#ethics of heroism

[stillness-in-green]

More and More on Mina, Machia and the MLA

For my readers other than @randomvongenerico, please have this peremptory list of this very lengthy post's contents to help gauge your interest:

Some more discussion on what is or isn’t, would or wouldn’t be blameworthy about various characters’ actions (or hypothetical actions) during the war arcs.   

More discussion about Mina, chiefly about how (and why) her acid powers are handled compared to all the male characters with fire powers, and the way her plot points are poorly set up by the narrative, with the result of shortchanging her development.   

Yet More Complaining About How The Story Is Handling Heteromorphobia, this time featuring a compare and contrast on quirk-based bias as it might affect Mina, Bakugou and Tokoyami, as well as a dissection of Shouji’s contention that the only possible way to know about the violent bigotry in the rural areas of the country is to be from them.   

Some fairly extensive spitballing in response to questions about how I would have handled the scene at Machia’s prison compound if I were writing it, as well as why I have trouble conceiving of anything Hero Society could do to Hose Face for killing Midnight that would actually feel like justice.   

A little bit of basic talk about Tumblr, its functionality and some relevant slang.   

Buried at the very bottom, I stand up in front of God and everyone and explain in brief why Kaminari is a worse character than Mineta, with some particular focus on Kaminari as emblematic of the conflict between what the series tells us versus what it shows us about the legality of quirk use in careers other than heroism.

Hi again, rvg.  Because it's been forever since our last post exchange, let me say again that I appreciate the apology and want to thank you for being such a good sport about it.  Last time I had something like your initial response, that person told me straight out that they’d been condescending and antagonistic on purpose, though they regretted having done so after my reply.  I appreciated the regret, but would have preferred they take a day or two to cool off in the first place!  That’s the experience I was bringing to your comments, but I’ll keep in mind what you said about lack of experience with initiating chats and Tumblr in general.

For what it’s worth, yeah, there is a character limit on both asks and replies, so that’s the trouble you were running into there!  You might also consider using a cut next time before a really long post, though if you’re on mobile, I recall that being a difficult-if-not-impossible feature to find, and it’s not as important as it used to be ever since Tumblr’s started adding default Expand drop-downs on long posts.  That aside, welcome (belatedly) to Tumblr!  I hope you find some good people to chat fandom with; I’m always open to some back and forth about things I know well enough to talk about, though I’m, er, decidedly unprompt with replies.  And, as noted, definitely more of a villain fan, so probably not the most fun person for discussions on the kids.

That said, to your replies!  Other readers should note that, while I wrote all this roughly in response-order to rvg’s points, I reorganized everything after the fact to group together the broad topics.  I’ve tried to provide some bare minimum context for anything that would otherwise be too much of a zero-context non-sequitur, but if anyone wants to see rvg’s comments in their intended order and context, their reblog can be found here.  Otherwise, hit the jump!

  

Would You Have Held It Against ___?

But would you hold it against Mina if she had actually done more substancial damage to Machia? Let’s say, not the face, but Machia’s fingers instead of his claws. Machia still doens’t feel any pain. Would you chastise Mina for it? Even though she’s actively saving Mt Lady by doing that?

It’s hard to say for sure, since I imagine that if Mina’s acid had hit Machia’s fingers instead of his claws, we probably would just have seen them abraded and singed, like how Dabi’s fire damage was drawn on Hawks, not with chunks of skin melting off and exposing naked bone.  Physical damage in BNHA just doesn’t work like that, at least not against named characters.  If Mina were doing realistic damage, I imagine everyone else would be too, and then I’d be criticizing all of them, because, holy shit, that is not okay to do to people, any people, and especially not when you’re acting as an agent of the state.

But hypothetically, no, I think I would be more lenient even if she did do concrete and permanent damage to Machia’s hands, and it’s because she’d be doing it to save Mount Lady.  Shinsou could have taken control of Machia and then just had him lie still while whoever was in charge of this facility redrugged him,[1] and that would have been fine by me—disappointing, sure, but only because Machia’s interesting and I’d like to get more on him than we do, not because I’d be critiquing Shinsou’s actions.

It’s specifically Shinsou and the rest choosing to weaponize Machia against AFO that I object to.  Mina harming Machia would be taking that action herself, to protect someone that’s right in front of her, risking no one’s life but her own in doing so.  Shinsou throwing Machia up against AFO—which he’d made the decision to do before hearing Machia’s angry grumbling—is risking Machia’s life, without Machia’s consent.  And it’s not even for the sake of saving anyone, at least not anyone that’s right there in that moment—AFO is fleeing.

Sure, he still presents a huge threat to lots of people, but given that we’d just seen proof that AFO did not know about Shinsou’s power,[2] they could also have used Machia to, for example, rapidly transport the heroes to some place they could set up a second ambush to trick AFO into responding to Shinsou.  I mean, good god, AFO’s the chattiest villain in the comic; Hawks lured him into at least two extended conversations even after he’d resolved that he needed to leave.  He’s a Demon Lord and thus categorically incapable of shutting up.  And that would have been that, really.  Take control and let the clock run out; end of problem.

It would have been anticlimactic as hell, so obviously that was never going to happen, but there’s no reason the heroes couldn’t try for it, you know?  Instead of the bone-headed decision to just hand AFO his most loyal soldier on a silver platter on the thin chances that they could either prevent the brainwashing from being broken at all or that Machia’s upset would translate to both the capability and willingness to attack his master.

I’ve observed this problem in a few different areas, that Horikoshi sometimes writes the heroes, particularly Hawks, as not taking actions or drawing conclusions that, from their perspective, should seem sensible, well-reasoned, and with solid chances of success; instead, they simply disregard possibilities they should logically be considering but which the reader knows are dead ends, or they benefit from things they could not have known at the time they acted.  That hurts immersion because it gives the heroes victories, both tactical and moral, that they simply haven’t earned.  Shinsou’s control of Machia is a particularly egregious example.

  

Speaking of Monoma. Since we were talking about the morality of Shinso’s Quirk. Would you say Monoma using his Quirk to copy a villain’s Quirk and use it on him and his allies, would also qualify as something that should be criticized? I’m curious.

Nah, I don’t think so.  Taking an opponent’s weapon and using it to subdue him is a perfectly valid tactic, especially since Monoma’s method doesn’t actually deprive his opponent of their weapon, just replicates it for his own use.  It really all does boil down to Shinsou’s method forcing people to fight and hurt their own allies.  Mina causing Machia physical harm, Monoma using a villain’s own weapon against them, even the heroes’ surprise attack: none of those are remotely on the same “holy shit that is a literal war crime” level as what the heroes planned in advance to have Shinsou do to Machia, and what he willingly agreed to do well before he found out that Machia was not as opposed as the heroes thought.

  

I mean, I get what you’re getting at. I’m just wondering. If the heroes hadn’t launched a suprise attack, and had left the villains do the first move and come to them, would you then be criticizing them for being irresponsible and incompetent instead? Sorry for going on a tangent, it’s just something I’ve noticed when it comes to readers criticizing the heroes. It’s either people complaining that the heroes are too ruthless, or that they’re too nice, naive or not pragmatic enough.

(This is in response to some discussion of the heroes' actions in the first war arc's raid on the villa+hospital lab, not the second war's divide and conquer plan.)

I actually don’t really have a huge problem with the surprise attack in principle—I might criticize Cementoss ripping the building in half when there could well have been people on those upper floors, but otherwise, it’s hard to imagine what else the heroes could generally have done to deal with the numbers they were dealing with.  I mean, it’s basically just a scaled-up version of the attack on the Hassaikai base, and I don’t have any moral quibbles with the way the heroes and police handled that.

Rather, my problem with the raid is that I thought the heroes were too effective given the way their forces and those of the PLF had been set up.  It’s not the tactic itself that’s the problem (though individual acts of worse violence within the attack, like Hawks killing Twice or the attempts to outright murder Shigaraki in the tube, are still an issue), it’s the finality, the totality, of how effective the attack was.

To be brief about it (because I’ve talked about this at length elsewhere), I don’t think the heroes should have known where all the PLF bases were, I don’t think they should have been as effective in disordered mass combat as the PLF, I think the advisors should have put up a better fight in all cases, and I think there should have been enough members of the PLF in significant positions of influence or power that the HPSC couldn’t uncover them all, leading to complications when those members realized their organization was under attack.

As it is, the heroes handily win every fight they have with the sole exception of Gigantomachia and Shigaraki.  The PLF is neatly swept off the table save for a few “remnants,” with no attention given to the practical difficulties of detaining tens of thousands of combatants with no motivation to let themselves be quietly arrested, much less how the justice system is going to handle trying and sentencing them all.  That has repercussions going forward, as well: heroes clearing the board of all the (named) PLF members save Skeptic leaves the bulk of villain forces in the subsequent arcs to be prison escapees, and man, if the PLF’s moral nuance has been squandered, the depiction of the prison escapees is even worse.

The raid is, of course, only the first of two big surprise attacks the heroes manage.  I have significantly more issues with the second one, but most of that boils down to the fact that the divide and conquer/Tempt and Trap plan feels crueler, meaner, and much more openly aimed at extrajudicial murder.  And like, that would all be fine and in-character for Hero Society in general and Hawks, the main planner, specifically, but with Deku, Shouto and Uraraka all starting to think Save Villains thoughts, and fresh off the traitor reveal, the kids should never have been as collectively okay with the second war’s tactics as the story has presented them as being.  To echo an older complaint, good god, what universe is Horikoshi living in that he thinks the people that converted a place of learning into an arena they call a “coffin in the sky” are the heroes?

  

I was under the impression Midnight was off to the side from where the MLA minions were passing by, and the Skull Mask guy took a detour to kill her.

I’m not sure from this if you’re explaining how you read Hose Face’s attack on Midnight at the time, or if you’re maintaining that that’s an accurate read, so just to clarify, here are the panels in question:

As you can see, the PLF guys’ path through the woods has them coming in from directly behind Midnight.  Hose Face calls out that he’ll take care of her once they get close enough for the reader to make out who they are, at which point he gets out in front of Scarecrow and hits Midnight from the same direction as their initial approach: directly behind.  He most certainly doesn’t take a detour of any kind, but rather chooses the action that is going to get his group through the obstacle with the least amount of time and effort possible—entirely his prerogative as the highest-ranked member of the Guerilla Warfare regiment on-scene.

  

But if we classify this entire conflict as a war, wouldn’t that mean that both sides are free to use whatever tacticts and methods they feel like as long as it’s not a war crime?

If we classify it as war is irrelevant if the side aligned with the current ruling authority hasn’t done so themselves.  I imagine the Japanese government is in no hurry to validate the terrorists on an international stage by acknowledging that they’re numerous and dangerous enough to declare actual, formal war against!  Calling it a war drags in a whole pile of wartime conventions Japan has signed numerous treaties about; it grants the opposing side some legitimacy as a cohesive, organized force that will need to be negotiated with down the line.  As long as you’re calling it a police action, you don’t have to negotiate shit until you get to the plea deals!  Team Hero never declared war here, so yeah, I still expect them to carry out their plans and actions accordingly.

Also, in the thematic/meta sense, I expect the heroes to either conduct themselves as heroes—admirable, upright, heroic—or face the narrative consequences when they fail to live up to that ideal.  The hyper-encapsulated version of this conundrum is the recurring idea that attacking Shigaraki never actually prevents Shigaraki from coming back worse and more dangerous next time; the heroes are never going to achieve a different result by attacking him again but harder this time, and that’s why Deku is set up to finally try something different.[3]  I would just like it if what’s true on the micro-level could even be attempted on the macro-level.  Or, in other words, if the narrative is going to tell us that saving villains is the correct path, it can’t only demonstrate that for the villains with known-to-the-heroes sympathetic backstories.

  

General Mina Points

Regarding your analysis about Mina’s acid being underpowered because it’s harder/less believable to downplay the effects of acid than fire/explosions/etc. in Shounen Damage Logic, I think we’ll have to agree to disagree.  I don’t see anything wrong with just showing the Nebulous Abrasion Damage that’s the ubiquitous, default mode of illustrating nonspecific injury in this comic for Mina’s acid the same way we get it for the boys.

I can see your argument, but like, just for example, when Endeavor first encounters a Noumu, he bathes it in fire under the assumption that it’s a normal villain and then says he’s surprised it’s still up because he’s never seen anyone stay conscious after that attack.  Bathing someone in flames in real life is not a “knock them out” kind of attack; it’s a “severe burn ward for months” kind of attack.  If Endeavor’s been throwing that around at random criminals for thirty years, we are plainly very far away from realistic damage, and I’d be perfectly satisfied with treating Mina’s acid the same way.

