness settles across Hawks’ devilishly handsome smile, and comes over to cup your face for another coffee-masked kiss. 

"I always need you.” Thank you. For everything. "I'll see you soon." I love you.

"See you soon." I love you too.

Weeks pass with Hawks’ semi-regular visits to the apartment, holding you in the kitchen like the lovesick boy he is at heart. ‘Talking work’ he claims, when his higher ups ask him about the delays, but he’s more inclined to slack and slip into far more personal matters as he guides you over back towards the barstools and sits back on one.

A curious mind makes you question why he's pushing the limits of his absence until he pulls you in to completely become flush with him and realize he wants your attention before anyone else’s. He sinks in how you set your hands on his shoulders, smiling like a sweet dope, looking up at you while you check him over.

You know he’s tired from a day on patrol in full sun, but the faint sunburn across his cheeks doesn’t seem altogether too painful. Just needs a decent aloe blend. Still, you ask as you always do, 

“How you feelin’, pretty bird?”

And he truly answers honestly now, no bravado for handlers to scoff at or bystanders to placate:

“Better now.”

[shadowed-dancer]

Anyone else remember this?

Long ago in volume 7, Horikoshi made a comment that he didn't want to give the villains character pages because he wanted them to remain scary in the eyes of the reader. He specifically didn't want readers to feel a connection to them. That's a bold choice, but not unreasonable when it comes to villain characters. But then we got this:

In volume 23, right when MVA started, Horikoshi made a followup saying he changed his mind and was now ready to do villain character pages. To me, along with the existence of MVA, it implies he now wanted them to be humanized in the eyes of the reader. And it honestly worked! The villains were being treated more like human characters than looming threats, especially in those fun bonus sketches Horikoshi used to do.

So as we stare at chapter 429 and the entire MHA epilogue, it makes me wonder what the point of that was. Did something happen behind the scenes and he was encouraged to go back by some editor? Did he just change his mind so hard he ended up back at the start? Did he start to doubt himself?

[todomitoukei]

Japanese vs. English Todoroki Family Finale - A 426 Comparison

Just a few days after Horikoshi announced that there were only 5 chapters left, the so-called final chapter for the Todoroki family came out, as always sparking lots of discussion and bringing forth countless questionable takes, followed by the release of the official English translation.

So let’s take a closer look at the Japanese lines, starting with the Todoroki family’s short conversation before going to see Touya:

「来なくて大丈夫って言ったのに！」

「来なくて ; konakute」-> not coming 「大丈夫 ; daijoubu」-> okay; alright 「って ; tte」-> quoting particle (casual of と) 「言った ; itta」-> said 「のに ; noni」-> even though

= “Even though we said it’s okay not to come.”

「それを言うなら貴方たちもよ冬美夏雄」

「それ ; sore」-> that 「を ; o」-> direct object marker 「言う ; iu」-> to say 「なら ; nara」-> that being the case; on the topic of 「貴方たち ; anatatachi」-> you (plural) 「も ; mo」-> also; too 「よ ; yo」-> emphasis particle 「冬美 ; fuyumi」-> Fuyumi 「夏雄 ; natsuo」-> Natsuo

= “On the topic of saying that, you too, Fuyumi, Natsuo.”

What stood out to me here was Rei calling him Natsuo, when usually, everyone else (except Endeavor) calls him Natsu-kun or Natsu. Calling him by the full version of his first name rather than a shortened version might be done to indicate that things have changed, although not necessarily in a negative way. It's more that there has been a shift.

By the way, I am working on a masterpost talking about how the family addresses + refers to each other. Yes, I am going through the entire manga for that (this is a cry for help). Once the manga is finished I will post it (at some point), so look out for that if you’re interested in finding out exactly how many times who gets called what (yes, I am counting and making graphs)!

「お母さんでも…」

「お母さん ; okaasan」-> mom 「でも ; demo」-> but

= “But mom…”

「それを言うならおまえもだ冷」

「それ ; sore」-> that 「を ; o」-> direct object marker 「言う ; iu」-> to say 「なら ; nara」-> that being the case; on the topic of 「おまえ ; omae」-> you 「も ; mo」-> also; too 「だ ; da」-> be 「冷 ; rei」-> Rei

= “On the topic of saying that, you too, Rei.”

I love that he almost fully copies Rei’s phrase here. This is the first of many unoriginal lines that he has in this chapter. It only goes downhill from here.

「義務感で来たんじゃねぇから！皆そうだろ」

「義務感 ; gimukan」-> sense of duty (obligation) 「で ; de」-> with; by 「来た ; kita」-> came 「ん ; n」-> explanatory particle 「じゃねえ ; janee」-> isn’t 「から ; kara」-> because; so  (used to change the other person’s thoughts etc.) 「皆 ; mina」-> everyone 「そう ; sou」-> so; that way 「だろ ; daro」-> right?

= “I didn’t come out of a sense of duty! Everyone is that way, right?”

Usually, a second phrase would follow up the kara, but can also be left out when the meaning of that second phrase is implied enough. Since Fuyumi said Shouto didn’t have to come (if he didn’t want to, didn’t feel comfortable etc.) there is an implication that perhaps he only showed up because he felt like that was expected of him. Ending his clarification of “I didn’t come because I felt obligated” with kara “so” the implied follow up would be along the lines of “don’t worry”, which then gets wrapped up suggesting that all of them are showing up not because they feel pressured to do so, but because they want to visit Touya - since they basically just went around in a circle letting each other know they didn’t have to come if they don’t want to.

「会話は可能ですが一日に数分が限界です」

「会話 ; kaiwa」-> conversation 「は ; wa」-> topic marker particle 「可能 ; kanou」-> possible 「です ; desu」-> to be 「が ; ga」-> but 「一日 ; ichi nichi」-> one day 「に ; ni」-> at; in 「数分 ; suufun」-> a few minutes 「が ; ga」-> subject marker particle 「限界 ; genkai」-> limit 「です ; desu」-> to be

= “Conversations are possible, but a few minutes a day is the limit.”

I’m not sure how long Touya has been in here, but this line indicates that the staff members have been talking to him and I’d be curious to know what those conversations were like. What did they talk about? What kind of attitude did he give them? What was his reaction when he first regained consciousness? These are the questions we want answered, but alas, the Todoroki family plot simply isn’t about him. All the way to the bitter end it shall remain focusing on the most underrepresented group of them all: rich middle-aged men.

「緩やかに死へと向かっている…それが今の轟燈矢です」

「緩やかに ; yuruyakani」-> slowly 「死 ; shi」-> death 「へと ; e to」-> towards 「向かっている ; mukatteiru」-> to face; to head toward 「れ ; sore」-> that 「が ; ga」-> subject marker particle 「今 ; ima」-> now; current 「の ; no」-> possessive particle; similar to an apostrophe 「轟燈矢 ; todoroki touya」-> Touya Todoroki 「です ; desu」-> to be

= “Slowly heading towards death… that is the current Touya Todoroki.”

The particle e is a directional particle that can be translated as “toward”. Adding the particle to after it adds an emotional emphasis to the part that follows the to particle as opposed to just stating a fact, there is sympathy in this claim.

As for the claim itself - I know that a lot of people are convinced he is going to die because look! Random nameless character #47AAB7 said so, it must be true! But to be honest, I’m not even going to entertain that thought because despite all the criticism I have for this story, Horikoshi isn’t that bad of a writer. If he had wanted Touya dead, he could’ve easily killed him at the end of the last war. It makes zero sense for him to be saved and then pass away quietly and peacefully in a hospital (or whatever that place is).

Even if we were to say that Shouto managed to save him emotionally, so that counts as a win! It’s kind of a shit win if the only difference is that you now get to die “at peace”, which also could’ve been accomplished on the battlefield. At this point, it’s just inefficient and therefore, him dying at this point is not going to happen.

「........ぞろぞろと」

「ぞろぞろ ; zorozoro」-> in droves; swarming 「と ; to」-> adds emphasis

= “....In droves”

Zorozoro is used to describe several beings (can be humans or animals) that appear or move together like a swarm. This certainly is the first time the entire family is together, so it’s not surprising the rare sight is being pointed out in a joking manner, although he undoubtedly means this in a positive way as it contradicts his prior belief of no one in his family caring about him or missing him.

The fact that, upon first waking up after his coma as a teenager his immediate thought was to return and apologize, and now after ten years he finally gets the chance to talk to them and what is the first thing coming out of his mouth? Calling them a swarm. Forever and always the most relatable character.

「ハハ…観光名所じゃねぇんだよ........」

「ハハ ; haha」-> haha 「観光名所 ; kankoumeisho」-> tourist attraction; sightseeing spot 「じゃねぇ ; janee」-> isn’t 「んだ ; nda」-> explanatory particle 「よ ; yo」-> emphasis particle

= “Haha… It’s not a tourist attraction, right?”

If he was a tourist attraction, Hori better drop the location right now. Please. For research purposes or whatever.

「燈矢」

「燈矢 ; touya」-> Touya

= “Touya.”

「今後の話をしに来たんだ燈矢」

「今後 ; kongo」-> from now on 「の ; no」-> possessive particle; similar to an apostrophe 「話 ; hanashi」-> talk, conversation 「を ; o」-> direct object marker 「しに来た ; shi ni kita」-> came to do sth 「んだ ; nda」-> explanatory particle 「燈矢 ; touya」-> Touya

= “I came to talk about the future, Touya.”

Kongo literally means “after now” or in other words, the future.

「俺はヒーローを引退するよ」

「俺 ; ore」-> I  「は ; wa」-> topic marker particle 「ヒーロー ; hiirou」-> hero 「を ; o」-> direct object marker 「引退する ; intai suru」-> to retire 「よ ; yo」-> emphasis particle

= “I am retiring from being a Hero.”

He says as though he has a choice. This is also one of those “This could’ve been an email” kinds of lines.

「元より戦いが終わったらそうするつもりだったが 最早自力で立つことすらままならん」

「元より ; moto yori」-> all along; from the first 「戦い ; tatakai」-> war 「が ; ga」-> subject marker particle 「終わったら ; owattara」-> when it ended 「そう ; sou」-> so; that way 「する ; suru」-> to do 「つもり ; tsumori」-> to plan 「だった ; datta」-> was 「が ; ga」-> but 「最早 ; mohaya」-> already; no longer 「自力 ; jiriki」-> one’s own strength 「で ; de」-> with 「立つ ; tatsu」-> to stand 「こと ; koto 」-> nominalizes prior word/phrase 「すら ; sura」-> even 「ままならん ; mama naran」-> beyond one’s control; unable to do as one wishes

= “Since after the first war ended, I decided to do so, but I not I am not even able to stand on my own anymore.”

Mamanaru combines the words mama “as it is; as one likes” and naranai “to be unable to” to create a word that describes that something is beyond one’s control, one is unable to do as they wish or something is not going the way one wants it to. In other words, a great word to sum up Endeavor’s entire life story.

The way he continuously takes over conversations that are supposed to be about the entire family - aka his victims - and makes it about himself while pitying himself - in front of his victims - never fails to impress me. At least he is consistent I guess, but it would have been great to see him actually change in the end. Surely he is done, oh no, nevermind, he keeps talking- 

「ヒーローエンデヴァーは焼かれて死んだ

おまえの炎は誰よりも強かった」

「ヒーロー ; hiirou」-> hero 「エンデヴァー ; endevaa」-> Endeavo 「は ; wa」-> topic marker particle 「焼かれて ; yakarete」-> burned 「死んだ ; shinda」-> died 「おまえ ; omae」-> you 「の ; no」-> possessive particle; similar to an apostrophe 「炎 ; honoo」-> flame 「は ; wa」-> topic marker particle 「誰 ; dare」-> anyone 「よりも ; yorimo」-> more than 「強かった ; tsuyokatta」-> was strong

= “The hero Endeavor was burned and died. Your flames were stronger than anyone else’s.”

「そっか　ご愁傷様　事が済んでから諂うなよ…卑怯者…」

「そっか ; sokka」-> I see 「ご愁傷様 ; goshuushousama」-> my condolences 「事 ; koto」-> things; matter 「が ; ga」-> subject marker particle 「済んでから」-> after it ended (済む + てから) 「諂う ; hetsurau」-> to flatter; to suck up to; to carry favour 「な ; na」-> na (negative command form) 「よ ; yo」-> emphasis particle 「卑怯者 ; hikyoumono」-> coward

= “I see. My condolences. Don’t suck up to me after it’s over… coward…”

Here is my beef with the official translation: they keep making Touya say the most random words and phrases, but then don’t make him say “don’t curry favour”?? “Don’t be toady”?? “Don’t be toady, Todoroki” would go so hard… wait… you know what… Here’s a little extra from me to you:

Back to business:

「そうだな　燈矢は誰のことをよくわかってる　ずっと見てたんだもんな」

「そう ; sou」-> so; that way 「だ ; da」-> be 「な ; na」-> sentence ending particle; used to seek confirmation 「燈矢 ; touya」-> Touya 「は ; wa」-> topic marker particle 「誰 ; dare」-> anyone 「の ; no」-> possessive particle; similar to an apostrophe 「こと ; koto 」-> nominalizes prior word/phrase 「を ; o」-> direct object marker 「よく ; yoku」-> well 「わかってる ; wakatteru」-> to understand 「ずっと ; zutto」-> continuously 「見てた ; miteta」-> was watching 「んだ ; nda」-> explanatory particle 「もん ; mon」-> because; indicates reason 「な ; na」-> sentence ending particle; used to seek confirmation

= “That’s right, isn’t it. You know everyone so well. Because you have been watching continuously.”

「俺に見てほしかったんだもんな

なのに見なかった…」

「俺 ; ore」-> I  「に ; ni」-> at 「見てほしかった ; mitehoshikatta」-> wanted me to look 「んだ ; nda」-> explanatory particle 「もん ; mon」-> because; indicates reason 「な ; na」-> sentence ending particle; used to seek confirmation 「なのに ; nanoni」-> and yet; despite that 「見なかった ; minakatta」-> didn’t look

= “You wanted me to look, right? Despite that I didn’t look…”

If I didn’t know any better I would say this was a conversation with a toddler. I usually like to point out that Horikoshi really nails the sibling experience, but he is also, unfortunately, really good at accurately writing how privileged middle-aged men talk. A mangaka of many talents, but at what cost?

「俺はお父さんの子どもなんだから」

「俺 ; ore」-> I  「は ; wa」-> topic marker particle 「お父さん ; otousan」-> dad 「の ; no」-> possessive particle; similar to an apostrophe 「子ども ; kodomo」-> child 「なんだ ; nanda」-> explanatory particle 「から ; kara」-> because; so

= “Because I am dad’s child.”

「おまえはエンデヴァーじゃない！！」

「おまえ ; omae」-> you 「は ; wa」-> topic marker particle 「エンデヴァー ; endevaa」-> Endeavor 「じゃない ; janai」-> isn’t

= ”You aren’t Endeavor!!”

Yes. That’s why we love him.

「誰が何と言おうと........　おまえの炎（ねつ）は俺のヘルフレイムだ

あの告発映像を毎日見続けている」

「誰 ; dare」-> someone 「が ; ga」-> subject marker particle 「何と ; nanto」-> what 「言うと ; iou to」-> to try to say 「おまえ ; omae」-> you 「の ; no」-> possessive particle; similar to an apostrophe 「炎 ; honoo」-> flames 「ねつ ; netsu」-> heat; rage; mania 「は ; wa」-> topic marker particle 「俺 ; ore」-> I  「の ; no」-> possessive particle; similar to an apostrophe 「ヘルフレイム ; herufureimu」-> Hell Flame 「だ ; da」-> be 「あの ; ano」-> that 「告発 ; kokuhatsu」-> complaint; prosecution 「映像 ; eizou」-> footage 「を ; o」-> direct object marker 「毎日 ; mainichi」-> every day 「見続けている ; mitsuzuketeiru」-> continue to watch

= “Whatever people try to say… Your flames (rage) are my Hellflame. I’ve continuously watched your prosecution video every day.”

This wouldn’t be a translation breakdown if we didn’t have a case of the furigana don’t match the kanji! Essentially what this means is that the furigana - written in brackets - show what the character says out loud, while the kanji shows what the character means. This time, when we get the kanji for flames in the second sentence, the furigana read netsu, which can meat “heat”, but also refer to “rage” or “mania” and since flames are hot, “heat” wouldn’t make it necessary to opt for a different reading, hence Endeavor is saying that the rage of Dabi was, in fact, Endeavor’s Hellflame.

「おどお゙さん見で」

「おどお゙さん ; odoosan」-> dad 「見で ; mide」-> look

= “Dad, look”

You might notice that the words are spelled differently from the normal otousan and mite. Softening the t sounds to a d sound highlights the difficulties he has speaking while being on fire. In addition to the softened t to d, the u also gets changed into an o with dakuten (the two lines on top), which only exist for the sounds that can become softer (t->d, h->b, k->g, s->j), which can’t be done to a vowel like o. In this case, the dakuten suggests that the o is said with emotion and somehow stands out from how it would be said normally.

「これからー」

「これから ; korekara」-> from now on

= “From now on-”

「毎日来る　話をしよう」

「毎日 ; mainichi」-> every day 「来る ; kuru 」-> to come 「話 ; hanashi」-> talk; conversation; chat 「を ; o」-> direct object marker 「しよう ; shiyou」-> let’s do/have

= “I will come every day. Let’s talk.”

「あまりに遅すぎたけれど話そう」

「あまりに; amari ni」-> too much; overly 「遅すぎた ; ososugita」-> was too late 「けれど ; keredo」-> however 「話そう ; hanasou」-> let’s talk

= “I was much too late, but let’s talk.”

Both amari ni and adding -sugiru to the stem of a verb can be translated as “too much” and in combination place an additional emphasis on the verb, in this case, being late, which could be referencing anything from the specific instances he showed up to too late (i.e. when Touya set himself on fire on Sekoto Peak) or in a more general sense him trying to show up as a father too late (the only example would be showing up in the hospital here and the fact he has retired and plans on protecting the family from facing any consequences for all of this, although even that is still more the bare minimum of making up for his mistakes rather than being a father but I doubt he understands the difference).

「心拍数上昇これ以上は負担が」

「心拍数 ; shinpakusuu」-> heart rate 「上昇 ; joushou」-> rising; ascending 「これ以上 ; kore ijou」 - > any more; any further; any longer 「は ; wa」-> topic marker particle 「負担 ; futan」-> burden, load 「が ; ga」-> subject marker particle

= “His heart rate is rising. Any more will (be) a burden.”

The ga would normally be followed by a verb (in this case most likely kakaru = to put), but is being omitted here as the meaning can be understood regardless.

「冷　夏雄　冬美　焦凍が…　残してくれた時間で話そう」

「冷 ; rei」-> Rei 「夏雄 ; natsuo」-> Natsuo 「冬美 ; fuyumi」-> Fuyumi 「焦凍 ; shouto」-> Shouto 「が ; ga」-> subject marker particle 「残してくれた」-> reserved for us (残す+くれる) 「時間 ; jikan」-> time 「で ; de」-> with 「話そう ; hanasou」-> let’s talk

= “Rei, Natsuo, Fuyum. Let’s talk with the time Shouto reserved for us.

Adding -tekureta after nokosu implies that someone did a favor for the speaker. Here, it means that Shouto reserved the time to talk to Touya for them.

「憎いなら…憎いと　なんでもいい　ぶつけてくれ…！」

「憎い ; nikui」-> hateful 「なら ; nara」-> if 「憎い ; nikui」-> hateful 「と ; to」-> speech particle 「なんでもいい ; nandemo ii」-> anything is fine; it doesn’t matter what 「ぶつけてくれ ; butsuketekure」-> throw it at me

= “If you hate me… hate me. Anything is fine, throw it at me…!!”

「燈矢兄私も…！」

「燈矢兄 ; touya nii」-> Touya-Nii 「私 ; watashi」-> I 「も ; mo」-> also; too

= “Touya-nii, me too…!”

「話したい事たくさんあるの」

「話したい ; hanashitai」-> want to talk 「事 ; koto」-> things 「たくさん ; takusan」-> a lot 「ある ; aru」-> to be 「の ; no」-> explanatory particle

= “There are a lot of things I want to talk about.”

This is about him getting piercings and dying his hair isn’t it. Maybe even taking off his shirt on live TV in front of the entire country. If only we could see that conversation…

「今日は止めにしましょう！！また明日にでも…」

「今日 ; kyou」-> today 「は ; wa」-> topic marker particle 「止めにしましょう , yame ni shimashou」-> let’s stop 「また ; mata」-> again 「明日 ; asu」-> tomorrow 「に ; ni」-> at 「でも ; demo」-> or something

= “Let’s stop for today!! (You can come back) tomorrow or something…”

「最後に一ついいですか　聞きたかったことあるんだ」

「最後 ; saigo」-> final 「に ; ni」-> at 「一つ ; hitotsu」-> one 「いい ; ii」-> good 「です ; desu」-> to be 「か ; ka」-> question marker particle 「聞きたかった」-> wanted to ask 「こと ; koto」-> thing 「ある ; aru」-> to be 「んだ ; nda」-> explanatory particle

= “Can I (ask) one last thing? Because there is one thing I wanted to ask.”

The first panel or first sentence ends in the polite form using desu ka as he is asking the employee for permission to ask one more question. The second panel or sentence, on the other hand, is casual as it ends in da, so without even waiting to receive an answer from the employee, he instantly goes to directly address Touya-nii for this extremely important question.

「燈矢兄　好きな食べ物何？」

「燈矢兄 ; touya nii」-> Touya-Nii 「好きな ; suki」-> to like 「食べ物 ; tabemono」-> food 「何 ; nani」-> what

= “Touya-nii. What’s your favorite food?”