If I had to take a guess as to why Horikoshi’s so staunchly avoided letting Mina cut loose—other than regressive gender politics—I’d say it’s that acid simply feels nastier or more morally dubious than fire.  Fire has positive as well as negative connotations; acid’s a lot more, shall we say, unilateral in the collective imagination, especially given what’s going to turn up if you run a web search for “acid attacks.”

To look at it in JRPG logic (and I don’t care if AFO’s admiration stems from a comic; that comic was clearly playing with Dragon Quest tropes), acid is pretty much the same thing as poison, and poison effects are chiefly the realm of enemy characters.  It smacks of underhandedness or cowardice in anything more cognizant than roving toxic plants or venomous beasts.  Certainly you see the occasional party member specialized for status effects who can inflict poison damage on enemies, but I can’t readily think of a main character that does.[4]

Perhaps, then, because readers are somewhat conditioned to think of acid as particularly dangerous and nasty compared to fire, and because there’s a limit to how morally dubious Horikoshi is willing to (consciously) write the students, especially the girls, Mina’s sharply limited in how she’s allowed to use her acid.

That said, I got a very hearty laugh from, “Just look at Dabi.  He can’t even kill himself with fire,” so thank you very much for that.

  

It’s as if Horikoshi only ever figures out what to do with Mina retroactively instead of in the moment (e.g. there were no interactions between Kirishima and Mina until AFTER Kirishima’s backstory, we never got any hint that would connect Mina’s and Midnight’s characters until AFTER Midnight died, when Mina speaks about not giving in to vengeance she references SHOJI’S WORDS which happened in HIS FLASHBACK, and then this whole chapter is technically a flashback too when you think about it).

That’s a big oof, all right.  I know about the Midnight non-connection and the issue of Mina’s anti-vengeance words having first been delivered by Shouji and relayed to the audience by Koda (it being his flashback, rather than Shouji’s), but I didn’t know there was no indication of Kiri-Mina connection until after his flashback.  Wowzers.

  

But also, in one of my comments I had left a link to a post analizing Kirishima’s and Mina’s characters and their dynamic. I don’t know if you checked it out or not, but it was a pretty interesting read. If you did read it, let me know your thoughts on it.

Apologies for not responding to that; I hadn't clicked it because I just wasn't terribly interested in the topic. Having checked it now, I can say that I'm unlikely to read it because I've encountered this person's meta before and, even at a glance, found it to be flawed for reasons I am not comfortable gabbing about in a public space. I'm sure they make some valid points, but I will have to respectfully bow out of reading and commenting on it here.

  

But what about Mina telling Kirishima that “now they’re even” though?

(This is re: my contention that Mina saves Shinsou, not Kirishima, from the Sludge Villain, and that Kirishima was never in any danger from the Sludge Villain.)

I mean, she can say it, but that doesn’t mean I have to believe that she/Horikoshi are accurately portraying the stakes involved.

  

Just for the record, you’re not saying that Mina not giving in to revenge isn’t noble in and of itself. What she does is indeed good.  You’re saying it doesn’t have any emotional weight because Mina has always been a morally good character, so you never thought she would ever give in to revenge in the first place. Correct?

Correct!  As I’ve said, Mina has perfectly healthy emotional regulation: when she experiences negative emotions like anger, guilt, or grief, she doesn’t dwell on them; she vents them to friends and finds healthy ways to channel them into bettering herself and the world and people around her.  She’s got a great head on her shoulders!  But all of that means that her giving into anger about Midnight’s death was never a remotely convincing threat to me.  Of course she wouldn’t; there’s never been a moment that foreshadowed that she was in the slightest danger of harboring that kind of obsessive, vindictive grudge.

That being the case, it feels unfair of Horikoshi to pin a big dramatic monologue on a desire for revenge which Mina was never shown to possess to any greater degree than any of her classmates.  She’s one of the last hero-aligned characters I’d have guessed if you’d asked me who was going to get a beat like that in the endgame.

(To anticipate the obvious question, Aizawa would have been my first guess; he’s even been written for it properly in the way he and Mic have responded to Shigaraki—clearly holding a grudge for something that would have happened to their classmate when Shigaraki was all of six years old.  Conversely, while plenty of the 1-A kids could have believably carried a “struggling with vengefulness” plot if they’d been written with it from earlier on, I don’t think there’s a single one of them who feels like a good match for it in their current incarnations.  Iida’s moved on from his Stain days too smoothly to buy it from him, Bakugou’s only real obsession is Deku, and Deku already had a whole arc of being obsessively negative and driven by dark desires to find and deal with a villain.  If any student was going to show up to the fight with bloody-minded revenge on the brain, it should have been Shishikura.)

  

But What About the Heteromorphobia, Tho’?

(Warning: Incoming off-topic harping about Shouji and the inane resolution of the hospital attack.)

I have even seen someone make a post on Reddit arguing that Shinso being discriminated for his Quirk makes no sense because it’s not villanous, and that it makes more sense for characters like Bakugo, Mina and Tokoyami to be discriminated because they have more villanous looking Quirks. I don’t really agree with everything that guy said. But he did bring up a good point. How come Mina doesn’t get side eyes from people due to her Quirk like Shinso does?

I will have to disagree with Reddit User That Guy that Shinsou’s quirk should be viewed as less villainous than Bakugou’s.  It sounds like he was conflating heteromorphobia with the bias against villains/"villainous" quirks, and while there is overlap, they’re still distinct categories.  Shinsou’s quirk inherently subordinates one’s physical body, allowing him to force his targets to act against their will, or potentially take the fall for things they didn’t willingly do.  Of course people are nervous about it or think it’s more villainous than heroic!

Conversely, the Number 2 Hero has been attacking criminals with fire for decades now, so I think the BNHA general public is more than ready to accept a hero whose quirk lets him fire off explosions.  The commonly accepted idea in the fandom is that “flashy and offensive quirks” are the ones most valued in heroes.  I think that’s a bit oversimplified—Crust was the Number 6 Hero and his quirk was neither—but it’s certainly true that purely elemental quirks (fire, lightning, wind, earth-shaping), no matter how damage-dealing they are, don’t tend to get treated as villainous in nature.  The real “villainous quirks” in the series tend to be the ones that are more creepy, dark, invasive, or impure.  Even Dabi’s fire is that ethereal blue, like spirit fires, instead of everyday orange-red!

Bakugou’s quirk is much closer to the “pure elemental” category than anything very villainous and, indeed, when he got kidnapped from the training camp and that one journalist was suggesting that he might have turned to villainy already, he based that suggestion on Bakugou’s behavior, his conduct during the Sports Festival.  Nothing was said about his quirk at all, but rather his recent public demonstrations of violence and “mental instability.”  That’s perfectly consistent, I think, with the biases we see elsewhere.[5]

Tokoyami has the potential to get hit by both the villainous quirk bias and the heteromorphobia, but I think Japan seeing ravens as emblematic of wisdom rather than death and rot would mean his bird head is less ill-seen there than it would be in the West.  I don’t think it would take much more than the proverbial One Bad Day to get him to a very bad place indeed, though—there’s a reason Mr. Compress judged him a good potential recruit!  Tokoyami was rescued before it became an issue, but if he hadn’t been, I’m sure we would have seen the same journalist mentioned above making similar statements about Tokoyami and his dark quirk/mien.

Mina’s an interesting case study in not experiencing a lot of the same sorts of discrimination others in similar situations do.  She has three distinct heteromorphic traits—her skin, her eyes, her horns—as well as having a potentially extremely deadly quirk which, as I discussed above, could easily attract judgmental side-eye because of the cultural view of acid.  So why doesn’t she seem to face discrimination?

As I said in the post you’re replying to—and as you mentioned is a common headcanon—I think a lot of it boils down to her relentlessly chipper attitude.  If she had, for example, Mustard’s personality, or Muscular’s drive to violence, would people be quicker to say that her Acid is a “villain quirk”?  If she glared more, would people be more creeped out by her eyes?  It’s possible, I think, that we would actually see her facing some of this if we spent more time with her, but the narrative doesn’t make that time, at least not anywhere Kirishima can see it.

  

Well, if I had to guess, I’m sure you would say that would make her a more interesting character. You might get to be interested in her character, which then would probably mean you would be even more upset and disappointed with this chapter.

Ahaha, very fair.  Honestly, Class A would have benefited tremendously from more kids with bite to them.  A Mina whose competitiveness had some real fervor to it, or a Mina who had some heaviness in her backstory she was faking her way through dealing with, would have been a good contribution to that.

  

It really sucks that Horikoshi had to justify Shoji being the only one to experience prejudice by clarifying that heteromorph discrimination is only still prevalent in small villages. I feel like it robbed characters like Tsuyu, Mina, Tokoyami and Koda of being part of an actual narrative and get more depth and development.

Before I talk about this, let me clarify something: Shouji’s line about what his classmates know about heteromorphic discrimination is an example of very crucial nuance being wildly different between translations.

The fan scanlation suggested that Tokoyami and Koda, who grew up in cities, must feel like such violent heteromorphobia resembles something out of a textbook, with the implication that the textbook in question is a history book.  They’re presumed to think that blood-cleansing rituals and children with scars like Shouji are artifacts of a terrible past, not a modern-day concern.

The official Via release suggested that Tokoyami and Koda could know that stuff like this still happens in rural areas because they might have read about it in textbooks.  They’re presumed to know that such rituals and scarred children do exist as modern concerns, but only out in the boonies.

Those are completely different propositions!  Which one was accurate was far beyond my capability to judge, but the official translation did feel a little off to me, so, as I usually do in such situations, I brought it to my trusty Translator Sis.  For possibly the first time ever,[6] she told me that Viz had this one wrong—that Shouji’s implication, to her eye, was indeed that T&K would think such violence was limited to the past, not that it was limited to rural areas.

That established, I was actually talking about that line from Shouji with a friend the other day!  I was aggravated that the writing would portray city-born heteromorphs as so oblivious to the problems facing them in other parts of the country when that seems so counter to my (American) perception of the ways members of threatened groups communicate danger to one another.

My friend reminded me that silence is a much more common Japanese way of addressing (or attempting to address) minority discrimination: trying to make a problem go away by starving it of conversational oxygen, treating oppression like an infection that needs to be quarantined until it dies out on its own.  In that light, it’s entirely possible that Tokoyami and Koda might not know this stuff because no one around them thinks it would be helpful to tell them if it’s not a problem they’re directly dealing with.  A lot of people propose the same approach to burakumin issues in real life, for example.

Also, technically Shouji doesn’t say that Koda and Tokoyami don’t experience heteromorphobia at all, just that the idea of fear and hatred that extreme, that violent, must seem like something out of a textbook, rather than something that happens here and now in certain parts of the country.  Also too, Tokoyami and Koda are teenagers; I can forgive them not having much understanding of life outside their own circle of experience.

That all said, it still feels more than a little telling that Horikoshi thinks everyone in Shouji’s whole class, including and especially all the other heteromorphs, could never have heard in their entire lives about acts of bigotry-driven violence against heteromorphs being carried out in the here and now.

While it’s true that silence is a widely accepted way to address these sorts of issues in Japan, they’re hardly universal!  Activist groups are out there trying to raise awareness, trying to get their issues on the floor of the Diet in hopes of getting laws passed about them.  There’s not some kind of media blackout on talking about it, and, indeed, I’ve read any number of articles from Japanese publications online covering such topics.

In BNHA, however, silence does seem to be universal.[7]

No one but Shouji is from a remote enough place that they knew about violent heteromorphobia.  No one recognized it as a thing that e.g. disadvantages heteromorphic heroes in the public approval ratings.  No one tripped over a magazine article about it and got curious enough to look the topic up online.  No one’s heroic mentors or family members have talked to them about it (particularly egregious with Koda, given the fairly strong implication that his own mother suffered it).  No one had a patch of morbid interests (Tokoyami) that led them to dabble in reading about real-life horror stories of human hatred, or an interest in how their society came to be that might have led them to reading about the CRC and realizing it still exists in the modern day.

They attend a hero school, and yet Shouji seems to be the only one with an inkling that there are heteromorphs out there who need, and have been needing, heroes.

That’s all a lot to ask of the reader, but what really pushes it past plausibility to me is what happened with the Ordinary Woman.  How close to the surface must violent heteromorphobia be even in the cities if the current state of Japan brings it all right back into the open in a matter of weeks?  That none of the students other than Shouji have ever even imagined that heteromorphs can still be victimized in this way represents an over-the-top ignorance that I have to read as either a bleak condemnation of the shallow focuses of heroes or reflective of Horikoshi’s own beliefs about discrimination and the understanding of it possessed by those who aren’t immediately threatened by it.