Everybody liked that. It was really great when the spoilers came out and as soon as Shouto said he wanted to ask Touya something everyone instantly knew what the question was going to be. Also a lot of pressure for Touya. Wrong answer and his little brother can pull the plug. 

「......体力の限界ですね今日は眠らせてまた…」

「体力 ; tairyoku」-> stamina; endurance 「の ; no」-> possessive particle; similar to an apostrophe 「限界 ; genkai」-> limit 「です ; desu」-> to be 「ね ; ne」-> sentence ending particle; used to seek confirmation 「今日 ; kyou」-> today 「は ; wa」-> topic marker particle 「眠らせて ; nemurasete」-> to let someone sleep 「また ; mata」-> again

= “This is the limit, isn’t it. Let’s let him sleep again for today.”

「蕎麦」

「蕎麦 ; soba」-> soba

= “Soba.”

These lines are always my favorite to break down. It’s not easy translating such complex phrases so please recognize the years of studying it took to be able to perfectly translate this kind of high-level sentence. Thank you.

I can only imagine him going back to his classmates, looking at Bakugo and saying: “You were wrong. It’s soba.”

「おんなじだ」

「おんなじ ; onnaji」-> same 「だ ; da」-> be

= “It’s the same.”

Usually, the word same is written as 同じ and read as onaji. In itself, these two spellings have the same meaning, however, the more standard onaji would be used in the sense of something or a situation being exactly the same, for example attending the same school as someone or facing the same problem. Onnaji, on the other hand, indicates something has very similar properties and is used more in the sense of the same color, taste etc, which is why this spelling has a bit more emotion associated with it.

So Shouto is saying that it’s the same, but he says so with emotion. Rather than stating a fact, them having the same food holds meaning to him. 

「これ以上は平行線だ　交わるよ　無理にでも」

「これ以上 ; kore ijou」-> from here on; any further 「は ; wa」-> topic marker particle 「平行線 ; heikousen」-> remaining far apart; not reaching an agreement 「だ ; da」-> be 「交わる ; majiwaru」-> to cross; to mingle with 「よ ; yo」-> emphasis particle 「無理に ; muri ni」-> forcible; forced 「でも ; demo」-> even

= “From here on it’s parallel lines. I will cross, even if by force.”

「焦凍…　ごめんな…」

「焦凍 ; shouto」-> Shouto 「ごめん ; gomen」-> I‘m sorry 「な ; na」-> used to say something emotionally

= “Shouto… I’m sorry…”

If only… Shouto had heard this… and they could’ve talked about this… that would be crazy, right? No, why don’t we focus on the main character again, instead of getting a conversation the entire story has been building up to.

「俺はここまでだわ　悪いけど気持ち変わんない　俺はもう付き合わない」

「俺 ; ore」-> I  「は ; wa」-> topic marker particle 「ここ ; koko」-> here 「まで ; made」-> until 「だ ; da」-> be 「わ ; wa」-> 「悪い ; warui」-> sorry 「けど ; kedo」-> but 「気持ち ; kimochi」-> feelings 「変わんない ; kawannai」-> unchanged 「俺 ; ore」-> I  「は ; wa」-> topic marker particle 「もう ; mou」-> already 「付き合わない ; tsukiawanai」-> don’t associate with

= “For me it’s (ending) here. I’m sorry, but my feelings haven’t changed. I won’t associate with you anymore.”

The particle wa is used when reflecting one’s view toward a situation after coming to a conclusion. There is a nuance of confidently affirming the phrase or regretting the situation, depending on the tone, which we don’t have here, but this reads more as a confident statement than one of regret, although it might just be a little bit of both.

「ああ」

「ああ ; aa」-> Ah

= “Ah.”

「彼女と籍入れたい　式は挙げない紹介もしない」

「彼女 ; kanojo」-> girlfriend 「と ; to」-> with 「籍入れたい ; seki iretai」-> to get married; to want to have a name entered in the family register 「式 ; shiki」-> (wedding) ceremony 「は ; wa」-> topic marker particle 「挙げない ; agenai」-> to conduct 「紹介 ; shoukai」-> introduction 「も ; mo」-> also 「しない ; shinai」-> won’t do

= “I want to enter the family register with my girlfriend. We won’t conduct a ceremony and I also won’t introduce you.”

Normally, to talk about marriage or getting married you would use the word kekkon (suru). Here, Natsuo specifically uses the term “to enter in the family registry.” While these two words can be used to mean the same thing (= getting married), entering the family registry differs in that one person enters an already existing family registry rather than creating a new one upon marriage, which is why this can also be used for when a child gets adopted by a step-parent or if a child takes on their other parent’s last name after a divorce.

Again, this can just be treated as a synonym for getting married, but it might also be to emphasize this as an act of removing himself from his father rather than an act of love. It surely feels like an odd time to be thinking of marriage, with the current situation not having him in the right mental or emotional state for such a big step to be smart (he already did the whole “cutting my hair during a crisis” so he should follow that with dying his hair or something else that is going to affect his life less than marriage).

Let’s face it: had he said this while they were with Touya, his big bro’s heart monitor would have gone crazy before he would have broken out of that machine to talk some sense into his little brother.

Also, not to insult Natsuo because he is very sweet, but I just have to mention the irony of him getting married as a means to solve his issues when that was also his dad’s first step. It’s obviously different, but still worth pointing out.

「ああ…分かったな」

「ああ ; aa」-> Ah 「分かった ; wakatta」-> understood 「な ; na」-> sentence ending particle; used to seek confirmation

= “Ah, I get it.”

「姉ちゃんは？仕事やめたんだろ？」

「姉ちゃん ; neechan」-> big sister 「は ; wa」-> topic marker particle 「仕事 ; shigoto」-> job 「やめた ; yameta」-> to quit 「ん ; n」-> explanatory particle 「だろ ; daro」-> right

= “What about you, big sis? You left your job, right?”

I do like the symbolism of him standing in the middle of the street, ready to use the crosswalk, while the rest of the family remain on the side of the road, but I am also worried he is going to get hit by a car.

「うんでも　生徒のお母さんが新しい職場紹介してくれてねサポートしてくれるって」

「うん ; un」-> yeah 「でも ; demo」-> but 「生徒 ; seito」-> student 「の ; no」-> possessive particle; similar to an apostrophe 「お母さん ; okaasan」-> mom 「が ; ga」-> subject marker particle 「新しい ; atarashii」-> new 「職場 ; shokuba」-> workplace 「紹介してくれて ; shoukai shitekurete」-> introduced me (as a favor) 「ね ; ne」-> sentence ending particle; used to seek confirmation 「サポートしてくれる ; sapooto shitekureru」-> support (as a favor) 「って ; tte」-> quoting particle (casual of という)

= “Yeah, but the mom of a student introduced me to a new workplace. So she’s being supportive.”

Similar to before, the -tekurete suggests that this introduction as well as the support is seen as a favor.

「........正直責任は果たしたと思う　罰も受けたと思う…もういいんじゃねーの？」

「正直 ; shoujiki」-> honestly; frankly 「責任 ; sekinin」-> duty 「は ; wa」-> topic marker particle 「果たした ; hatashita」-> accomplished; carried out 「と思う ; to omou」-> to think 「罰 ; batsu」-> punishment 「も ; mo」-> too 「受けた ; uketa」-> received 「と思う ; to omou」-> to think 「もういい ; mou ii」-> that’s enough 「ん ; n」-> explanatory particle 「じゃねー ; janee」-> isn’t 「のか ; noka-> question marker particle seeking an explanation

= “Frankly, I think we’ve fulfilled our responsibilities. I think we already received our punishment. That’s enough, isn’t it?”

This line has gotten some negative attention as fan translations have this line directed toward Endeavor, whereas the official English translation has this line be directed toward the entire family. As you can see in the breakdown above, there is no explicit human subject in this sentence to clarify who is being addressed here, in addition to the fact that he has his back turned to us readers with no indication as to who he is looking at.

However, the last person he directly addressed was Fuyumi, who was also the one speaking right before this line. Furthermore, the next line is Endeavor saying that he will ensure to take the blame and whatnot from here on out so that they do not need to face any more consequences for this.

With that being said, to me this reads as him talking to the family, specifically as a response to Fuyumi suggesting that her former student’s mother introducing her to a new workplace and supporting her is somewhat of a favor. While we don’t know exactly why she left her job, there is still a suggestion that this situation has impacted her negatively and that people showing support is somehow worth noting. And yes, Japan has a culture of blaming the entire family when a family member commits a crime, however, Natsuo’s line then seems somewhat frustrated at this, feeling as though they all already faced consequences (like Fuyumi leaving her job), and that they shouldn’t have to face consequences for the rest of their lives, let alone feel overly grateful for any person that still treats them as individuals rather than an accomplice for something they had nothing to do with.

Overall, this line reads more like he wants them to be able to move past this, rather than have this now haunt them after they have already been struggling their whole lives by growing up in the Todoroki household.

「犯した罪の賠償と謝罪を一生をかけて続けていく

見ていなくていい子どもたち（おまえたち）に降りかかる火の粉をできる限り俺が受け止める　生き延びた意味があるとすればそれだけなんだ」

「犯した ; okashita」-> committed 「罪 ; tsumi」-> crime; sin 「の ; no」-> possessive particle; similar to an apostrophe 「賠償 ; baishou」-> compensation; reparations 「と ; to」-> with 「謝罪 ; shazai」-> apology 「を ; o」-> direct object marker 「一生 ; issho」-> whole life 「を ; o」-> direct object marker 「かけて ; kakete」-> make; put out 「続けていく ; tsuzuketeiku 」->to continue from now on (続ける+いく) 「見ていなくて ; mitenakute」-> not looking 「いい ; ii」-> good; okay 「子どもたち ; kodomotachi」-> children 「おまえたち ; omaetachi」-> you (plural) 「に ; ni」-> to 「降りかかる ; furikakaru」-> to happen; to befall 「火の粉 ; hi no ko」-> sparks 「を ; o」-> direct object marker 「できる ; dekiru」-> to be able to 「限り ; kagiri」-> limit; degree 「俺 ; ore」-> I  「が ; ga」-> subject marker particle 「受け止める ; uketomeru」-> to catch; to stop the blow 「生き延びた ; ikinobita」-> survived; lived long 「意味 ; imi」-> meaning 「が ; ga」-> subject marker particle 「ある ; aru」-> to exist 「とすれば ; to sureba」-> then; if so; if 「それだけ ; soredake」-> that much; to that extent; only that 「なんだ ; nanda」-> explanatory particle

= “From here on out I will continue to make reparations and apologize for my committed crimes for my whole life. I will catch as much of the sparks that fall on you kids who don’t have to watch. If there is any meaning in my survival, it is just that.”

Again, he says “you” but means “children”. The miteinakute ii is used to say that “it’s okay not to watch”, in other words he does not expect them to keep in touch with him or anything along those lines.