Whichever is the case, and with Spinner’s higher brain functions out of commission, it leaves Shouji carrying the whole plot on his back and he just can’t do it, both because the audience hasn’t had enough time with him to buy it and because the answers the series uses him as a vehicle to deliver are facile, victim-blaming nonsense.

...And here’s where I admit that even if the hospital attack had climaxed with a whole bunch of heteromorphs from Class A and B and the Pro Hero ranks acknowledging the mob’s feelings while pleading with them to not give into hatred and to stand down, I would still have issues if the resolution didn’t involve concrete suggestions and promises about how the heroes would address the mob’s grievances going forward.  Which canon very much did not, and just adding more voices to Shouji’s wouldn’t have changed that.  But my whole rant about that can be found in the relevant chapter posts, so I’ll not repeat it further here.

  

How Would I Have Done It Instead?

Let’s be real here for a second. Even if Mina had been the one to stop Machia. How would she even do that? I remember back when people were talking about when Mina would get her moment to shine, and that it would involve Machia again, I had serious doubts about that idea ever becoming true because I couldn’t think of a single thing she could do against him. I thought for sure Mina’s moment was going to be relegated to fighting Midnight’s killer, since that seemed more within her capabilities. In the end her shinning moment did indeed involve Machia, and no one really had a confrontation with Midnight’s killer. I actually want to hear your thoughts, if you happen have a thing in mind that you think Mina could’ve done to be the one to stop Machia. I’d love to hear it.+ Btw, since you brought it up, in what way could she have defeated the Sludge villain that would’ve been witty, or skillful? If you don’t have any ideas you don’t need to answer. It’s not that important. I’m just curious of the posibility.

Okay, so, this is the part that hung me up for the longest, because there are a few wildly different possible answers here.

The real truth is, if I had been writing this whole shebang from the start, this confrontation would never have happened this way at all.  Just off the top of my head, I think there’s no compelling reason AFO couldn’t have sent Toga into the hospital to activate and retrieve Kurogiri weeks ago, and with Kurogiri back in play, getting Machia would obviously have gone differently.  I would also never have disposed of the MLA as comprehensively as Horikoshi did; I would have had at least one or two instances where an MLA member who didn’t get uncovered by the HPSC in time was in a position to shift the balance in the villains’ favor—maybe one would have been with the police somewhere.

Barring a top-to-bottom rewrite of the whole arc, however? Well, I'd still say that, feeling as strongly as I do about how morally dubious this whole second war has been, even if I were telling this scene with the same components, I probably wouldn’t be writing towards a hero success because I don’t think the heroes have earned it.  The baby steps the kids have taken towards Saving Villains don’t go far enough for me to want to see the villains defeated here.  The biggest changes there would have been twofold:

1) Shinsou’s voice changer play shouldn’t have worked on Machia.

Machia has a sense of smell so incredibly acute that, if I were trying to logically explain how it worked, I’d make it a psychic ability that just happened to manifest as scent-based.  We’re talking about a guy who could track down Shigaraki after a teleport of over 270 miles, who could smell AFO’s vestige stirring from almost fifty miles away.  There’s absolutely no reason he should think for even a second that AFO is standing right outside his prison.

Now, we do know replications of AFO’s voice has an effect on Machia—we saw as much as the beginning of MVA!  But I would contend that back then, he didn’t have a big loud response to the recording, just curled up around his radio and started loudly purring.  In the scene with Shinsou, he actually responds as though he thinks AFO is there, but again, I don’t buy that Machia should have fallen for that, especially since he was woken by Hose Face’s device emulating AFO’s voice, which would have given his unbelievably keen senses enough time to register that it’s only the voice, not the man, that he's hearing.

But, with Machia up and not immediately prey to Shinsou’s ploy, the other big change I’d make with him becomes apparent.  The series has proved willing and eager to shitcan everything Shigaraki gained in MVA, but not me.  Shigaraki won Machia’s loyalty at the end of MVA, and if Machia’s cranky with AFO for leaving him behind again,[8] that doesn’t mean he couldn’t still have loyalty to AFO’s successor.

Given that his loyalty to Shigs is predicated on his loyalty to AFO, it might seem logical that AFO squandering the latter would free Machia of obligation to the former.  That’s a fair take.  But if it were me, I’d capitalize on Machia’s keen senses and what he was present for in MVA—Shigaraki saying that his followers should do whatever they want.  Hell, if the endgame likes flashbacks so much, let’s have a flashback of Shigaraki and Machia actually talking in ways that would let Machia distinguish Shigaraki and AFO.

In other words, I think Machia’s loyalty should supersede his anger.  If he gets free, his first reaction should be to go to Shigaraki, not to focus on his anger.  That way, it’s not a hero win rewarding their gross sky coffin tactics, but AFO doesn’t get quite what he wanted out of it, either.  This would be one part of focusing the narrative back on Shigaraki and his allies, rather than ruining Shigaraki’s hard work by letting AFO take over and piss it all away.

Incidentally, I will concede that, just because Machia shouldn’t have responded like a dupe to Shinsou mimicking AFO’s voice, that doesn’t mean Machia might not have responded at all—he could have rebuked Shinsou for trying to emulate Master, and that would have worked for Shinsou’s purposes just as well!  So to avoid that, I would add one more element to a flashback showcasing Shigaraki and Machia’s relationship post-Deika: have Shigaraki showing Machia a picture of Shinsou and warning him to be on the lookout for this kid, and to not respond to anything he says.

Horikoshi loves to tie back plot beats to pre-established elements, and one such element is, as I footnoted earlier, that AFO and Shigaraki watched the U.A. Sports Festival together, so they should both know good and well who Shinsou is and what he can do.  Knowing Shinsou’s SF-era capabilities doesn’t predict the voice changer, of course, but it doesn’t take a genius to figure out that, if the heroes are pushed to a point of desperation and they have access to a brainwasher, even a non-licensed one, they will try to use that brainwasher on whoever they think is their highest priority target.  Quite frankly, all of the higher-ups and key players should have known about Shinsou.

2) The kids shouldn’t have been tipped off that they were facing Midnight’s killer, or it should have come up in a different context.

Nothing interesting comes of the way the canon deploys it, thanks to Mina’s vengeful feelings having no grounding in the story, and the blunt way it’s brought up serves only to make Hose Face easy for the reader to write off.  As I said in the chapter post where he brought up “that U.A. teacher,” there’s no real reason for him to be focusing on Midnight specifically unless he has a personal reason to think she’s emblematic of the things about Hero Society he hates, or unless he was tuned in enough to U.A. personalities (knew who was teaching there, watched the Sports Festival to get a handle on its students, etc.) to realize that he was facing students he could potentially rattle by bringing up their teacher’s death.

The latter would offer a less awful read on Hose Face’s personality: He’s not bringing up the death out of pure sadism, but as a psychological tactic.  The former would give him some real characterization and motives while also giving the kids something to argue against, rather than the easiest possible reaction of, “Hay did u kno Might Makes Right iz bad?”

Alternatively, if Hose Face has nothing personal against Midnight at all, and doesn’t have an encyclopedic memory of hero wannabe high schoolers, he has no reason to specifically mention Midnight.  Even if the narrative must see her death “answered” in some fashion, it still doesn’t follow that the kids must get emotional closure for someone they lost to the undeclared war they were drafted into.  The audience can take some solace in perceived karma, but lacking a naturalistic way for Mina and the rest to connect those dots, the kids should just have to deal with him as they would any other opponent they come up against, because, surprise surprise, when you’re fighting in a war, you’re not guaranteed to see and know who’s on the opposite side of the gun that just shot down your best friend.

As another alternative, if we go with the idea that Mina was struggling with dark desires for revenge, maybe she should have brought it up!  Not as an accusation—again, she has no way of knowing she’s facing Midnight’s killer without him saying it—but just out of generalized fury with her opponents as a group, the same way Aizawa and Gran Torino hold the pain of their loved ones against Shigaraki when Shigaraki is not the one responsible for causing that pain.[9]  Maybe a more openly vengeful Mina could just freely state that her aim is to take down the PLF to avenge Midnight, only for the enemy in front of her to answer, “Midnight?  You mean that woman I killed in the woods on the day of Liberation?  Here’s your chance, then, girl.”  (Or whatever.)

Of course, Shonen Jump is not in the habit of validating heroes craving revenge, so Mina in that scenario would fail because rage would make her sloppy, same as with Deku, Iida, and so on.

So, in a scenario where Machia is up and not falling prey to Shinsou, but rather prioritizing getting to New Master Shigaraki, and the PLF is likewise loyal to Shigaraki and not AFO, I’d just let it work, because I’d be slanting this whole combat towards an overall heroic loss.  Give Mina a face to obsess over until next time but also let Kirishima get a good eyeful of it so he at least knows there’s a serious problem with his best friend and one of his hero inspirations.

Mineta would have a chance to weigh in, too, as he's a good middle ground: he's got his own anger about Midnight, who he adored, but he's also worried about how that anger looks on Mina. Mineta always worries about his classmates, but he's shared a pretty fair amount of incidental screentime with Mina specifically over the course of the series, ranging from her sweetly offering to put a harem moment into the band performance just for him to stuff like the Clockwork Orange gag, as well as more serious stuff like Mineta being the first one to ask aloud if Midnight's dead, with Mina warmly, and with a confidence it turns out she doesn't truly feel, reassuring him that Midnight's fine.

(I've said before that Mineta should have had more to do in the confrontation with Midnight's killer, but that's not just about his fondness for her. It's also about him being the first to question if the heroes didn't just make the whole situation worse, and, if Mina really took Midnight's death so hard it had her thinking about revenge, it should also have been about Mina and Mineta's shared experience surrounding that death.)

That all said, I suspect that what you really meant is, how would I have handled this scene if I had to use all the same pieces and be writing towards a heroic victory?  So let me at least touch on that.

As far as Hose Face goes, I actually think Kirishima might have been better suited to talking to him?  Like, Mina’s been friendly with people, sure, but I don’t really buy her most pivotal, “shining moment” scene being a bunch of talk about the strength of the weak coming together.  As best I recall—though do correct me if I’m wrong—it's never been shown that Mina regularly struggles with feelings of weakness or inadequacy.  It would be perfectly natural for her to do so after flubbing against Gigantomachia, to be sure, but the series doesn’t make the time to show it, so her lines about forming packs with others does not feel like a natural evolution for her arc.

Likewise, while she’s obviously been depicted as friendly and sociable from the beginning, her lines in 383 suggest that her sociableness has, and always has had, an ulterior motive: covering for her perceived weakness.  The lack of focus on her relationships from her own perspective makes that impossible to verify or even predict, so it just feels like it comes out of thin air, grabbed almost at random by the author in his attempt to find something, anything, Mina could say that would give Hose Face even a moment's pause.

Kirishima, on the other hand, has had a focus on his relationships, places where they’ve been pivotal to his own arc and the greater plot.  (I’m sure I don’t need to harp on this to you, rvg, but I’ll go over it to lay out my perception of these things.)  His relationship with Mina—the ways he’s trying to live up to her example, as well as his desire to support her when she falters—is a profound motivator for him, something we see much more explicitly and from his own perspective than we do Mina's feelings about him.  Meanwhile, while his relationship with Bakugou isn’t given that level of psychological exploration, it’s a critical factor in Bakugou’s rescue at Kamino, and we also get that bit of Bakugou specifically giving Kirishima some advice that leads to the latter’s Unbreakable mode.[10]

So like, we do get an angle on Kirishima and his sense of his own relationships with others.  That awareness allows him to demonstrate what is, I believe, the first unabashed moment of empathy for villains that a hero demonstrates in the entire series!  Specifically, I’m talking about that low-level gang mook he comes up against during his internship with Fat Gum.  That guy does a bunch of yelling about things that speak to Kirishima—fears of weakness, desire to be stronger, a need to help his “bros”—and Kirishima tries multiple times, even after being attacked, to express his understanding and sympathy for the man.

That being the case, if anyone were going to be able to make an impression on Hose Face via appealing to his sense of camaraderie and desire for strength, it seems to me that Kirishima has the better groundwork in place to sell the moment, regardless of whether he could successfully “reach” Hose Face in the way that’s being attempted with Shigaraki/Toga/Dabi.

As to the Sludge Villain, I’d probably either not have him there at all, given how much he claims he just wants to pretend to fight for a minute before getting the hell out of there.  He very much seems like he didn’t want to be here to begin with, so I can only assume that, despite AFO claiming the jailbreakers didn’t need to do anything for him but rampage, he very much did summon a bunch of them back anyway[11] for his final dramatic attack on Deku and Hero Society.