The -teiku after tsuzukeru is used to imply that something will continue from this moment forward. While he didn't make up for his mistakes, from now on he will.

「........地獄だぞ」

「地獄 ; jigoku」-> hell 「だ ; da」-> be 「ぞ ; zo」-> emphasizes the speaker’s will or opinion; can be inviting to the listener

= “........It’s hell.”

「ああダンスの誘いを受けたんでな」

「ああ ; aa」-> Ah 「ダンス ; dansu」-> dance 「の ; no」-> possessive particle; similar to an apostrophe 「誘い ; sasoi」-> invitation 「を ; o」-> direct object marker 「受けた ; uketa」-> to accept 「んでな ; ndena」-> explanatory particle

= “Ah, I did accept the dance invitation.”

「…初めてだよ　お父さんの事　かっこいいって思えたの」

「初めて ; hajimete」-> first time  「だ ; da」-> be 「よ ; yo」-> emphasis particle 「お父さん ; otousan」-> dad 「の ; no」-> possessive particle; similar to an apostrophe 「事 ; koto」-> nominalizes prior word/phrase 「かっこいい ; kakkoii」-> cool 「って思えた ; tte omoeta」-> to seem; to appear 「の ; no」-> explanatory particle

= “It was the first time that you seemed cool.”

 Natsuo has called Endeavor by many (disrespectful) names. This is the first time he calls him by the standard/polite term for father. This is not to say that he likes him now. With the whole marriage talk in mind, this feels more like him letting go of his feelings for a second to make a somewhat neutral statement. Neutral in the sense of being able to recognize and view something his dad has done in a positive light rather than letting his feelings completely take over his judgment.

「焦凍は？学校戻るんだろ？」

「焦凍 ; shouto」-> Shouto 「は ; wa」-> topic marker particle 「学校 ; gakkou」-> school 「戻る ; modoru」-> to return to 「ん ; n」-> explanatory particle 「だろ ; daro」-> I think; right?

= “What about you, Shouto? You’re returning to school, right?”

「うん」

「うん ; un」-> yeah

= “Yeah.” 

「乗ってけよ姉ちゃんも」　

「乗ってけ ; notteke」-> I’ll give you a ride 「よ ; yo」-> emphasis particle 「姉ちゃん ; neechan」-> big sis  「も ; mo」-> also; too

= “I’ll give you a ride. Nee-chan, too.”

「ありがとう」

「ありがとう ; arigatou」-> thanks

= “Thanks.”

「親父　お母さん　俺にはA組（みんな）いるから大丈夫だよ！　俺は自分でなりてえようになれるから！」

「親父 ; oyaji」-> dad 「お母さん ; okaasan」-> mom 「俺 ; ore」-> I  「には ; niwa」-> as for 「A組 ; e gumi」-> class A  「みんな ; minna」-> everyone  「いる ; iru」-> to be  「から ; kara」-> therefore  「大丈夫 ; daijoubu」-> alright  「だ ; da」-> be 「よ ; yo」-> emphasis particle 「俺 ; ore」-> I  「は ; wa」-> topic marker particle 「自分 ; jibun」-> myself  「で ; de」-> with 「なりてえ ; naritee」-> want to become (casual of naritai)  「ようになれる ; you ni nareru」-> to reach the point where; to come to; to begin to 「から ; kara」-> because; so

= “Dad, mom. I’ll be okay because of Class A (everyone). I can reach the point of being what I want to be!”

Just like before we get furigana that differ from the kanji. Shouto says that he will be alright because everyone is there, but he specifically means Class A when he says that.

「地獄でも」

「地獄 ; jigoku」-> hell  「でも ; demo」-> even though

= “Even though it’s hell.”

「おーう早かったな！！大丈夫だったかあ！？」

「おーう ; ou」-> Ooh 「早かった ; hayakatta」-> early 「な ; na」-> sentence ending particle; used to seek confirmation 「大丈夫 ; daijoubu」-> alright 「だった ; datta」-> was 「かあ ; kaa」-> question marker particle

= “Oh, you’re early! Was it alright!?”

「おなかすいた」

「おなかすいた ; onaka suita」-> I’m starving

= “I’m starving.”

「見てる人がいる」

「見てる ; miteru」-> looking 「人 ; hito」-> person 「が ; ga」-> subject marker particle 「いる ; iru」-> to be

= “There is someone who is watching.”

Me. I’m the one watching. But at what cost? The family’s two most used words have got to be “hell” and “to look” . Someone please teach them some more words.

That concludes the Todoroki family interaction in this chapter and supposedly for the story (everyone disliked that). Personally, this does not read as a conclusion so I am going to just treat this as the beginning of the conclusion, instead. And perhaps the final in the sense of the whole family not getting together anymore because Natsuo isn’t going to be around Endeavor anymore.

Personally, my biggest issue with this chapter is the fact that while it’s called final and set up as though the family and we finally get closure by everyone reuniting with Touya, it’s just another episode of self-pitying with a grown-ass man that has still not changed or understood anything despite everything. Yes, he finally managed to talk to Touya, to apologize and acknowledge both Touya’s pain as well as his own accountability in the entire affair. However, the rest of the family could have been left out of this chapter entirely since they said nothing other than “we have lots to talk about” which is obviously a beginning, but I’m sure we all have been waiting patiently to get an actual conversation not just hear them say that they want to talk at a later point, which we then won't ever get to see.

The soba part is amazing, of course, but it could and should have played a bigger role in this chapter.

People have been expressing various opinions in regards to the family’s current situation and their future, though - again - it would be great to see more of that because this chapter only briefly touched on various interesting points and then didn’t explore these points more because if there is one thing this world needs more is privileged people whining about how hard their life is and the many sacrifices they have had to make (= barely facing consequences).

That being said, we’ll see what the final 4 chapters will offer and whether we will see the Todoroki family make another appearance.

And no, Touya won’t die.

[call-me-copycat]

The leaks!! I'm so sad yet happy Horikoshi is going to get some rest now ( ´･ω ก` )

My heart is tender right now, it hurts a little ૮( ̳ т ̫ т ̳ )ა

(Leaks below)

Ahh it's too much to see them as adults! They all look so nice, I'm proud (⁠╥⁠﹏⁠╥⁠)

Shinso has long hair now? Not what I expected (I didn't recognize him at first >⁠.⁠<)

I do miss his boyish nature though ( ´ㅁ` ; ) He's too cool!

But you go and see that Aizawa has cut his hair (ahh it reminds me of his student days) ๐·°(৹˃ᗝ˂৹)°·๐

Midoriya Sensei? Ahh it does make sense, he'd be a wonderful teacher ( ˶'ᵕ'˶)و

Bakugo giving his hand to Deku. It comes full circle now, I've always loved that theme of giving one's hand to another in MHA (﹡ˆ﹀ˆ﹡)

Full spread.

So many new things starting (ㅎ.ㅎ )

All Might has certainly aged ( ˵> <˵ )

It's so nice seeing that same perspective of someone standing in front of UA! I remember the first season when Deku first got accepted, along with the one where Aizawa as a teen stood in front of UA just like that (◍´͈ ᵕ `͈ ◍)

Ah! It's too nostalgic! ｡⁠:ﾟ⁠(⁠;⁠´⁠∩⁠`⁠;⁠)ﾟ⁠:⁠｡

I wonder, is this his dad? He looks a lot like Mr. Compress ‎(´-ᴗ-⸝⸝ก)

It was Compress, I jumped ahead! But, I didn't see Deku's dad anywhere O⁠_⁠o

This along with the One Piece tribute chapter! I can't handle all these emotions!

I grew up with My Hero Academia, it was my childhood (๑•́︿•̀๑)

It really helped me through some hard times, and I've used it as my crutch for so long that it's a an odd feeling to see it go (⁠｡⁠ŏ⁠﹏⁠ŏ⁠)

In the end, I'm glad I got to experience it! And I'll forever continue to be reminded of it due to the impact its had on my life (*´∀`*)

So, thank you My Hero Academia.

But most importantly: Thank you Horikoshi! For giving us everything you've got!

In the end, all I can really say is -

Go Beyond! Plus Ultra! (｡•̀ᴗ-)و ̑̑✧

[stillness-in-green]

Not-Really Chapter Thoughts BNHA 424

You know, I really think there should be a point at which Deku rushing in with no plan and doing whatever he thinks feels right should become Heroic Malpractice.

Just me?

Because, like, Shouto had a plan. He spent the time between the two war arcs specifically developing a brand-new combat technique that he planned to use to shut down Dabi's combat advantage without killing him. He convinced his dad not to change the plan like Endeavor was hesitantly sounding him out about[1]; he went out and talked and asked questions, and even if they weren't the right words every single time, he did his best and he did it with intention. If Dabi proves to be dead, it won't be because of anything Shouto did to him; it'll be because Dabi himself chose to stand back up, take a warp gate across the country, pick a fight with the guy who doesn't have the power set to shut him down without unduly hurting him, and try to replicate an Ultimate Move specifically tailored for someone with a balanced power set Dabi doesn't have.[2]

And if Dabi lives, it's still going to be because Shouto booked it across the country and used that same technique to stop him again.

1: Dabi surely would have preferred to fight Endeavor from the start, and it probably would have been the more "just" choice if it had to be one or the other, but Shouto is the nominal focal character between the three of them, so, critiques of the broader Hero-side decisions aside, Shouto's arc has to come first. This is one of those places where you can clearly see how much the decision to let Endeavor survive where Horikoshi originally planned for him to die hurts the shape of the later story.

2: Obviously ultimately if Dabi dies, it's going to be because his family and Team Hero made repeated choices to ignore and neglect him, culminating in the entire family swearing to deal with Touya together only to passively accept a battle plan that involved splitting them all and letting the kid who knows Touya the least be the one to fight him. But like, in the context of that fight, Shouto isn't the reason Dabi takes all that hurt.

Uraraka may or may not have had much of a plan, but at least the words she said to Toga reflected that she had been seriously thinking about Toga in the here and now, what Toga's told her, what Toga needs. If Toga dies, it will be because Toga chose to give Uraraka an unsupervised blood transfusion with no intention of stopping it. (With the same general caveats as in Footnote 2.)

But Deku? From the very beginning, Deku has been valorized by the manga for how much he doesn't plan. All Might tells him specifically that it's a sign of greatness shown by future "top Heroes" that, in some crisis situation, their bodies moved before they could think. Bakugou's Rising chapter is defined by him reaching that same state.

Deku claimed he wanted to save Shigaraki; he's sad in the latest chapter that he couldn't save Tenko's[3] life. But did he ever have a real plan to do that? With all the quirks he had at his disposal - both his own and those who would be in the flying coffin with him, or classmates whose presence he could specifically request - did he think hard and come up with a technique that would let him stop Shigaraki without harming him? Did he try to connect with the Shigaraki right in front of him by citing to the future?