Assuming we’re stuck dealing with him, I’d probably let the Class B kids do it.   Have Mount Lady—who was there for the Sludge Villain’s rampage using Bakugou, and therefore knows what Sludgey looks like and that he can possess people—yell for people to stay away from him.  Let there be a moment of panic and confusion, where it looks for a moment like a repeat of the mess in Chapter 1 where no one had the exact right answer to deal with him, so no one’s willing to step up.

Then, in a 1-2-3 combo move that reminds everyone why Class B is said to have advanced more quickly than Class A, and just as Sludgey lunges for someone, have Yamagi use Poltergeist to manipulate him into a steel drum barrel being held by Yui, let her shrink it down to a good tight fit before dropping it, then have Juuzo soften the ground to half-sink it, top down, then resolidify the earth, trapping Sludgey for later removal.  Ta da, a neat demonstration of the next generation outperforming the old generation when it comes to on-the-fly teamwork and decisive action even when no one individual has the perfect quirk for solving a problem.

…This, of course, is assuming there’s no good way to actually get the Sludge Villain to talk in more depth about why he didn’t want to be here from the beginning and had to be threatened into doing it at all.  It would be nice if someone could broach that topic!  Maybe a quick not-too-serious handful of lines from Mineta, who has his own history of running in terror from fights he doesn’t think he can win.  But even with some sympathy, I imagine Sludge Villain would try to run away regardless, on the (well-grounded) suspicion that heroes are going to want him to go back to prison and finish his sentence, and that’s when B-tachi could step in.

So that just leaves Machia, Mina, and Shinsou.  And honestly, rather than having to power through it, I’d rather see Mina, in particular, talk her way out of it.  This draws on two things.  First, there’s the fact that she’s one of the kids who failed her Final Exams, with her and Kaminari being unable to figure out how to utilize their strengths to get out of Nedzu’s rat maze.   I’d love to see her demonstrate that she’s grown from having no plans but to brute force her way through obstacles!  Second, there’s this sequence:

This is a bit exaggerated, obviously, but the quick demonstration of how quickly and smoothly Mina is able to approach, scold, bond with, then deescalate people in tense situations is rightly portrayed as remarkable.  But where is that facility in real confrontations with villains?  Nowhere, really, save that airless stab at remarking on common ground with Hose Face and the PLF.

I obviously don’t expect her and Machia to wind up breakdancing together when the stakes are as high as they are, but Mina would have at least a bit of an opening—her encounter with Machia in middle school wherein she lied to him about where the Springer Agency is.  I don’t for a moment think that Machia’s forgotten her smell—I doubt he forgets anyone’s, though he may or may not care about them otherwise.

For this version of the scene, I’d probably play Machia as more ambivalent—tired of being abandoned over and over again by the people he’s tried so hard to be loyal for, so not immediately inclined to run off after them, open to a bit more dialogue.  He doesn’t fall for Shinsou for the same reasons I outlined above, so Shinsou and Mina have to talk Machia into acting—or at least stop him from just rumbling off to bury himself under a mountain for the next decade or two.

I don’t know how they’d go about making that argument.  Honestly, I don’t really think there’s anything in the story for Mina or Shinsou to fall back on (by which I mean earlier panels Horikoshi’s assistants can look up and copy/paste into the storyboard to accent a dramatic speech).  Maybe they could ask him why he’s so loyal to All For One and find some commonality, either through heteromorph discrimination or bias against villains.

Maybe Machia is torn on his loyalty, betrayed by AFO one too many times to want to help him but not sure where that leaves him on supporting Shigaraki.  Hearing this, Mina brings up that AFO is threatening Shigaraki right now, but also that a friend of Mina’s is trying to stop AFO/help Shigaraki,[12] so maybe Machia could help them with that and then decide?  Machia doesn’t trust her due to the Springer Agency thing, but that same experience does lead him to believe her when she says she just wants to help people, not hurt them.

That last bit has the benefit of providing an explicit reason for why Mina uses her quirk nigh-exclusively as a watery defense barrier or to take out inanimate objects: She long ago made an active choice not to use her acid against sentient people.  This would give her some room for a little motivation-establishing flashback of her own—maybe canonize that theory about her chipperness being at least in part a front!—and provide a nice alternative to the current state of Mina’s narrative, which has spent nearly 400 chapters refusing to allow her the same free hand people like Bakugou and Kaminari take with their quirks for no established reason.

This doesn’t give Shinsou much to do, but that’s okay: his moment comes against AFO instead.

I realize that Mina's fans want her to have a big badass moment, and simply talking down a confrontation is not the kind of thing that tends to get viewed as "badass" in a shounen battle manga. Sorry about that. She can still jump around and dodge a lot while giving her pitch? Maybe she could get a big badass moment later on? I dunno; that's just what I would do, and obviously my priorities for what it would be cool for the kids to do are not the same as the broader readership's.

I'm also not sure where that leaves the confrontation with Midnight's killer; I suppose that depends on how things go between him and Kirishima in this scenario. Maybe they leave without him when he tries to protest Machia accepting the temporary alliance, or maybe he's soldier enough to take the help where he can get it and worry about later conflict later. Obviously, at any rate, this is happening in a scenario where he hasn't immediately blabbed that he killed Midnight; that can come up as a nasty surprise later on.

  

But does that mean you think Midnight’s killer should totally get away with it scott free and suffer no consequences?

Hnnnngghh that’s a tricky one because I am an unabashed MLA stan and villain supporter and therefore deeply biased about this.  Like, I don’t think soldiers should be put on trial for killing enemy soldiers, no, even high-ranking officer-types.  Obviously it’s different if they attack civilians or are otherwise breaking the codes surrounding conduct during warfare, but I do think Hose Face killing Midnight was basically a soldier killing someone he perceived as another soldier, with no undue cruelty or misconduct.

However, obviously the series itself—and the state authority the PLF is openly trying to tear down in-universe—would disagree with me!  In that context, I can’t even really call the guy “a high-ranking officer” because that would, as mentioned earlier, convey more authenticity to his position than his government wants to grant him.  As far as they’re concerned, he’s probably more like “a key figure in the recent anti-government actions carried out by the terrorist group calling themselves The Paranormal Liberation Front.”  People like that tend to get executed in prison a few years after their short, perfunctory trials.

I suppose the problem for me is that the series wants me to believe that the MLA is Very Bad and they all deserve to be Locked Up Forever, whereas I want more nuance from them than that?  Even setting aside the probable cult upbringing, I have significant trouble unabashedly blaming the PLF for their actions because the series has done nothing to convince me that less drastic avenues for change are available or even survivable for them.

This was a huge issue with the hospital attack sequence, but it applies to all sorts of the setting’s problems: Other than, “Insist that victims of oppression should focus on providing a good example to future generations,” what methods for addressing inequality does Hero Society have?  I want to know what the villains should have done, what they could have done, about systemic inequalities and repression that would have been effective against a government that employs agents like Lady Nagant and Hawks.

The picture Nagant paints is of a society waging a war against anyone who sought to change the Hero System, a war that many people who sought change never even knew they were already in.  The examples she provides of her targets are, of course, corrupt heroes and would-be terrorists, but what her HPSC President said was even farther reaching: that the purpose of her killing was to “preserve hope and faith” in heroes.

The HPSC legitimately does not seem to believe that any system other than the current one is feasible for maintaining stability, and that any attempt to shake or besmirch that system is no different than throwing the country back into the chaos of the advent of quirks.  What’s a few missing activists or tragic accidents compared to that?

Horikoshi seems desperate to have us pretend he never told us that the government his protagonists are defending actively grooms assassins to enforce the status quo, but that’s not a genie he can put back in the bottle.  I see the current events of the series as, in some form or another, basically inevitable because of Hero Society’s active, even violent resistance to change.  Midnight’s death for that cause is thus something I have tremendous difficulty thinking of as a crime that needs to be punished.

Does that mean I think Hose Face should get off scot-free?  Eeehhhhhhhhnnnngh I hate to say it this plainly, but…

Maybe it does?

The thing is, I know that Hose Face is, canonically, a quirk supremacist trying to violently overthrow the rule of law.  In real life, I have no sympathy for people trying to institute fascism, regardless of whether they’re using legal mechanisms or armed force.  But in the fictional world of BNHA, I have nothing but disdain for the way the MLA has been turned into a caricature of themselves in this final arc.  In that sense, my dissatisfaction with Hose Face’s treatment is really based on the ideal version of him and all the rest of the MLA I have in my head—the MLA that’s allowed to have nuance behind their extremism, the one overflowing with members motivated by their lived experience with the flaws in Hero Society, with a generous helping of radicalization from the fact that they’re a cult as much as they are an army.

BNHA has scrapped all that potential and left us with nothing but naked quirk supremacy to fill the void.  In an endgame that’s trying so, so hard to sell the readers on Saving Villains, that’s just poison to the story’s themes, and my villain stanning comes directly from that issue: demanding consistent treatment for the characters whose tragic backstories we haven’t been permitted to see.

Hose Face is clearly a bad person—heck, I was headcanoning him as a hard-edged, ruthless killer even when all we had to go on was him killing Midnight, long before he showed up to espouse open quirk supremacy and gloat about killing a schoolteacher, so it’s not like I ever thought he was a super nice dude or anything!  But I guess I just have trouble with the idea that the current system deserves to be the one to decide his fate, when it has, to all appearances, gone to extreme lengths to stamp out any perceived threats to itself, to the point that the narrative itself is now openly delegitimizing everyone who might otherwise offer cogent critique.

It would be different if we had never seen the dark side of the status quo and the villains really were all just shallow, two-dimensional monsters.  It would be different if the narrative had shown us legal, nonviolent and effective avenues for protest and change.[13]  It would be different if Hose Face had killed some rando uninvolved civilian.

As it is, though, Midnight was a combatant for a terrible, terrible status quo.  She might not have been using lethal means herself, but she was defending a demonstrably lethal, openly acknowledged as repressive, system.  I just can’t find it in myself to demand justice for the fact that she died for it.

But with all that being said, I also don’t think Midnight is a bad person.  She never knew about the government assassins, after all; she’s a member of the system she grew up in, the same way the kids are.  She presumably never saw the extent of the system’s flaws because she was never victimized by them.  At the end of the day, she still deserved to be properly mourned and remembered and it is a crock and a crime that we never got to see her funeral.

If anything, I think Midnight’s funeral would have been an excellent setting for a scene where the protagonists start asking questions about how things came to this, what went wrong and where, that their teacher had to die.  What is it about Hero Society that’s led to tens of thousands of dissidents, and why haven’t they ever heard of this discontent before now That would have given us considerably better set-up for a nuanced PLF, an opening to talk about Shouji’s experience of heteromorphobia, foreshadowing for Lady Nagant, and, to bring this back on-topic, the opportunity to really show Mina struggling with everything that happened as set-up for her later confrontation with Midnight’s killer.

  

Tumblr, How Does That Work?

Honestly I was expecting some sort of notification about your answers if and when you replied to me. Is that not a thing?

Making my reply a fresh post, or just posting replies in the comments section of the post you originally commented on, would not have notified you without me specifically tagging you, which at the time Tumblr wasn’t letting me do.  This problem seems to have cleared up, so you should have gotten a notification about this post going up because of your name being tagged at the very beginning!

What you see for people answering asks depends on a few things. If you send asks anonymously, you won't get a notification if/when the person answers them; you'll just have to keep an eye on their blog. If you send them with your name attached, as you did originally for me, I could choose to answer those asks privately, sending my replies back to your Inbox, or answer publically, posting my replies to my blog. Either way, you'd be notified!

For this round of responses, if I'd just replied to your reblog in comments as you did with my original post, or reblogged your reply with a reply of own instead of staring a new post, you’d have gotten notifications about either!  But I don’t want to put this much wall ‘o text on my followers’ dashboards without a cut, so I haven’t been responding directly, for which I apologize.

(Disclaimer: Notifications can be configured in your Settings menu; you can toggle them on and off for loads of stuff! You might wish to check what you currently have them set for rather than just taking my word for it.)

On the topic of cuts, I mentioned at the beginning that the cut option is hard to find on mobile, but just for reference, it looks like this in the post editor on desktop:

It's the same icon on the mobile post editor, it's just on the far right of the bar of icons along the bottom of the app. My screen cuts it off, so I have to scroll the bar over to find it.

Like I said, the Expand dropdown button Tumblr instituted a little while back has reduced the need for this somewhat, and you can certainly do whatever you prefer, but as I believe having the Expand dropdown automatically clip long posts is still an optional configuration in Settings, I'd feel better about reblogging from you directly if you put the bulk of your reply under a cut.

  

Don’t know what “blorbo” means. Kinda sounds like a demeaning term, but I’m going to assume it’s not.