3: And I have nothing but scorn for Deku's insistence on that name when "Tenko" goes out very pointedly calling himself Shigaraki Tomura.

Well, no. Deku obstinately yelled at the phantasms in Shigaraki's mindscape that he had no plan whatsoever. The only plans we saw him carry out were ones handed to him by the OFA collective that involved "breaking" Shigaraki's psyche; the only plans he came up with himself involved more efficiently breaking Shigaraki's body.

Way back in Chapter 130, Nighteye harshly scolded Deku by saying that his way of thinking was arrogant. He said, "Go after him haphazardly and he'll slip through our fingers. You're not so special as to be able to save who you want, when you want. (...) This world is not so accommodating that you can act the Hero because you feel like it."

It felt like something that Deku should have taken to heart, a lesson to be learned and applied later, but I never much got the feeling that he did. Nothing he did in that moment, in that arc, or anywhere else in the series afterward indicates that he thought Nighteye was right. He just chose not to talk back, and the arc ended with Nighteye dead and no longer around to pose objections to Deku's mode of heroism.

But Nighteye was right. Three hundred chapters later, Shigaraki is dead because Deku could not be arsed to plan for how he could stop Shigaraki without killing him. Because he let Gran Fucking Torino give him the intellectual out that killing someone could be a means of saving them. Because he followed his gut instincts of prioritizing the phantom Crying Child that he always saw as more valid and real than the human being standing in front of him.

Because he haphazardly acted the Hero and let his body move without thinking.

And he wants to act sad about it now? I hope Nighteye materializes in his bedroom to sneer at him every night for the rest of his life.

--

Incidentally, fuck All Might, seriously. "Wow, Deku and Bakugou, you two are the greatest Heroes ever. Fuck me and everyone else who fought tooth and nail, arm and leg, eye and earjack, life and death, to contribute to the pile of damage that was necessary to kill and/or save Shigaraki and All For One. You two got the last blows in, so you're the only ones who get the credit for it in my eyes. Hero Society is definitely going to be different and better with you two around."

[butterfly-writer]

HEY OMG IM GLAD YOUR REQUEST ARE OPEN!! . Okay so I saw that CLASS 1A x Nomu!Male!Reader oneshot and I was really good !! And I was thinking about one where the M!reader likes Bakugo (he my fav) and he just follows him where ever he goes and Bakugo just don’t mind at all, he even give him head pats , even feed him some of his food. Everyone is just shocked how Bakugo is acting

A New Friend or Pet?

Katsuki Bakugou x Nomu!Male!Reader Summary: Class 1A, loving their new addition to their class, couldn’t help but notice by the fact that their new Nomu friend seems to have a favorite… but who knew it would be the angry blonde?

★☽A/N: REALLY?? I honestly didn’t have much fun making it, but thank you so much!! <33 And I, too, love Katsuki Bakugou <33 Anyways, I’m still recovering from the fact that BNHA is ending in August 5 with their last chapter :(( BNHA had been a huge part of my life and I’m worried that I would grow out of BNHA and have a different favorite :(( But, still, I will forever love BNHA and will help continue the fandom!! Of course, not in the ykyk way…. Especially the tampon thing… ALSO! I CAN’T BELIEVE THAT TOGA IS DEAD, SHIGARAKI’S DEAD, AND DABI/TOUYA IS ON HIS WAY TO DEATH?? I LOVE THEM SO MUCH, PLEASEEEEE HORIKOSHI!! AT LEAST LET DABI STAYY, HAVE ERI REWIND HIM OR SOMETHING.

Contents: FLUFF

── ࣪˖  ࣪ ⊹ ࣪ ˖ ──

For the next few months, Y/N have been a really friendly and quiet person. Even though he doesn’t talk much, he expressed his emotions using his tail and ears! His ears would twitch in embarrassment, tail wagging in excitement, tail between his legs in worry, guilt, panicked, his tail would be on guard, like a cat, when he’s angry. Of course, his tail would be low if he would be sad.

Everyone in class found him adorable! Like a little puppy! Mineta wouldn’t stop being jealous, saying how he couldn’t believe that all the girls were falling for him! Of course, his statements were ignored by his classmates.

But lately, some of the students had noticed Y/N following around a certain blond…

—

“Stop following me, dragon!” Katsuki yelled out as Y/N tailed behind him. Katsuki was starting to get really annoyed by the dragon-like Nomu boy. Every single day, he had followed the blond to everyone.

Class? He’s right behind him!

Cafeteria? Save Y/N a seat! He’s coming with!

And Katsuki was slowly getting really pissed, always lashing out at Y/N who reacted to it. He didn’t even seem to mind! Every single punch and slap goes unbothered by the Nomu! All he did was stare into Katsuki’s eyes. Katsuki slowly got creeped out, and it’s not common for the blonde to get creeped out by something! But Y/N’s glowing pools of gold-like yellow was giving him shivers down his spine.

He thought, ‘If I continue to ignore him, he’ll leave me alone!’ But he surely thought wrong. Because he got used to the Nomu following him around, considering his wings adjusted and shrinked along with his tail and horns to look less menacing. Even if the blonde didn’t want to admit it, he actually enjoyed having the Nomu following around.

It might’ve even boosted his ego! Having a Nomu following him around made him look powerful- like he just tamed a beast! Even though it was like Y/N had tamed the beast named Katsuki Bakugou.

And slowly, he started to treat the Y/N like a pet. A friend pet, perhaps? Watching the menacing aura that surrounded the poker-faced Nomu follow the tempered blonde around was a rare sight to see. And by now, Katsuki didn’t mind at all!

Sometimes, if he had treats given by some girl or his friends, he would give it to Y/N who happily accepted the treats. Sometimes, if Katsuki was eating chips, he would grab one and offer it to Y/N who ate it out of his hand with a small smile.

And, when the blonde was bored, and out of curiosity, he would give Y/N head pats. It could be anywhere! In class? The black haired Nomu would sit beside Katsuki on the ground and the blonde would pat his head during class. The Nomu’s hair wasn’t exactly the smoothest, it was soft and fluffy when no one helped him with his hair.

And Katsuki, the ever feminist he was (Thank you, Mama Bakugou!) he would braid Y/N’s long hair. It was always a long braided tail that matched his own scaled tail. At the dorms, Katsuki would offer his food to Y/N which distracted him while the blonde braided his hair into a long braided tail.

Everyone was surprised at how calm the blonde was, a total opposite to his tempered side.

But, no one dared to comment and just let the blonde have fun with his new raven-headed friend.

── ࣪˖  ࣪ ⊹ ࣪ ˖ ──

[makeste]

BnHA Chapter 425: New Normal

Previously on BnHA: Everyone was all “and with that we conclude our final battle for better or worse!! We will now commence our slow return to the new normal, beginning with our protagonist and deuteragonist who are miraculously more or less intact, albeit exhausted and mildly traumatized. Also the words ‘more or less’ are kind of doing a lot of heavy lifting there.”

Today on BnHA: The Big 3 and Aoyama are OUT. Shinsou is IN. The Tododrama is PENDING, and the mysterious figure in the shadows is UNIDENTIFIED. Also class 1-A finally becomes class 2-A and it only took them 425 chapters and TEN LONG YEARS. Can you imagine if this series had actually run throughout their high school experience like people once expected. “THE YEAR IS 2044 AND MY HERO ACADEMIA IS FINALLY WINDING TO A CLOSE.” There’s an alternate universe somewhere where this actually happened and we were all so very, very tired.

This is once again a shorter than usual reaction summary post, as opposed to my typical page-by-page liveblog. Not gonna have time to do those for a while yet most likely, but like hell am I gonna miss out on the last days of the series, so here we are.

Once again basing this off of @pikahlua’s spoiler translation summary here!

watching the eighteen inch tall Rat Principal standing at a podium overseeing this graduation ceremony is surreal in the most wonderful way. it’s like receiving your diploma from a sentient Funko Pop

I love how they established that Mic sitting there screaming at the top of his lungs is also a beloved U.A. graduation tradition, and that the senpais just roll with it while everyone else is in varying stages of trying to decide if it’s too late to transfer to another school

ngl sometimes I forget that Ochako and Toga were actually the second canonical f/f ship in this series. shoutout to Hadou and her adorable girlfriend whose name I absolutely cannot recall

absolutely wild that Horikoshi gives credit to Rat Principal for coordinating the entire disaster recovery nationwide. are you serious. the “world-famous” Principal Nezu?? you’re telling me this little capybara is effectively the secret president of Japan now or something. when does he even sleep

“the principal made great contributions to quirk morality education” is also a VERY interesting tidbit that I really want to know more about. “hey guys what if we did a better job at teaching people not to be dicks with their quirks” AND JUST LIKE THAT JAPAN WAS SAVED huzzah

“we lost many things, but we gained nothing” is both HILARIOUS and soundly depressing, but I can see what he’s trying to get at. still an odd choice for a graduation speech though. “our job is all about harm reduction, and we couldn’t even do that this time around, but in the future we hope to balance things out and maybe even get some net positive impact going!” lmao. again it’s all true, and in all honesty it’s spectacular that they managed as well as they did, all things considered. and I guess it would have been disingenuous to just ignore the reality of everything this particular school body has been through and pretend like everything is great right now. but I still can’t help feeling like there was probably a more inspiring way to get this message across lol

regardless of what he says, Aizawa 100% either bribed or threatened Rat Principal behind the scenes in order to stay with his class. and will do so again next year. he can and will keep getting away with it. he is never leaving these kids

and the sheer relief from all of them upon hearing it is all the justification he needs. these kids have four thousand nine hundred and seventeen accumulated traumas among them. they don’t need a four thousand nine hundred and eighteenth. this man is their father ffs. MINA WAS CRYING AND EVERYTHING

Kacchan watched that YouTube video about a dozen times until he managed to tie his tie all on his own with the one hand. and he did an amazing job. he’s such a model citizen now

also it looks to me like he has his right arm hidden in a sling underneath his shirt, which is interesting. if I’m not mistaken (and I very well could be, since it’s been a hot minute since I did any BnHA timeline math), the final battle took place sometime in early May, so this chapter is taking place roughly one month later. the hospital chapter took place about a week after the battle, so it’s been about 3-4 weeks since then. I really want to know what kind of shape Kacchan’s arm is in, but I guess Horikoshi will get to it when he gets to it

also, “we all gotta be together today” was a real wakeup call to me in that it gave me just an absolutely ridiculous amount of feels. just a totally unreasonable amount. and it’s like. listen, self. Kacchan has completed his character growth arc. he’s a team player and a leader who loves all his friends and they all love him in return. we’ve known this for years now. it’s an established fact. you can’t keep bursting into tears or whatever every time he shows it. this is no way to live your life. I need an intervention

anyways later this evening class 2-A is gonna have a celebratory movie night in the common room, and Kacchan is gonna fall asleep two minutes in peacefully surrounded by all his classmates, and they’re all gonna nudge each other and smile fondly and cover him with a blanket and stay up until 2am and Aizawa will have no mercy on them the following morning. it’s gonna be so wholesome you guys

(ETA: I decided to go back and have some more feels about this one tiny Kacchan panel, because apparently the four paragraphs I already wrote about it weren't enough. so the thing is, Sero's wonderment at Katsuki being out of the hospital initially read to me as half bemused awe, and half "oh boy, time to get back into our usual rhythm of antagonizing Kacchan!" but my second time around, I can't help remembering that all of Kacchan's classmates got to watch this kid getting tortured and strangled and stabbed through the heart in 4K. like, even if they were busy with their own fights at the time, there's no way they didn't see the footage later on afterwards.

and that had to have been traumatic for them. their friend literally died and was just lying there so still for so long afterwards. and him getting better and going back to his usual asskicking self later on doesn't just erase those memories, you know? especially with him having lasting, permanent damage afterward. not just his arm, even! like who even knows if his heart is going to be okay long term. when people get organ transplants they have to go on immunosuppressants afterwards because otherwise their body will try to attack the replacement organ. so I wonder how exactly it works when it's still your heart, but it's being held together by various bits and pieces of a spindly little floss man. idk, but I bet you it's still pretty rough.

anyway so long story short, I'm now reading this as one-third bemused awe, one-third joking antagonism, and one-third genuine "no seriously, is it okay for you to be here, please don't do anything to put your health at risk because we seriously cannot handle you dying on us again." and Kacchan's not even disagreeing with him lol, which has to be the most concerning thing of all. "they said it's okay if I rest." even he knows he's pushing it, but it was too important of an occasion to miss. anyway please take it easy kiddo.)

Aoyama leaving makes me sad but it makes total sense for his character after what he’s been through. he needs time to sort things out and continue down his own personal honor-regaining journey. respect

also glad to hear that it was his own choice and that both Rat Principal and Nao would have supported him if he stayed. I still to this day do not understand Naomasa’s actual level of authority lol. like, he’s supposedly a detective, and yet he seems to be personally in charge of every single important police operation, on like a national level. and he has the authority to make decisions like letting Aoyama go free. he is the law, literally

Aoyama trying to feed Deku some farewell cheese also took me out. like he just walked in there and was all “sorry everyone, I’m leaving, but I’ll still aim for the path of a hero and will one day return, don’t you worry!” and at some point in the midst of this tearful speech he made a beeline directly to Izuku and tried to give him some cheese that he apparently just had in his pocket or something. and Izuku was all “YEAH!” all solemnly but HE DIDN’T EVEN TOUCH THAT POCKET CHEESE. like he loves you and accepts you for who you are Yuuga but COME ON

at this point in the chapter it also became clear to me that Aizawa has his hair up in some sort of loosely assembled messy bun and that’s why it looks so especially flowing and gorgeous today. this is great cinema

and then AT LONG LAST, the admission of Shinsou into class 2-A. they tried everything they could to keep him out, BUT NOT EVEN THE END OF THE WORLD COULD STOP HIM. his rightful place

Ojiro’s scandalized response to hearing Fuwa refer to Aizawa as “Era-sen”, and then Fuwa subsequently revealing all of Aizawa’s secrets and Aizawa getting flustered and kicking her out, was one of the most delightful sequences I’ve read. “nooooo don’t tell them that, what the hell am I gonna threaten them with now”

Izuku has not even attempted to crack a smile since the final battle, aside from when he was frantically trying to reassure Kacchan in the hospital. I’m worried about him but also loving this a little bit, ngl. I am content to wait for you to eventually have a proper breakdown, mister Greatest Hero

also I singled him out on the whole not-smiling thing, but really this is true for just about all of them. my heart aches :(

were there really so many people freaking out over Izuku’s hair that Horikoshi felt compelled to throw in that “HEY DEKU-KUN, YOU SHAVED YOUR HAIR LIKE THAT DUE TO AN INJURY, RIGHT? BUT IT’LL GROW BACK, RIGHT!?” line in there lol. the hilarious thing is that this chapter was already in the books before 424 was released, so it means that Horikoshi anticipated the backlash ahead of time. the man knows his audience

and now for this mysterious little barefoot man randomly emerging from some rubble somewhere. who are you. fandom already thinks you’re everyone from Tenko to Hisashi lol. my personal theory is that he’s just a random citizen who’s hurt and traumatized and needs help. and unlike what happened with baby Tenko once upon a time, this young man actually will be helped by a hero in his moment of need, and it’ll be all hopeful and stuff because SOCIETY IS CHANGING FOR THE BETTER NOW HOORAY

or maybe he really is Tenko, idk. what do I know lol. don’t listen to me

lastly, Shouto out here immediately leaving U.A. after class and ruining my dreams of a class 2-A movie night. FINE THEN. GO AND BE WITH YOUR FAMILY my precious little life preserver. and I’m actually really, really excited to see what their endgame is actually, so yes, Horikoshi, bring it on please and thank you

[villainsandvictimsalliance]

Time to be delulu yet completely serious on my bnha 423 opinions.

Good points: The resolution between AFO and Yoichi was satisfactory, love as a reason for evil and evil deeds, the rooftop trio having one final moment full of emotion, the moment of Kurogiri thinking about Tomura and the LOV, Deku having a quirk of his own born out of determination and hard work, Deku as the protagonist of bnha in general, Tomura's last actions and words.

Bad points: Rushed arc conclusions, moments that felt kinda repetitive or lacked the punch given that we've seen/lived them before, not the best compositions we've seen from Horikoshi on the panels, Tomura's arc being rushed to a martyr ending— for impact???? ( or it ending on another cliffhanger that is gonna turn to be different from what we expected ).

I'll go in depth, so please check under the cut.

GOOD POINTS:

Yoichi and AFO:

The last conversation among these brothers was everything I was expecting. The love was there and it transformed them. It made AFO a monster and Yoichi a ghost.

For me, this time the AFO ending needed to be quick because we've already said goodbye to him too many times. This was supposed to be about AFO's refusal to give up on his brother and the unresolved relationship of those two.

I really liked how Yoichi reminded AFO that he needs to face the consequences of his actions and that he's love won't be able to save them.

Villain love:

Love as a reason for pain and destruction is perhaps one of my favorite tropes. So many stories approach love as this purely morally good feeling, when in the end it is just like any other feeling, you know?

People go to war for love all the time. They kill for love. Die for love. Do unforgivable things for love. Human existence is sooooo complex, why would love be the exception?

Horikoshi has been REALLY careful with the AFO backstory and his motivations. He didn't want an antagonist that felt empty. He made AFO human without redeeming him, okay? Because our ability to sympathize with some of AFO's traits doesn't make him less evil. To put it simply, it means that evil things are also human at heart.

Even those acts that you can't forgive or forget are motivated by something.

Kurogiri and the rooftop trio:

We knew from the beginning they were not the main characters of this manga.

We've gotten their story through glimpses and moments. Their time together had always been somehow rushed. Too many things to say, not enough time and they are on opposite sides of the war after all.

We knew that Kurogiri would go back because we knew he would protect Tomura during the final fight. We knew that he'd help the heroes defeat AFO. We knew he'd have to make his choice and say his goodbyes to his old friends.

Kurogiri, Tomura and the LOV

"He's friends are waiting" along with the image of Spinner asking Kurogiri to bring Tomura back to them was the highlight of this chapter for me. (You all expected it, right?)

Something about the way it reads like a father who wants his son to live because he is being waited for. He has friends who love him and would do anything to protect him, see him safe and sound. Something about the symbolism of Spinner putting Father (aka Kotaro's hand) on Kurogiri's face as he asked for it.

This chapter acknowledged that Kurogiri and Shirakumo share the same character core. They are always the protectors, the ones who would sacrifice themselves to see their charge survive. Similar to how Mic was waiting for Shouta so Shirakumo made sure that Shouta would survive, Kurogiri wants to do the same for Spinner and Tomura.

This alone would require an entire post to elaborate.

Deku's quirk:

The debate between endgame quirkless Deku or endgame OFA user Deku is settle.

I really liked that Deku got a quirk on his own that was born out of his own determination to be a hero. It's a nice representation of all he is as a character and what he stands for. Similarly, I enjoyed a lot the fact that it was short-lived. I'm the type who likes it better when things require a sacrifice or when miracles have their own conditions.

Deku doesn't feel overpowered to me. You get that sense that he really deserves everything he has and that it hasn't been a nonsense gift from the narrative. There's also the human condition, the limitations that keep him grounded.

Bnha and Deku:

Deku defeating AFO 'cause villains and heroes help him, his friends being there for him and being there to cheer for him as he fights, his sensei being there despite the fact that Aizawa at first thought Deku wouldn't make it— all the details that make bnha what it is.

They were good.

The UA kids really keep the story consistent when it is about them. They don't give up on anyone, they fight for each other, they stay to witness things for themselves. I love them <3

Tomura's last actions and words:

Careful here. Listen to what I'm saying.

If the narrative had pointed out to this ending, this would have been a good way to execute it.

Tomura coming back along with the vestiges to pack one final punch to defeat AFO— I know many fans that would be moved to tears and would be super excited to see it. Tomura was on point in this chapter, dialoguing with Deku without the hatred in his heart, his face being clearer and almost tender.

He felt defeated, like he had accepted his death already. There's also the connection to Kurogiri and Nana (who defended him) and his words to Spinner, that are meant as a general message to depict how much Tomura values the LOV.

Even the fact that AFO kept him around 'cause a part of him loved / cared about Tomura feels fitting, but I'm not sure if I correctly read the leaks in that part...

Anyway, we got the old trope of the antagonist who used his last moments to help defeat the real villain. It serves as his redemption and the expectation is for the public to feel sorry bad for him.

BAD POINTS

Rushed conclusions:

In my opinion, this chapter was too fast paced and therefore was not as emotional as it should have been.

It doesn't give the feeling that it's fast because the battle is intense. It gives the feeling of too much information packed on one chapter, so nothing really shines on its own. It's way too informative, not enough action narration.

Like I said before, the fatal mistake of a story is to be boring. Art has to provoke you, it has to engage with you, question you, awake things in you. This chapter tho, many things happened at the same time and it grew a bit murky.

Repetitive moments

Again, personal opinion here.

I think certain bnha movies were a mistake. Not because they were bad or boring or whatever, but because Horikoshi wrote parts of bnha real ending into them to the point you'd say "we've already seen that" while reading bnha 423.

Deku and Bakugo teaming up to defeat AFO was so expected. Not as in "the narrative is making sense", but as in "we saw it on heroes rising".

I feel the same with the students all appearing to help Deku fight AFO. That's a typical shonen structure where the friends making space for the protagonist to reach the main villain. It was already happening, so why bring AFO back?? I think the story is over-explaining here, making everything way too obvious. We could have had AFO's resolution with Yoichi before and the students moment after. In truth, it feels like Horikoshi closed some character arcs before he should and left plot holes without explanation, so he needed to reopen to accommodate.