Sorry, it’s not intended to be demeaning!  It’s just a slangy affectionate term for “character you really like.”  In my experience, I’d say it also has a connotation of protectiveness or self-identification, though I can’t speak for the whole of the internet.  I like plenty of characters, but I wouldn’t call them all my blorbos, just the ones that I really and truly love and want to explore/share/defend their honor to the death.

  

Thanks...? Is, is that a compliment?

(Re: my telling rvg that we seemed to have similar issues with the way Mina was being handled, but they were more willing to do the mental legwork on her than me.)

It’s mostly just an observation, but not a critical one!  As someone who’s very ready to read into the canon every little drip of information the canon will give me And So Much More, I have a tremendous amount of fellow-feeling for people of like minds, even if our taste in characters is different.

    

Buried At The Bottom, Why Kaminari Is A Worse Character Than Mineta, Yes I Said It And I’ll Say It Again

>>I have observably positive feelings for about a third of Class 1-A and only particularly negative feelings about Deku and Kaminari. What’s up with Kaminari?

My irritation with Kaminari boils down to two main things—and forgive me, I know you didn’t ask about Mineta, but Mineta’s pretty important to my feelings on Kaminari being what they are, so he’s a part of this answer.  This is all going to be pretty openly dismissive of Kaminari, as a fair warning, on top of being based on not-exactly-rigorous familiarity with the student material, so apologies to anyone who likes him and finds him an enriching, valuable character. But man alive, that is not me.  And but so:

1) Kaminari is a watered-down Mineta, with watered-down versions of all of Mineta’s flaws, but because he’s watered down, the growth he experiences stands out less than Mineta’s.  More on this in a second.

2) Despite Kaminari being a redundant character who brings virtually nothing to the table that other characters don’t do better—with the only things that are unique to him going underdeveloped in canon—fandom loves Kaminari.  (Disclaimer: I obviously don’t spend much time in the hero-fan circles of the fandom, so this is just my perception.  I’d be curious to get your perspective of Kaminari’s relative popularity, rvg!)

To hit the second point first, Kaminari has a more conventionally attractive cute anime boy face than Mineta, so Kaminari’s pushing of his female classmates’ boundaries gets mostly ignored, while Mineta gets so many fics written about him dying that there’s a dedicated Dead Mineta Minoru tag on AO3 with almost 350 hits. 

Fandom built a whole tottering edifice of fanon about Traitor Kaminari despite the howling absence of compelling evidence in the manga[14] for, so far as I can tell, the sole reason that people wanted the cute anime boy to have crunchy angst.  Then, when the actual traitor reveals landed (first the fake-out and then the real one), fandom deemed Hagakure an ungrateful bitch and Aoyama a whining coward.

So like, the fandom discrepancy is what pushes me over the edge from the bottom end of neutral into active dislike.  But I would be awfully close to it anyway for the whole “redundant-ass character who contributes nothing to this story we couldn’t get better from someone else” thing.

Kaminari being kind of leery and unpleasant about his female classmates would be a lot more glaring if it weren’t stacked up against Mineta’s actual sexual harassment, even though Kaminari is a frequent co-conspirator!   

Kaminari has a brief tussle with fear at the beginning of the war arc, but it’s neither as sustained nor as convincing as Mineta’s frequent wrestling with cowardice, present from USJ all the way up through his terrified confrontation with All For One.   

Mineta is frequently, openly envious of his classmates, a whole extra flaw that Kaminari never demonstrates in more than fleeting glimpses.   

Kaminari’s quirk is redundant next to the other high offense types in the class.   

Kaminari’s personality is not distinct enough to add anything irreplaceable to the classroom dynamic.  That’s not to say he brings nothing to the web of relationships amongst the students or the ways the class as a whole reacts to the events of the series, just that what comes to mind for me is mostly extra layering to existing dynamics, not anything truly original and unique to him.  Which would be fine—I love extra layers!—if he were contributing more as a character on literally any other fronts.

I can think of only two things that Kaminari uniquely brings to the table, but both of them are mentioned once and then never come up again.  Firstly, he’s the only one in the class to voice open admiration for Stain, a willingness to admire cool traits in Villains that never leads him to any interesting conflicts with people (classmates or otherwise) who hew to the more standard flat refusal to consider that a Villain might have or express positive aspects.

The other thing is less about Kaminari himself and more about how he’s one of three places where the story brings up the idea of people using their quirks for non-hero jobs and then refuses to develop that premise.[15]  It’s interesting worldbuilding, but as far as I’m aware, it’s never directly shown—everyone we see using their quirks (legally) in the series is doing it as a hero.  We never get much sense of what other options there are for quirk use because heroism and villainy are the only contexts we ever see it in!  This would be a little annoying on its own, but I also find it undermines a lot of other established facts and characterizations.

(Bear with me and I promise I’ll loop this back around to Kaminari.)

My interests being where they are, the biggest problem for me with the fuzziness about the legality of quirk use is that it leaves Destro and the MLA with no coherent cause.  They want free quirk use, but are they really so incredibly averse to just getting a license that they’re willing to become terrorists over it??

You could argue that naked quirk supremacy is what the MLA is currently after, and that’s obviously incompatible with the laws as they stand, but Destro Classic is never really framed as a quirk supremacist, so why did he so virulently despise the quirk use prohibitions if all they really did was require people to get a license to use quirks in public, no different than a driver’s license or a permit to serve alcohol?  Sure, you get small clutches of people sometimes with that kind of “any government oversight is bad government oversight” black-and-white thinking, but the original MLA was a powerful enough force to stand against the government for years, which doesn’t exactly scream “a handful of malcontents” to me.

Rendering the MLA’s cause mindbogglingly asinine is my biggest problem with the “other jobs can get quirk-use licenses too” tidbit, but there are also things like how totally invisible the entertainment or sports industry is.  That would make perfect sense if quirk use is illegal in those fields—people want to see cool superpowers getting used, so industries that bank on public attention dollars but can’t have their celebrities use their quirks are going to decline when they can’t compete with industries/celebrities that can.

If quirk licenses can be gotten for all sorts of jobs, though, then why have sports and entertainment become so invisible?  If “frivolous” fields like those are not aren’t seen as “contributing to society” enough for quirk use permits, then which fields do?  Why does HeroAca!Japan still mostly look and behave like IRL!Japan if quirks are in use in “all manner” of industries?  And if it isn’t the case that heroism—a dangerous job which sometimes gets people killed and which generally requires cultivating a socially demanding public brand/identity—is the only path to being able to use the special power you were born with to earn a livelihood, why does every single middle-schooler in Deku’s class and countless other classes across the country want to become a hero?

I just feel like the way the world looks and operates, the kinds of repressiveness described by even the heroes, the structures that drive people into heroism and villainy alike—the former because they don’t see any other viable way to achieve the happiness they’re looking for, the latter because they can’t become heroes but still have desires that their quirks could help them achieve—all of that makes much more sense in a world that has super powers but has tightly restricted their use to a single job class of person.

So, tying back, obviously that’s not a fault of Kaminari’s, but he is the character where that gap is most apparent.  If there aren’t many lightning heroes because lightning is in high demand in other industries, it would shed significant light on who Kaminari is as a person if the manga would tell us what those other industries are. 

What other paths could Kaminari have chosen?  What’s so much better about those other industries that people with quirks tailor-made for heroism,[16] in a society that worships popular and powerful heroes, are so willing to choose those other industries instead?  Why did Kaminari not make that same decision?  What does heroism mean to him personally that he chose it when so many others in his situation did not?

Kaminari could present a huge in on that angle of the worldbuilding, but instead he’s a complete dead-end.  Mineta’s motivations are base as hell, but at least we know what they are!  Further, it tells us interesting (uncomplimentary, but interesting!) things that people like Recovery Girl and Deku hear said motivations from Mineta’s own mouth, and shrug and accept them as perfectly valid.

And that’s just his professed motivations!  His final exam scene actually drops an early hint about the admiration for Deku he’ll later wholeheartedly declare in the 1-A vs Deku fight!  I don’t remember Kaminari ever getting anything a fraction so revealing; he just coasts through the story contributing nothing unique or meaningful.  He’s hardly the only 1-A character with that particular lack of depth—Sato, Sero, Hagakure and Ojiro are all similar blank slates in terms of their motivations or histories—but then, none of them are a fraction as popular as Kaminari is in the fandom as I experience it, either.

So to sum up, I dislike Kaminari because he’s a wishy-washy nothing of a character, a generically Inoffensive Anime Cutie Boy adored out of all reasonable proportion compared to more compelling and equally underdeveloped classmates alike.  Mineta is, by any measure, more problematic, and it's even worse that U.A./Aizawa are so blasé about him, but, at least from where I’m standing, he’s still more layered, more compelling, more dynamic, and speaks in more interesting ways to the world around him than Kaminari ever comes close to matching.

(…Kaminari’s thing with Jirou is fine.  Perfectly reasonable character relationship building material.  I just don’t count it one way or the other because it’s a self-contained relationship dynamic that has no bearing on the way either character engages with the broader world/system the series’ overarching narrative is challenging.  They motivate each other in small ways, but that motivation doesn’t lead them to truly grow or change as people, only to overcome modest internal confidence hurdles blocking them from things they already wanted to do anyway.)

--

And that's it! Thanks for forging through, good lord, over twenty pages of this, rvg and anyone else who did! I hope you were at least moderately entertained, give or take my blatant Kaminari slander. See you next time, and enjoy the Footnotes.

---------------- FOOTNOTES ----------------

[1] We’re not shown any personnel or drugs or anything, but I assume they’ve been keeping Machia drugged since Jakku, same as Kurogiri in between interviews.  It’s the only thing that worked on Machia before, so why wouldn’t they have more on-hand?

[2] Despite watching the Sports Festival with Shigaraki, natch.

[3] I would like it if he would do that with a lot less insufferable power scaling bullshit, you understand, but I’m spotting the comic its plot arc here.

[4] Outside of, say, the Persona games, where the MCs can change ability sets by swapping out what companion spirit they’re packing, but even that doesn’t make them specialized for status effects, merely capable of using them.

[5] Interestingly, while Bakugou fought off the villainous sales pitch with as much verve as he brings to all his fights, if he had fallen off the righteous path there, we might have observed that his pridefulness was explicitly fostered by the people around him giving him excessive praise for his powerful quirk and ignoring his resulting violent arrogance.  That is to say, Bakugou would have fallen under the same, “Villains are created by the failures in their society,” pattern that BNHA applies to all of its sympathetic villains.

[6] There was one other instance, but iirc it was an error in the translation C.Cook had done for the BNHA databook.  It would not surprise me that he was being less careful or was more pressed for time when translating the reams upon reams of text in one of those.

[7] At least until the fifteen-thousand-strong mob shows up.

[8] Which frankly should be all he’s sore about.  As others have pointed out, Machia’s anger about being abandoned is kind of incoherent.  Yes, AFO left him on the battlefield, but he didn’t exactly leave him to rot in prison forever.  The moment AFO made his big push, he sent people to spring Machia, so in what sense exactly does Machia think AFO abandoned him?  If it was just the last straw after a string of abandonments from both AFO and Shigaraki, the manga could have stood to make that much clearer.

[9] AFO and Ujiko created Kurogiri out of Shirakumo—as a babysitter for Tomura, yes, but Tomura didn’t choose that.  And as to Shigaraki’s very existence trampling on Nana’s memory and causing All Might pain, well, Shigaraki didn’t ask to be brought into the world, abused by his father, neglected by his family, and then raised by a supervillain, did he?

[10] And speaking of Unbreakable, compare how explicitly we’re shown Kirishima’s growth and the foundations of it with how the inspirations for Mina’s attacks are relegated to passing mentions, not direct depictions.  She just casually tells Kirishima that his Unbreakable inspired her Acidman, and likewise only internally reflects on asking Bakugou and Todoroki to teach her their training method, which let her develop her Max Power Acidman Alma move, without so much as a single scrubbed in doodle depicting said training assistance.

[11] Somehow.  The story is unclear on whether he disseminated threats, contacted them directly, or just used the combination of Search+Warping to drag them all back into his presence, and that last option in particular runs into complications given the limitations of both quirks.

[12] In this AU, we would have gotten to see the class have an actual discussion about Saving Villains, prompted by the way the reveal about Aoyama solidified Deku, Shouto and Uraraka’s desires to help their respective villain foils.  The class would carry that resolve forward not only for those three villains alone, but also Shouji for Spinner, Kirishima when talking to Hose Face, Mina, here, with Gigantomachia, etc.