Panel composition:

I admire Horikoshi when it comes to panel composition. He has some amazing panels that make the story really flow, but bnha 423 isn't there.

There are too many elements clustered and empty spaces that don't feel with purpose (in manga, even the blanks must have a purpose). This chapter should have been at least two, so you wouldn't have to rush Bakugo appearing, Yoichi and AFO resolution, Kurogiri saying his goodbye to the rooftop trio and facing AFO for Tomura's sake, Deku remembering where he started and where he is, Tomura last words and the Tomura and Deku resolution...

Those are too many important plot points to illustrate in a hurry.

Also?? The panel of Tomura and Deku punching AFO is so unserious. Totally wrong place to be funny sjbdjdnd why does it even feel like the vestiges are punching air???

" Tomura's ending " :

I'm not the first to say it feels anticlimactic and as if it isn't the ending at all.

The major problem is that through the manga, Horikoshi has focused a lot on Tomura as a character, carefully developing him, giving him tropes that are often reserved for the hero or the main character, making sure we empathize with him, we understand him, hyping up Deku's journey to rescue him.

We got an entire arc from the LOV perspective. This is not the type of one sentence ending you give to an antagonist you spent so much ink and sweat on. The nonchalant way of Tomura accepting his death? The little reaction from Deku? What was the purpose of the manga building up the LOV friendship to the moment where Kurogiri told AFO that Tomura's friends were waiting for him, if you'd make him just disappear on thin air?

This reads absolutely like a bunny within a hat.

That's being optimistic.

If we want to be cynical, maybe this is all there is. I don't find it readable to end the story with Tomura dying. All that effort to save him and it ends in "oh well, he decayed along with AFO"?!

If you think about it, Toga status is unknown because we don't even know where she went or if she's still alive, Touya status is also unknown although we know he wanted to live and that the ice prevented him from further damage, we haven't seen Spinner, we don't know if Kurogiri vanished with that last attack on AFO and now we saw Tomura decaying into the wind.

Yo kill half the surviving LOV would be a bold move that wouldn't follow the narrative. The reward for the hero students should be being able to save their counterpart, so the world can regard them as the greatest heroes 'cause they save the unsalable and blah blah blah.

There's also the fact Tomura hasn't been saved yet. Tenko? Nana and Deku saved him from Kotaro. The crying kid? Saved from AFO by Deku and the vestiges and the others. Tomura? Nop, he's dying/dead. The one person Spinner really wanted to save was Tomura. He didn't know about the crying kid or Tenko. He wanted to save his friend, the "irredeemable" villain, the young man he played videogames with and fought alongside and vowed to follow.

If this is the end, it's incomplete.

So we might hope it is not the end.

[jackdaniel69nice]

Does anyone else think the bird jokes are overused and redundant :/

Like people reduce Tokoyami’s whole personality to a single physical trait and I just think it’s weird. In mha canon not a single (good) person makes jokes about tsu, shoji, or Tokoyami’s heteromorph traits. Tokoyami doesn’t even exhibit any bird traits (except the perching), that’s all headcanon. The only one who brings up his avian appearance is hawks. There are only 5 instances I can remember someone saying something about mutant appearances (excluding the direct assault against shoji and ordinary woman)

Mineta calling shoji octopus, which he then apologizes for after finding out how rude that is to say

Jiro saying “that damn bird” when dark shadow blocked her attack. It felt more like a statement of her frustration than an insult.

Bakugo calling tokoyami bird brain, which is normal for him

Dabi calling spinner lizard, and spinner getting offended and yelling at him (I don’t remember if he continues to do it afterwards)

Shoto calling that police chief a mutt, there was no excuse for that, that was just racist

And still I think these are pretty tame compared to how the fandom treats heteromorphs!! The stereotyping of Tokoyami and hawks is absolutely insane. I love when people come up with headcanons for them having more avian traits but when those traits become the butt of the joke it’s extremely distasteful. If I see one more cannibalism joke about eating chicken I’m gonna hurt something. You guys do realize birds eat other birds all the time right???? There is a reason “chicken hawk” is a name. A hawk literally tried to attack my chickens yesterday, they love chicken. That is the reason hawks favorite food is chicken. I can see why tokoyami would want to hide his avian traits because if people in mha are like ours he would have been bullied to hell.

I know people making bird jokes are just having fun, but it’s just really weird to me. It’s important to see the comparison between real life racism and the heteromorph racism in mha. There is a reason horikoshi adds the mutant rally in the final war arc, the lesson there has flown over so many people’s heads. I hope this post gives you more insight to look beyond appearances and actually try to understand these side characters a bit better.

[bnhaobservation]

Changing society in BNHA

So… I came up with an odd thought about which might be the change in society we're expected to witness in BNHA, what was that Midoriya's fight with Tomura was supposed to show to society so that it would change.

There’s a scene that stick particularly in my mind in BNHA, the one of little Tenko wandering through the streets, mentally begging for someone to help him while people pretend not to see him. Finally an old lady notices him but then decides he looks creepy and tells him the police or a Hero or somebody else will help him as she’ll do better go to her job. Little Tenko keeps on walking then, and people keep on seeing and ignoring him until one person reaches out his hand to him. Sadly for Tenko said person is AFO who helps Tenko solely to turn him into Shigaraki Tomura, symbol of fear.

In my country, if an adult sees a small child of 5 wandering alone, he should feel responsible for the kid and help him. You aren’t allowed to ignore it. The result is I’ve always interpreted that scene as Horikoshi blaming society for not helping a child. If one of those people who saw Tenko, instead than ignoring him, had saved Tenko before AFO, then Tenko would have never turned into Shigaraki Tomura.

There are other instances in which Villains seem to be born by how society, instead than caring for them/helping them out, turned their back on them, which caused them to end up on perceiving society as their enemy and therefore choosing a Villain life.

As a result I was expecting at the end of the story the BNHA society would be changed into one who was more willing to help those in need and not just pass the job to the Heroes.

Even Tomura’s speech talk about how people has just got used to be protected due to the Heroes coddling them…

...the fact that, right from chap 1 as Heroes were fighting people would just stop and stare as if it were a show, and the whole All Might being a pillar so that the weight would rest on him made me think the theme was that society had to turn into a more helpful one instead than just a passive one that watches Heroes saving people.

But then I’ve been wondering if the theme hadn’t somehow shifted along the way… or maybe I just had misunderstood it.

You see… after the first war the story shows us the struggle of Heroes. Some of them, facing all that destruction, think they should change work. Midnight and other Heroes are dead, while other Heroes like Endeavor and the Class A students are hurt. The public attacks Heroes for failing to protect them. Even at Enji’s press conference they aren’t really angry with him for what he did to his family but for allowing Machia’s rampage, for failing to stop the destruction Villains caused. In short for failing as a Hero.

All Might’s statue starts to get vandalized and Uraraka wonders who’ll help Heroes when they need to be protected, before giving a speech in which she assures the public only Heroes will be coated in filth, that they won’t be asked to do the same, but asks them to just help a Hero (Midoriya) rest so he will be able to keep on fighting for the people.

Later, much later, when Midoriya is fighting Tomura, people will still try to help him, to help the Hero fight Tomura by giving Eraser Head shirts and other necessities.

So it can be that THIS IS the change watching Midoriya fight was meant to bring in the society, making it aware they should help their Heroes instead than just watching them.

In a way that’s also what Spinner blames himself for failing to do, he believes he didn’t step in and saved Tomura, his Hero, sooner.

It’s not really a new idea in the story.

When Bakugō was kidnapped Tomura himself, talking with him, asked him why the press was criticizing Heroes who were, after all, humans whose only crime was doing too little, too late. Society expected them to be perfect but humans can screw up here and there, can they?

In truth though, especially after the Stain’s arc, Tomura’s speech doesn’t feel like a “we should support Heroes more” kind of speech, but a Heroes really aren’t doing enough, with Shūichi summarizing how Stain taught them that when Heroes started protecting people for a paycheck they stopped being Heroes… which might seem him scolding them for doing it for their self interest… but if we turn it around it can also mean that since they’re PAID to save people, if they don’t they FAIL at their work and this allows society to complain and ask for a refund.

To go back to the scene of the lady not helping Tenko this would be that the story isn’t scolding the lady for not helping Tenko… but for not helping the Heroes to find Tenko so that they could help him.

While the result is similar (either way Tenko gets help) the final message is different. People aren’t asked anymore to help other people but… let’s call it the system in place. They’re asked to take responsibility in helping the Heroes, to cooperate with them so as to make the Hero society work better.

Midoriya’s fight with Tomura was meant to show people Heroes need them to win and save them, society has no interest in saving Tomura, they needed to see Midoriya win with their help so that they would change and become more supportive of Heroes.

Then Heroes… assuming they’re good Heroes… could have it easier saving people so that more of them could be saved. In short the idea BNHA might be trying to propose is, if common people also were to turn into a bit of a Hero (as they would support Heroes and be Heroes for their Heroes), the Heroes then could prevent more easily things from getting worse which is what Midoriya and Tsukauchi talk about.

Now… I don’t know if this is the theme Horikoshi went for and if this was his intention from the start (honestly to be Tomura’s speech felt like him scolding the Heroes, not society for deciding not to support them) but the real problem I see with this theme, is that it might work in Japan, but not so much in the west.

Japan has a good relation with its police (I’ll take supporting Heroes can be the equivalent of supporting police in the real world), they don’t fear it, they find it reassuring, they’re regarded with great respect and admiration. They aren’t at the level of the Heroes of BNHA but it’s quite a difference with how many countries in the west instead fear police, blame it for its violence and abuse of authority and don’t see it as really reassuring or supportive of people or worthy of respect.

Japanese people don’t discuss when the police arrest someone, if they do it should be because that someone was guilty (and once you’re arrested you’ll generally are judged guilty in Japan) while in the west we fear more the people might have caught the wrong guy for various reasons.

So while in Japan a theme that remembers people of the importance of being supportive with the people in charge of the protection of citizens might work… in the west it might be taken differently. Many western countries are more critical of the government and of the police than in Japan, which is also why many fanfic writers like to paint the Hero Commission as the bad guy in their stories, while Horikoshi, despite saying it did some wrong things, didn’t really handle it as an evil organization.

Society remains unaware of its wrongdoing, the president is murdered off in a quick scene and, after a brief period in which Mera was in charge, Hawks is placed as the new president and, since Hawks is meant to be seen as a good guy, likely this is our narrative clue that the Hero Commission will take a turn for the better, with him even trying to free Lady Nagant and her remaining in jail just because she decided to stay.

It kind of reminds me of how in the past in Japan when a clan rebelled and then lost, the family head would commit seppuku and they would switch to a new family head and the clan would be pardoned… so I guess from a Japanese standpoint this can work just fine while here, if we’ve an organization doing something dirty we worry to make sure we remove EVERYONE who was involved in it, not just the boss… but okay, I guess we’ll see how Horikoshi expects society to change in future chapters so I guess I should just be patient and, for now, this is just food for thoughts as I might be completely off track.