[13] None of the things I can think of that might be considered evidence of protest meet all the criteria.  The original MLA became violent, Harima Oji was a lawbreaker and also ineffective in the long term, the small group that yells at Endeavor and the rest in Chapter 311 is not portrayed as linked to any broader efforts to unseat “fake heroes,” and the group that “condemned” the newscaster Miyagi Daikaku was ineffective and didn’t even seem to rise to the level of open protest.

[14] "His grades are poor but he namedrops a Hemingway novel! He must be concealing the fact that he's actually super-smart!" "He's doing a Liberation salute! He must be the traitor, even though the Liberation salute uses the other hand, and Kaminari has been using finger-gun gestures to fire off his lightning attacks since at least the License Exam if not earlier, and the League had no connection to the MLA at the time when the traitor was most active!"

[15] A blurb about Kaminari in, iirc, one of the volume extras, Suneater’s flashback to a teacher telling his class that they can “make fine use of their quirks at any number of jobs,” and Uraraka’s early mention that she’d considered “getting permission” to use her quirk to help with her parents’ construction business.

[16] See the previous discussion about the kinds of quirks that are popularly accepted as “good hero quirks.”

#bnha #stillness answers #-ish #my writing #pink alien on parade #plf advisors #grape expectations #bnha minoru #gigantomachia #plf arrests #heteromorph discrimination plot #horikoshi stop ignoring the villains' perception quirks challenge #hero society #bnha critical #ethics of heroism #bnha endgame #double-duty brainstorming for the rewrite AUs #randomvongenerico

[philosophybitmaps]

#philosophy #quotes #David Foster Wallace #The Pale King #Wallace #heroism #courage #virtue #character #ethics

[mid-nightowl]

paramedic/EMT dick is so good omg :o i hadn’t thought about that one

i have seen social worker dick which also felt really appropriate (also love that for jason) but!!! EMT actually feels like it works better to me???

thank u for putting that thought in my head~

ahhhhhhh!! i am so ecstatic i could put the thought of emt/paramedic!dick in your head hehehehe

paramedic!dick is so special to me<3 it very much i think hits what dick needs and wants out of his civilian life but also directly influences his vigilantism too

my main three takeaways are these:

it's a highly rewarding but deeply traumatizing career and it scratches his innate need to help people without violence & fear

it's a little bit more training than a police officer but i think covers a field of knowledge dick knows but doesn't know intimately like he does criminal justice or law. it would also benefit his "night" job to be more equipped to handle traumatic injuries

ems schedules are chaotic and all over the place especially if the garage is down a paramedic or ALS provider or just overall understaffed but the overall structure of it would be good for dick (if he can balance his work-vigilantism life healthily, depending on how you write him)

#asks #ladytauria #i got halfway through an essay and decided not to infodump on you askfgsjkgbsjgb #but yeah ems is one of my niches i feel i know too much about but i am just very passionate about it #but i also truly believe it would be a better profession for dick than police officer (blegh) #like there's just so much potential in this career for him #the community aspect; the balance of heroism and trauma which parallels his trajectory as Nightwing; the balance of work and home life #(which can flip between healthy or unhealthy) #the training and the role of ems in society esp in regards to the trifecta of first responders #you can easily deal with the same things dick did as a police officer but as an ems provider and it would be better ethically and morally #also the idea of him being able to help others without violence and fear is such an interesting thread to pull on like omg???? #and then just the angst potential bc the job is just as traumatizing and frustrating as vigilantism; the cycle of burnout and exhaustion #(which can also be a downside writing-wise like he's already traumatized enough by being Nightwing maybe his day job shouldn't be) #i could talk all day about the potential akfgnkasjg apologies for the ranting-gushing lol #dick grayson #paramedic!dick grayson

[scarletspider2the2ndpower]

“Scarlet Fury,” Scarlet Spider (Vol. 2/2012), #3.

Writer: Christopher Yost; Penciler : Ryan Stegman; Inkers: Michael Babinsky and Wade von Grawbadger; Colorists: Marte Garcia and Andres Mossa; Letterer: Joe Caramagna

#Marvel #Marvel comics #Marvel 616 #Scarlet Spider vol. 2 #Scarlet Spider 2012 #Scarlet Spider #Kaine #Kaine Parker #first off #tw stalking #cw stalking #but there’s a lot to love here #A) the sort of references to Kaine’s precog flashes #and his tendency to Lurk™️ #but best of all is Kaine’s brand of heroism of him just being the Bigger Bad #the Bigger Boot if you will #(which makes me wonder how Kaine would get along with the Punisher… #there probably wouldn’t be the same level of vehement ethical conflict that Peter and Frank would get into #but knowing Frank’s - and Kaine’s for that matter - shall we say tendency towards stubbornness and more abrasive qualities I doubt #that they’d be able to cooperate for long)

[peritusabsurdus]

i hate to say it but chainsaw man part2 is making my brain tinglies WAY more tingly than part1 did......

#heroism #something about questioning the morals and ethics of murder #while also criticizing what is and what justice meanz #also #the dynamic between yoru and asa is vv funny #love to see it #chainsaw man

[the-busy-ghost]

Warning- this is a very petty post, but I think I'm entitled to at least one petty, pissed-off reaction every time I finish a classic novel that hit harder than I expected so take this as my quota for the year.

Also spoiler warning for a book that came out over a century ago but still, I didn't know the plot going in so don't want to ruin it for anyone else, if you haven't read it shut your eyes. (Also Local Tumblr User Going Wild Over Book Published a Hundred Years Ago That Everybody Else Already Read should probably be categorised as akey part of indigenous tumblr culture at this point).

Anyway I just finished the War of the Worlds and in between studying I've thinking about Themes and Motifs as you do, and idly looking for further analysis. I then accidentally ran into an article called 'A Quiet Place II Succeeds Where the War of the Worlds Failed' and:

Now I haven't seen any of the Quiet Place films, this is not a rant against them and of course everyone is entitled to their own opinions. But re: the ending of The War of the Worlds, I have to ask, did this guy somehow miss, uh, the entire point of the book or am I just utterly insane?

#You're right it's not very satisfying for humanity that the invaders are foiled by a bacteria and not human action! Maybe that's the point! #Maybe it's supposed to be FRIGHTENING and make you ask questions about what humans will do under extreme stress #Not be a morally uplifting tale about Humanity Heroically Defeating the Martians in a Glorious Hollywood Ending #Maybe it's MEANT to be unsatisfying because this is not a straightforward fairytale #I mean I've only read it once and don't know much about Wells' work so I might have misunderstood the point of the book too #But at places it is a very pessimistic view of the human condition and that's partly WHY IT'S SO POWERFUL #That doesn't mean there aren't moments of individual acts of heroism (the Thunderchild for example) #But the question is not just 'how will humanity beat the Martians and prove that we're still the masters of the universe' #Rather 'a) why is humanity so confident that it's ultimately in control of its own destiny #And b) here's lots of scenes of societal collapse and of people pushed to the brink and what would YOU do in those circumstances? #Would YOU feel remorse about silencing the curate even if it did lead to his death? #What if it rather than a foolish adult it had been a small child? #And even if they were weak did they DESERVE it? Yes it might have been necessary but should it be policy going forward? #Would you also be attracted briefly by the certainties that the artilleryman's (rather fascist) plan seems to offer so humanity survives? #But what sort of humanity would that be if it DID survive and is it worth it? The narrator feels he needs to justify the curate's death #The artilleryman would have probably never have thought it was anything OTHER than justifiable or indeed laudable #Under strain and stress would you start to turn against even your loved ones and become brutal? #Is that the only hope for human survival beyond complete surrender? And was the destruction of London maybe even 'cleansing' #In the eugenics sense or in the sense of a natural horror of dirt and germs? #And the vast exodus of six million people fleeing headlong in panic - we might not have seen that exact phenomenon #But didn't the twentieth century subsequently go on to show us unprecedented scale of slaughter and refugee movements and communal strife? #At the end of the day what really separates humanity from other animals? And what separates us from the Martians? #It's not an uncontroversial book- it was written over a hundred years ago for goodness sake and there are questions worth asking #about the way imperialism and arguments about eugenics and population control and all sorts of other dodgy areas operated on Wells' mind #But dear God I really don't think the problem with the book is that 'Humanity didn't save the day!' #Unsatisfying ending? Yes. A FAILURE? No not in my opinion- looks like it was exactly what Wells set out to do #Humanity didn't win the war of the worlds they had a narrow escape and though it might not be martians next time #Why wouldn't disaster return in the future? Sure we've studied their flying machines and even preserved a martian in a jar #But for all our science what have we ACTUALLY learned that will enable us to avert future human catastrophes? Ethically or socially? #Alright rant over- as usual my opinion is not universal nor necessarily well-informed this take just really got my goat

[thecheshirerat]

You know those moments where you realize that there is a Pattern and Parallels and Commonalities betwixt your most favorite blorbos and you just start. Levitating

#anyway GLaDOS 🤝 Lucretia #<- weird relationships with the moon; voiceless companions with a strange relationship to their own name; ethically debatable motives #; tell jokes to people and tease them when in reality they just want to scream ‘I LOVE YOU’; #are the only ones who Remember (and the others Do Not); #edit their own stories; edit other peoples stories; make the tough call; have many regrets; want to get things done; #tell themselves it’s for the greater good; queen of swords energy; notably stopped ‘championing other peoples heroism’ to take matters #into their own hands; #fucked relationship to the passage of time; #dead girlfriends; #make people do really dumb tests; #come up with stupid names for their organizations shit; #put up with no bullshit (except their own) #sitting here vibrating WHAT THE FUCKKKKK #SCIENTISTS #THEYRE BOTH FUCKING. CONFIDENT EXTERIOR BUT THE IMPOSTER SYNDROME. #ABABAHABAHAHAHHWHEWHEHSHSHSHDHHDIRIRJEJWNEJE #I HAVE DISCOVERED HIDDEN SECRETS OF THE UNIVERSE #cheshi squeaks

[neyafromfrance95]

i wonder if lucy is going to be depressed and grumpy or conceal and bottle up her feelings in season 2?

bc she had just found out that her father, the person she adored and admired the most in the world, is the big bad in a way i doubt she could even conceptualize and comprehend up to the some point, and had to shoot her zombified mother she had missed a lot and didn't even know was alive. not to mention how everything she was made to believe in came crumbling down, leaving her with an identity crisis.

i wonder if cooper sees the *signs* of her maybe not processing it all in the healthiest ways? and if he starts to care...

bc ironically, cooper might just be better at recognizing and dealing with this stuff. after all, he was once a very well-adjusted human, i'd even say an emotionally mature and open one. and as much as lucy is kind and heroic, she only knows how to deal with emotional conflict by reciting the ethics philosophers and the hr manuals...

lucy's nobility and heroism will definitely remind him of his old self, but it would also be interesting if cooper restores his humanity and learns to be more soft through helping lucy with her trauma.

#vaultghoul #fallout #lucy maclean #lucy maclean x cooper howard #cooper howard #lucy maclean x the ghoul #the ghoul #ghoulcy #fallout amazon #fallout tv series 2024 #fallout tv #fallout tv series #fallout tv show #fallout prime

[psuedofolio]

Last week on my character a day thread was more "Magical Girl SCP" characters and I'm realizing I didn't share the pictures from the last time I brought out the psudo scp universe characters so here they are. I'll make the whole story someday. Lore/flavor text is as follows: 1: Fairbanks would often have to insist Isabelle stop skipping her small arms training. She rarely said it, but she was very fond of the junior researcher. And she knew just how unsafe the SAFE Research Department could be.

2: Fairbanks' Notes on the Vampire, "Drymouth."

After 21 days without feeding, she will enter a state of altered consciousness and will speak true prophecies. The Board believes it is worth the ethical costs of starving her. I believe she uses her prophecies to guide us to our destruction.

3: Partial Transcript: Tattoo Parlor, 3:25 PM

Subject X66: "I'm still kinda nervous about the pain, ya know. I'm sure you get that a lot."

Witness: "I... what is... Is that a body mod?"

Subject X66: "What are you talking about?"

Witness: "Holy fuck it moved!"

4: Codename Sunshine is the first entity to take a role in DIR Fairbank's "Special Taskforce." Though the Director believes she is wholly reliable and a potential asset for our field agents, many are skeptical. Her ability to "transmute light into burning liquid" is quote: "Scary AF."

5: Agent Nathan Collier returned to work with REDACTED three months after the incident with Valeria's escape. His personal heroism in subduing the entity aside, it was decided he was unfit for field work. Instead he was reassigned to the SAFE Department on so called "babysitting duty."