[bibibbon]

MHA chapter 426

4 more chapters until MHA ends and wow!!!

Honestly this chapter was mainly the conclusion of the todoroki family arc which I still hate how it played out and ended. The whole todoroki family NOT INCLUDING ENJI deserves so much better than what horikoshi gave them.

Hawks is the new HPSC leader?!?! I feel like the system should of just been destroyed considering how much it hurt everyone and hawks by no means has any proper character development to take this role. Hawks hasn't really broken down his flawed beliefs or truly developed from his mentality that ended up getting one of the most redeemable league of villains members aka twice killed. Also he barely reflects on his actions and all of this feels so underwhelming and unprepared for.

Todoroki family deserves better. The ABSLOUTELY vile ending the todoroki family received is horrible like I really feel like they should just runaway and live in a house without endeavour and actually take up on endeavours attornment bs. Like the only one who gets it is natsou who has every right to live with his girlfriend and keep her far away from that environment and oh my Rei deserves so much better both narratively and by the fandom.

Enji still sucks. Yeah I can't lie nothing this man can do can make me like him and it doesn't help that hori has written all of those retcons to humanise him and make him pitiful. I feel like when it came to the todoroki family arc enji took on a whole lot of screentime WHICH HE SHOULDNT OF!!! That should of gone to shoto and the rest of the family and an easy way to fix it is to simply have killed enji in the first war arc (as was initially planned but hori changed it later on) ALSO I SAY LET TOUYA REST AT THIS POINT!!! having him just mechanically alive and stuck is horrible honestly I think that death is much more of a merciful fate for him at this point.

So lady nagant chose to go to jail?!?! Her reasoning for it is actually so sad though and it really shows how much hero society traumatised her. Like the woman didn't want to be free so she can't be used by anyone and would rather spend time in prison over it. I wish that she was hawk's mentor from the begining because the vibe those two give is absolutely amazing and it would enhance the parallels and relationship they have if they were. Honestly I hope hawks actually does a good job but Iam still all for the destruction of hero society and I doubt hawks is actually going to reform it properly also the hero society is so deeply flawed that I don't think there is a proper way to reform more like just scratch everything out and start fresh.

Spinner is back. I hope I don't see him have a breakdown when he realises what happend to the league because I can't handle that. Also that begs the question I thought that spinner had become somewhat brain dead after all he's been through so how did he turn back from being a giant nomu?

I can't handle the sibling angst too bad that touya and shoto didn't have a better arc. The whole shoto trying to know touya better and him revealing that soba is also his favourite food softens my heart. In another universe where enji doesn't get a redemption touya gets one while justice is served to the todoroki family.

Gentle criminal and la brava getting justice. (The only good part of the chapter fr)

in conclusion this chapter was horrible if we look at it from a story perspective due to how badly MHAs already established plot points and themes are handled!!!

Also what happend to the random character in the last chapter!!! I hope we get closure on that soon

[diableasura]

So, MHA is over-

-and the real villain was shonen jump's abusive schedule.

I genuinely believe that horikoshi fell out of love with this manga. He wrote himself into a corner half way through the story that he couldn't find a way out of and shonen jump's ruthless expectations made him desperate to rush towards the finish line. I hope now that the manga is over horikoshi is able to rest and that his health improves in the future.

Now, as for the conclusion of the story.

I also fell out of love with this manga over a year ago, when i realised it wasn't actually going to address any of the many many issues with hero society that had been established early on. But the possibility of any of the villains dying never crossed my mind. I mean, it would be so stupid, after going through so much effort at making them sympathetic, to just kill them off right?? And yet here we are.

I ended up really disliking shigaraki, because he was barely a character at the end of it and his fans were very annoying, but i always assumed that because deku (you know, the mc) wanted to save him, then he would be saved. It's astounding that the main character catastrophically failed at what he set out to do and yet the story bent itself over backwards to try and pretend this wasn't the case.

Also many people have already mentioned it but MHA's handling of abuse ended up being so vile. The fact that rei, who was raped twice by endeavor (if you disagree you're wrong, read the fucking manga again) is seen pushing his wheelchair around eight fucking years later is rage inducing. And don't get me started on takami "the ranking system was useful to me in particular so it deserves to stay, never mind that it made a man abuse his entire family for more than a decade" keigo. What an atrocious end to his character, and the most tragic part is that so many of his fans don't even want to recognize that his arc was ruined and that he was reduced to being endeavors hype man. Actually disgusting what hawks ended up being.

Dabi was the only reason i even glanced at this trainwreck of a story ocasionally, and even though his last scene was dissapointing and obviously ableist and very offensive towards victims of neglect, at least we had that little moment of catharsis with shoto, plus his death wasn't confirmed in the story. It gives his ending some freedom from the depressing state the villains were left in at the end.

TL;DR My Hero Academia ended up being surprisingly depressing and we never saw any significant changes in its world, we were only told about them.

3/10 and those 3 points are all because of the todorokis. would not recomend.

(Touya Todoroki's character was a 10/10 tho, i'll always treasure you my son).

[prettyboykatsuki]

how surprising ur response doesn’t address the issue at all!!!! i would love for u to go off on me because it’s easy for me to win a disagreement when i know i’m right lmao and also i KNOW 100% for a fact that countless people would agree w me but it’s not reaching the correct audience w a sane mindset cuz all ur followers are 🌽 addicts too thinking the same shit as u and pitying and comforting ur ass in ur replies🤦‍♀️🤦‍♀️🤦‍♀️shits cringe to watch but anyway every normal person knows it’s weird and that’s all the matters i suppose cuz post that shit literally anywhere else and your ass WILL get dragged

maybe let’s try a one month no 🌽 challenge and try again! maybe ur mind will detox and you’ll realize ur fucking weird

i didn't respond to your ask with any dignity because the original premise of your ask was not worthy of being dignified with time nor attention.

ive gotten tens of asks of people who also want to hold moral superiority over me by regurgitating opinions they've adopted from their online internet circles without any real nuance and thus i have no reason to take it seriously. you are not the first person to try to peddle this to me and there is nothing about your ask that warrants any of my thoughtful consideration.

i normally wouldn't bother with correcting this one either, but because im already in a deeply irritable mood - sure, i will give you the response you are asking for, starting with the post you are criticizing.

firstly, you're incorrectly reading my post. you intentionally misrepresent my post with your wording and also the sort of joke i was making by implying "memed about waiting for the age of consent" so i can indulge my porn addiction."

im going to disregard your application of harmful real world rhetoric to what is essentially fiction and go along with the idea that fictional characters are in anyway effected by my posting.

the main issue is fundamentally that you are misreading it. i know you are because i am the original poster and the author of this post - which means i can directly tell you that the point of this post is ironic.

it is poking fun at the people who have accused me of pedophilia for aging up a fictional character for years because he is now, in canon, an adult.

the irony of that is that i was doing what horikoshi was when writing my fics. the people who treated my aging up as invalid simply because horikoshi is the author are no longer able to wield it against me. the author has no confirmed his adulthood, which makes that argument moot.

your argument is that i was in some way making a joking about having waited for izuku to reach adulthood in order to sexualize him. this is blantantly incorrect and a misreading of the post in general. that is not something you can counter because if you've spent any time on my blog at all - it would be very clear i was already aging up and sexualizing characters on my own whims.

both posts for better viewing.

the other thing you spout off about is porn addiction. this is the main reason i didn't find any reason to take your points seriously. if you knew, researched, or understood any of the points you've borrowed from your peers on tiktok - you would know why porn addiction is not a term you can apply to erotica.

in the first place, there is no universally understood diagnostic criteria for porn addiction. there are other forms of research related to how porn interferes with cis-heterosexual partnerships and the quality of sex life and some affiliation with watching porn as a compulsive behavior - but neither of these things qualify as addiction.

pornography is a highly politicized topic because our society is structured upon old school protestant christian beliefs and puritanism. but pornography and sexually explicit materal is a difficult thing to quantify in usage. it is culturally ubiquitous and has several nuances in relation to its use. it is near impossibly to quantify sexual behavior because it is a normal, human urge like hunger or thirst whether or not you choose to believe that.

here are three articles making points about the claims around porn addiction from reliable sources that you're welcome to point out.

one | two | three

as i keep repeating - addiction is a specific line of behavior and being frank, it's rather insulting you think i suffer from a porn addiction given i used to do actual drugs and suffered from real life addictions lmao.

but if you want to use other addiction diagnostic critera in this argument. my posting on silly erotica tumblr does not

interfere with my daily life or relationships

negatively affect my performance in school or at work

cause me to withdraw from social situations

lose interest in my other hobbies and activies that improve quality of life.

none of the above applies to me. but im guessing you don't have any actual concern.

it's very clear to me and everyone else that your peddling of this term has nothing to do with whether or not i actually have the addiction - and everything to do with you attempting to moralize my behavior to an audience and boost up your own points.

if i really did have a porn addiction, implying i had an addiction - you are implying that this is something i should be ashamed of just as you are implying my fellow porn addicts should also be ashamed.

you see addiction as a point of shame and not a disease and don't show any actual empathy which makes you a morally bankrupt human being in my subjective view. you don't have any actual arguments about how this might effect my behavior or character. only that addiction (a thing people can't control) is bad, that i am bad for watching porn and being addicted to it.

neither of these are provable as you do not know me.

instead your attempt to find fault is to arm yourself with puritan talking points and internet tiktok buzzword language and make your clauses have some kind of ground or validity. it is trite and frankly embarrassing watching you come into my inbox with such confidence that you would be able to argue with me critically and meaningfully.

the last thing i will address is your point about this not being a popular opinion.

you are under the impression im not aware of this and that this is not a choice i've made deliberately so i will be kindly blunt.

i, unlike you, have formed these opinions with my own critical understanding of culture, sociology, psychology, and politics by researching and reading from people who study these things with more expertise than me.

these opinions are formed by my own discretion and worldview. they are unpopular opinions.

unlike you, my peers are not decided by my moral parading. rather, im frank and upfront with those world views and have formed a circle that agrees with them.

i do not need your validation nor the validation of people online to confirm whether or not im a good person. the reason people agree with me is not pity, but because they too have formed their own opinions and ours happen to allign.

you think this is pitying behavior because the people you choose to align with would cast you out for showing even a breadth of disagreement or critique. you have not fostered a space for intelligent conversation because you can't see disagreement without accusing someone of this or that.

you are all the same and you are all equally confident in your hivemind opinions. i applaud your audacity and admire your confidence in your own ability to argue something you've barely formed your own conscious thought about.

i dont need to detox anything and i dont care about being weird. i also, really don't care about you or your opinions.

you are unoriginal and boring, a pest of the highest pedigree and i don't find you intimidating. your inability to receive validation from your own moral character will doom you to shame and guilt for as long as you allow and thats much more punishment than i could ever dole out to you

have a good day pookie 🫂🫂