6: Ben died a few years ago in an unrelated accident, but ever since then what appears to be his "ghost" continues to check the halls for anomalous readings. Once we calibrated his scanner to account for his own emanations, he returned to being a valued member of *redacted*

7: What limited things we do know is REDACTED's body is made of particles which "absorb" em waves of all kinds, from light to radio. Though REDACTED manages to bypass nearly every security measure we have, they have no connections or intentions that qualify as a threat.

8: Contrary to popular belief, Franklin is NOT an anomalous entity. He is merely a holdover from REDACTED before it became REDACTED. His "good humor and fatherly advice" has often made agents question his true nature. And security monitors him as agents often confide secrets with him.

(ooc note, it was about an hour after drawing this that I realized I basically just drew Clint McElroy)

9: Frm: Dir Fairbanks The girl in our care is not to be referred to as "anomaly" or "spider thing" or by her case number. She has come to us willingly. Her name is Penelope, and but for her anomalous mutations is a normal child. We will provide her normalcy. That is an order.

#magical girl scp #psu scp #oc #oc characters #character deisgn #scp #horror #scp oc

[borzoilover69]

ULTIMATE JAKE: an idea and an execution

 iA I Aka the post where borzoi talks to the crowd how awesome Lord Jake English is, the guy that everyones seen around, but have no idea who he is. Pull up a chair, this will get long. 

If Ultimate Dirk can be summarised by the mask of tragedy in theatre, LE Jake, AKA Ultimate Jake, could be summarised by the mask of comedy. I’ve barely read HS2, but from what I can see, Dirk wants to make a serious nitty gritty tragedy of serious and epic proportions. But he tries so hard that he ends up making it almost laughable.

Jake wants to make a thighslapper huckshaw comedy where everyones having a grand old time but  there is such deep and hollow tragedy hidden within the folds of all those pretty smiles.

If anything they abide a lot by aristotles theory on comedy and tragedy. While tragedy imitates men better than average, comedy parodies those who are worse.

Aristotle stated that those of a more serious type that may have once been inclined to celebrate the actions of great heroes in poetry and prose turn to tragedy, while those who’ve been dishonourable, humbled, turn to comedy. It comes down to duality, tragedy viewing duality as a fatal contradiction forever a fault in things, while comedy views it as natural, but something that everyone must live with the best they can, enjoy.  Do you see where I’m going here? Dirk, who praised Aristotle and read the epics turned to tragedy. Jake, dishonourable and hiding from those who he care about, turning to comedy. They line up well with the cognitive psychology of the tragedy and comedy visions, which you should totally look into when you can. 

Tragedy is idealistic, stubborn and serious. They long for something higher and greater than common existence. They value heroism, hierarchy, and finality. 

Comedy is pragmatic, adaptable, and playful. They consider the self, comfortable in their own skin. They’re anti-heroes, valuing situation-based ethics and reversal.

With that out of the way, lets keep to philosophy like it’s a boat in the atlantic. If Dirks look in life upon going ult is one of pessimistic realism, Jake is an absurdist.

If life is a cruel joke to jake, and it has been, then in his ultimate form hes acknowledged it, and given the cruel void, hes decided to seek out his own meaning. And it just so happens to be his best friend.

Misc details

- Capitalist

- He wears old 3D movie glasses because he’s that idiot. 

- He collects a lot of things. He has plenty of things hes shot killed and stuffed in his collection. 

You could say he’s rather past oriented, taking care to document it all out of interest and perhaps a subconcious pursuit to figure out the future.

- Very apathetic. He may be charming, but he’s still a jackass. He thinks existence itself is funny, he’s an absurdist; but he’s also a guy who realises he’s been kicked to the curb too many times and started shooting people. - His crew consists of John/June, (in place of rose. They have a lot of movie nights!), Karkat, and one (1) dead dave.

And finally some thoughts about ult Dirkjake: Maybe Dirk wants Jake to just kill him. It’s a game of cat and mouse, and perhaps it’s love for someone who deems himself unworthy, no, incapable of doing so. What better love than to kill someone? To trust and know they will kill you. Feeling safe in the knowledge they’ve known you in every universe and are here to kill you. Not that Jake would let him. I like them.. I think it’s my fave brand of dirkjake besides the original.. they’re dysfunctional, intolerable, and they hate each other, but it’s just interesting. For better or for worse, they’re stuck, and they’re not afraid of the fact they suck. If anything, it’d spur them to be worse.

“Oh yeah. I find the other guy fucking annoying and I’d gladly take a moment to rip his guts out and walk him around a tree until they’re all out and he's calling me every bad name he can think of, but if anyone tries doing this shit with him without my consent, I’m going to be hells of more pissed off.”

Look. It’s funny in the way that realistically, they could probably do a lot of damage to everyone else but due to the fact they know the other guy exists, they’re too busy trying to kick the others ankles out and then beating each other up to become dangerous.

Oh you bet your nanny it’s the gayest most fucked up kismesis known to man. Ultimate Dirk hates LE Jake, because he doesn’t give a damn. Because Jake makes him feel things he denies feeling. And that ridiculously, somewhere in paradox space, Jake went ultimate and decided he was going to man up and pursue Dirk to the ends of the universe. Ultimately: “My soul is bound to you in explicable ways. Our bonds cross the multiverse and wherever you are, somewhere I am by your side. Even in a hundred universes, maybe even a million. I will still find you.”

Perhaps the greatest thing and a closing note is that given they are the ascended versions of themselves, they’re aware of the fact that they’re aware of every time the other guy screwed them over, kicked them in the balls, etc. But they’re also able to see everything else. So what’s with a little hatelove eh?

#homestuck meta #dirkjake #ultimate dirk #ultimate jake #homestuck #ultimate rose: ive seen the light and you two either need to get laid or die #jake english #dirk strider #a lot of philosophy/ #borzoi talks #borzoi meta

[writing-with-sophia]

Can you please make a post on How To Create A Good Main Character (hero/antihero)?

Specifically, how to avoid the instance where a secondary character stands out more/is more lovable?

How to create a good main character

Creating a compelling main character, whether they are a hero or an antihero, is crucial for engaging storytelling and capturing readers' imaginations. The protagonist serves as the driving force behind the narrative, and their journey and development shape the overall story arc. To create a good main character, consider the following elements:

Clear Goals and Motivations: Your main character should have well-defined goals and motivations that propel their actions throughout the story. These goals can be external (e.g., saving the world, solving a mystery) or internal (e.g., self-discovery, personal growth). By establishing strong desires and motivations, you give readers a reason to root for and invest in the character's journey.

Complexity and Flaws: A good main character should be multidimensional and have flaws or internal conflicts. Flaws make characters relatable and human, while internal conflicts add depth and complexity to their personality. These imperfections can drive the character's growth and create opportunities for compelling storytelling. You can give your main character a mix of qualities that seem contradictory at first glance. For example, they could be both confident and insecure, compassionate yet prone to anger, or intelligent but plagued by self-doubt. These contradictions create internal tension and intrigue, making the character more complex and realistic. Or you can also show that your main character has vulnerabilities and insecurities beneath their confident exterior. These vulnerabilities can be related to past traumas, fears, or personal weaknesses. By gradually unveiling these hidden vulnerabilities, you create opportunities for character growth and empathy from the reader.

Backstory and Depth: Providing a well-crafted backstory for your main character enhances their depth and allows readers to understand their past experiences, shaping their present identity. Consider their upbringing, past relationships, or significant life events that have influenced their worldview or shaped their personality. This backstory can influence their actions and decisions in the story.

Authenticity and Relatability: The main character should feel authentic and relatable to readers. Create a main character with whom readers can empathize and connect emotionally. Show their vulnerabilities, fears, and insecurities to make them relatable and human. This can also be achieved through realistic dialogue, relatable emotions, and identifiable struggles. By evoking empathy, readers will become emotionally invested in the character's journey and root for their success.

Growth and Development: A strong main character undergoes growth and transformation throughout the story. Allow your main character to face significant challenges and obstacles that require them to grow and evolve. These challenges can push the character out of their comfort zone, test their abilities, and force them to confront their flaws or fears. Through overcoming these obstacles, the character develops resilience, gains new insights, and undergoes personal growth. This character development also allows readers to witness their evolution and creates a sense of satisfaction or catharsis.

Moral Ambiguity: Avoid creating a main character who is purely good or evil. Instead, introduce moral ambiguity by giving them ethical dilemmas or conflicting values. This complexity can generate internal conflicts and force the character to make difficult choices that challenge their own sense of right and wrong. If you're creating an antihero as the main character, you need to consider exploring moral complexity. Antiheroes often possess morally ambiguous qualities, engaging readers by challenging traditional notions of heroism. Balancing their virtuous and flawed aspects can make them intriguing and thought-provoking.

Relationships and Dynamics: The main character's interactions with other characters can illuminate different facets of their personality. Show how their interactions with other characters influence their beliefs, values, and behaviors. As relationships evolve, the character may reveal different aspects of themselves or experience changes in their motivations and loyalties. Well-developed relationships, whether they are friendships, romantic entanglements, or rivalries, can contribute to the main character's growth and provide opportunities for conflict, resolution, or emotional impact.

Consistency and Growth Potential: It is essential to maintain consistency in their core identity and values. Readers should recognize the character's essential traits and motivations throughout the story. This consistency helps them form a bond with the character and creates a sense of authenticity. However, while a main character should have consistent traits and behaviors, there should also be room for growth and change. A compelling main character often goes through an inner journey or transformation alongside the external plot. They may have to confront their own flaws, learn valuable lessons, or undergo a change in their beliefs or values. This inner transformation adds depth and complexity to the character's development and resonates with the readers' own experiences of personal growth. Striking a balance between consistency and growth potential allows the character to maintain their core identity while adapting to the challenges they face.

Unique and Memorable Attributes: Give your main character distinctive qualities that make them stand out in the reader's mind. This could be a unique physical characteristic, a particular skill or talent, or a memorable personality trait. These attributes contribute to the character's individuality and make them memorable long after the story has ended.

External and Internal Conflicts: Introduce conflicts that challenge your main character both externally and internally. External conflicts can come in the form of obstacles, adversaries, or difficult circumstances that the character must overcome. Internal conflicts, on the other hand, delve into the character's inner struggles, such as their fears, doubts, or conflicting desires. Balancing these conflicts adds depth and tension to the character's journey.

Agency and Proactivity: Give your main character agency and the ability to drive the story forward. They should be active participants in their own fate, making choices and taking actions that shape the narrative. Passive characters who merely react to the events around them can be less engaging. Allow your main character to have a degree of control and influence over their destiny.

Inner Journey and Transformation: A compelling main character often goes through an inner journey or transformation alongside the external plot. They may have to confront their own flaws, learn valuable lessons, or undergo a change in their beliefs or values. This inner transformation adds depth and complexity to the character's development and resonates with the readers' own experiences of personal growth.

Subtle Complexity: Avoid creating one-dimensional characters by incorporating subtle layers of complexity. Consider giving your main character conflicting desires, ambiguous morality, or hidden depths. These nuanced qualities make the character more intriguing and provide opportunities for deeper exploration and reader engagement.

How to avoid the instance where a secondary character stands out more/ is more lovable?

Well, It's not uncommon for secondary characters to capture readers' attention and become beloved. However, if you want to ensure that your main character remains the focal point of the story and maintains reader engagement, consider the strategies I mentioned above. There are also some other strategies to keep in mind:

Clear Focus and Development: Give your main character a clear and compelling storyline that allows them to grow, change, and face significant challenges. Ensure that their journey is central to the plot and that their character arc is well-developed. This way, readers will be invested in the main character's progression and more likely to connect with them on a deeper level.

Unique Role and Purpose: Establish the main character's unique role and purpose within the story. Highlight their specific skills, abilities, or knowledge that set them apart from the secondary characters. Make sure that the main character's actions and decisions have a significant impact on the overall narrative, reinforcing their importance and making them indispensable to the story's progression.

Emotional Depth and Relatability: Develop the main character's emotional depth and relatability to forge a strong connection between readers and the character. Show their vulnerabilities, fears, and internal struggles. Allow readers to understand their motivations and experiences, creating empathy and investment in their journey.

Strong Characterization: Craft your main character with distinct and memorable traits, a unique voice, and a well-defined personality. Make sure they have their own quirks, strengths, flaws, and complexities that set them apart. This will help the main character stand out and make them more engaging to readers.

Balanced Screen Time: Ensure that the main character receives an appropriate amount of focus and screen time throughout the story. While secondary characters may have their moments to shine, make sure the main character's presence remains consistent and prominent. Avoid sidelining the main character for extended periods, as this can diminish their impact and reader engagement.

Unique Perspective: Offer readers a unique perspective through the main character's point of view. By delving into their thoughts, emotions, and perceptions of the world, you provide readers with a lens through which they experience the story. This unique perspective can set the main character apart and make them more engaging.

Here is some examples:

In the novel "To Kill a Mockingbird" by Harper Lee, the main character is Scout Finch. While Scout is the central protagonist, her father, Atticus Finch, serves as a beloved secondary character. Atticus is a wise and compassionate lawyer who takes on the defense of a black man falsely accused of rape. He embodies integrity, moral courage, and a strong sense of justice. Atticus is well-respected within the community and serves as a moral compass for Scout and her brother Jem.

Despite Atticus being a beloved character in his own right, the story maintains its focus on Scout's coming-of-age journey. While readers admire and connect with Atticus, it is Scout's perspective, growth, and experiences that drive the narrative forward. Atticus' presence enriches the story, but he doesn't overshadow Scout's development and the central themes of racism and empathy explored through her eyes.

Or in "Jane Eyre" by Charlotte Brontë, the main character, Jane Eyre, is an independent and strong-willed woman navigating societal expectations and personal growth. The secondary character of Mr. Rochester, the brooding and complicated love interest, adds depth and complexity to Jane's journey without overshadowing her development. Their relationship provides opportunities for Jane to assert her own values and principles.

In conclusion, secondary characters can add depth and richness to a story, and their popularity is not necessarily a negative aspect. A well-developed main character can coexist with beloved secondary characters as long as the main character remains the driving force of the narrative and maintains a strong connection with readers through their development, challenges, and unique role in the story.

I think if you create a good enough and impressive enough main character, your character will still be loved as usual, no matter how prominent the other characters are.

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#creative writing #writing #writeblr #writerscommunity #writer things #writersociety #writers #on writing #writblr #writers on tumblr #writings #writer #words #write #writers and poets #women writers #ao3 writer #amwriting #writing stuff #writing advice #writing prompt #writing community #writing inspiration #writing tips #character profile #original character #character design #own character #archive of our own #writing resources

[stillness-in-green]

Chapter Thoughts — Chapter 383: Meek Spirits

Pre-cut Positivity—

O Rule and Mount Lady are a fantastic team-up.  Mount Lady is, in general, pretty boss this week.  I want to combine this and my last fandom and give her Barbatos’s mace-chan.  I also have to admire her exercise routine, given that winging around a solid metal wrench as wide as your leg and almost as tall as you are must take considerably more strength than e.g. wielding a similarly sized spear or club made mostly of wood.[1]

O The effects of Mina's efforts on her appearance are neat. The way the blacks of her eyes melt off??  I wonder if Curious’s could do that too, under the right circumstances.  Also, her horns extending out is a cool look, one that I don’t recall ever seeing before.  I wondered briefly if it was meant to represent a quirk evolution like Koda growing in that horn, but Mina’s seem to go kind of droopy afterward, so I don’t know if they’ll be permanently different in shape the way his seems to be.

Hit the jump for the rest. Note that I have seen the leaks, but I’m leaving the writing below as written pre-leaks, if only because I am very much going to want an accurate translation before I start talking in-depth about the Machia content in 385.

On Gigantomachia and the Limits of Emergency Situation Excuses—

The bit about Machia embodying “pure psychological scarring” is very…  Like, guys, That Is A Person.  He is not a symbol, not a metaphor.  He is a human being.  Apart from being a bad look in general, it's especially bonkers to dehumanize Machia in this specific fashion—“From the standpoint of ordinary people”—when the first thing the heroes’ do upon bringing Machia, the soul-numbingly terrifying symbol of everyday peoples’ trauma, under their control is to—stampede him fifty miles back across the landscape over the same path he took before?  What are they going to do, stop to yell at everyone they see between here and Jakku not to worry, he’s working under hero auspices now, please refrain from having any PTSD-induced panic attacks!

As I said last time, turning Machia against his own is the sort of thing trial-at-the-Hague war crimes are made of, or would be if this were an international conflict.  What’s even more maddening is the stench of double standard hanging over it: when Spinner turns up intending to rescue his ally use a mentally conditioned victim as a tool, he got a moralistic scolding from Mic about how “that guy ain’t gonna be your ace in the hole.”  But as soon as the heroes find themselves in a tight spot, all concerns about not using mentally conditioned victims as aces in the hole go right out the window.

The only difference between Kurogiri and Gigantomachia that matters in this context is that the person Kurogiri was pre-mental conditioning was friends with a hero, whereas Machia, so far as we know, has always been loyal to AFO.  That’s it.  If Machia had been best school buddies with e.g. Ryukyu, we would never have seen him used like this; the heroes would never have even thought about it.  We even know that’s the case because the heroes could just as easily have had Shinsou brainwash Kurogiri to open all the portals they needed to kick off this combat; instead, they had Monoma copy the Warp Gate quirk and use it under his own power.

Kurogiri is not to be used as a tool.  Eri is not to be used as a tool.  But Machia?  Break out the psychic hammer and tongs and start beating him into shape; the heroes have lots of uses for him.

I know there’s a measure of shrugging and saying desperate times call for desperate measures out there on this topic, and, indeed, that’s the way Kirishima and Tsukauchi both frame this—a back-up plan, a massive gamble.  But the heroes of BNHA are not just any sort of protagonists; they’re called, by both the narrative and as an in-universe job title, heroes.  That carries a connotation of ideal, of role model, of a character/person viewed as worthy of admiration and acclaim for their nobility and courage even under duress.

@robotlesbianjavert reminded me of a quote by Rich Burlew, author of the webcomic The Order of the Stick, that really encapsulates my problem with the heroes’ tactics and the big shrug those tactics elicit from certain portions of the fandom.

Burlew said, “Being heroic often means rejecting some tactical options that, while potentially effective, violate your personal moral beliefs.” While he was talking in the context of D&D characters with specific moral alignments, I feel it’s applicable when it comes to superhero comics, as well. Certainly it's a plot that comes up with marked frequency in the U.S. comics Horikoshi draws so much of his heroic iconography from.[2]

If I may use a more widely recognized sentiment, “The ends don’t justify the means.”  That’s the issue with the calls the heroes keep making, over and over again.  They condone things being done to their enemies that they would never condone in any other context.  This isn’t admirable Plus Ultra determination; it isn’t heroic.  It’s pessimistic and inconstant, useful only for securing short-term victories.

By all means, that’s a valid story to tell, and heck, sometimes the short-term victory is all you can get, so you do what it takes to get it.  That’s true in real life, too.  Certainly, if the narrative just wanted its leads to be able to do whatever it takes to get the job done, it could have framed them as being harshly pragmatic, doing whatever it takes to get the job done, dirtying their hands and making hard, uncomfortable decisions in order to keep people safe.  That’s the bread and butter of spy dramas and political thrillers! Heroism, however, especially in the sense of cape comic imagery and tropes that Horikoshi is using, requires harder decisions still.

A hero is someone who doesn’t take the easy way out.  They not only have to get things done, but they have to get things done in a way that doesn't betray the ideals they uphold. That means they don’t get to use villainous tactics and still call themselves heroes.  They certainly don’t get to castigate their enemies for their methods and then turn around and use those same methods themselves.

(More on this next time.)

Moments with Mina—

You know, I thought it was a little weird, back in the Class A vs. Deku fight(‘s aftermath), that Kirishima’s “thing” he tells Deku is that he saw the news story about some kid facing the Sludge Villain.  It felt so out-of-left-field, so random—surely there could have been something more relevant to Kirishima than a callback to the Sludge Villain that he had never once indicated he knew about?  But now I wonder if the selection wasn’t about Kirishima in that moment, but rather, undercooked set-up for this one.  Bringing the Sludge Villain back here instead of any place he might confront a character he faced before just felt like such a non-sequitur, but with the earlier setting, at least there’s that tiny bit of connection.  Save that it doesn’t come to anything here, either—I don’t even get the impression Kirishima recognizes him?

Instead, we get a moment for Mina, and—it leaves a bit to be desired, I’m very sorry to say.

O Firstly, okay, Mina failed against Machia before—froze up when she recognized his voice and had a brief, vivid flashback to the fear she felt when she first crossed paths with him.  Yet here, when she comes up against him again, he’s basically incidental to her.  Which, yeah, I guess you could say is progress—she’s come so far she saves Mount Lady from Machia as an afterthought.  On the other hand, though, we’re deprived of a big moment of her facing the fear she failed against before—which Kirishima got!—and instead get her taking out the Sludge Villain, with whom she has no prior interaction, to save Shinsou, so Shinsou can stop Machia.

Not only does her action, then, come down to another example of a girl’s action being crucial to enable and support a boy’s more decisive action, but she even credits it to the training she got from two boys—Bakugou and Shouto—rather than her own efforts.[3]

O Mina being the one to talk about Midnight continues to feel a little strange.  Midnight never had a close-close relationship with any of the students, but surely both Momo and Mineta had more significant moments?  And Momo’s not here; she’s being criminally wasted on the Sky Coffin battle.  Mineta certainly is here, though, and he gets a sum total of bupkis to say or do when faced with Midnight’s killer.

O I wish I didn’t find Hose Face’s writing this week so overwhelmingly exhausting (more on that shortly), because Mina’s line to him about heroes and villains both finding strength in numbers is interesting on its own merits and would be even more so if it weren't being wasted on such a flat caricature.

It has echos of things like Jeanist calling heroes and villains two sides of the same coin and Spinner spitefully accusing the MLA of being the same as him (bandwagon jumpers).  It’s also somewhat ahistorical in the sense that the story alludes a few times to the fact that groups of villains were fairly rare prior to the rise of the League of Villains/the fall of All Might.  Hero teams were likewise uncommon until they had to start banding together to fill the gap All Might left.  The MLA has certainly been cultivating strength in numbers for generations, but it’s still a pretty new thing to both “sides” of the conflict Mina’s talking about.

Anyway, it’s interesting, but I wish I knew where it was coming from.  The closest Mina’s ever been to facing the humanity of her enemies is keeping Shouto company in the wake of the Dabi reveal.  There’s Aoyama, too, of course, but there’s been no collective effort made to extend the class’s experience with Aoyama—forced into “villainy” against his will—to empathy about other villains they don’t know personally.  So wherefore this sudden empathy with villains looking for closeness with like-minded people?

O My final issue with Mina’s big proclamation is that it carries zero weight for her to disavow revenge when she’s never been shown to have a vengeful personality.  Mina’s cheerful!  She’s upbeat!  She doesn’t hold onto anger; she doesn’t brood; she’s extremely well-adjusted in that she cries when she needs to, to get it out of her system, and then she bounces back.

If Mina had been shown to have a particular fondness for Midnight,[4] then maybe I could buy her having to struggle with a darker turn.  In the story we have, though, she lacks both: she has no personal connection to Midnight more significant than “teacher whose classes I enjoyed,” nor did the story spend even a breath of time prior to this on Mina struggling to cope with Midnight’s death.

It’s the same issue I have with, say, Deku’s “mad drive to save.”  I can’t accept the characterization of Deku’s saving instinct as so intense it’s like a form of madness when the story continually fails to treat that instinct as in any way aberrant or alien to the people around him.  Likewise, I can’t applaud Mina for overcoming her rage or desire for revenge when the story never portrayed her wrestling with either.

Way to keep forcing Shouji to be the model minority for everyone else, though.

Hose Face and the Incongruous Belief Set

The PLF material this week is mostly just sigh-inducing and difficult to muster up much enthusiasm for discussing.  To recap, though, the members of the erstwhile MLA are taking every opportunity in this second war arc to double down on quirk supremacy despite tiny little issues like the fact that a great many ranking officers and members of high command have quirks that aren’t suited to getting them ahead in a society built around quirk supremacy. 

I mean, really.  Here’re some impromptu categories and characters that fit them:

Good but unrelated to the function they actually serve in the organization/plot:

o Skeptic – Makes active use of his puppets exactly once; otherwise does nothing that isn’t connected to electronics. o Curious – Quirk has combat applications, but they have little to no relevance to her day job of running the MLA’s propaganda arm.

Okay but not so impressive that you’d think they’d have what it takes to rise to high positions in the society they themselves profess to want:

o Hose Face – His emittance lets him float, and does—what else, exactly?  It’s clearly not lethal to the touch, given that he uses it to float a bunch of his allies, so at best, I can see it giving him a bit of extra punch if he boosts his attacks with it.  Not all that impressive or stand-out compared to things that hit harder or are more versatile. o Galvanize (Taser Dude) – Lightning is a great quirk, except for the fact that elemental quirks seem to be relatively common, so you’d be up against every other asshole in your town that has the same power as you but with some barely more than cosmetic variation.  Hard to make a name for yourself that way!

Just kind of whatever:

o Slidin’ Go – If he were getting as much mileage out of a slip-and-slide quirk as e.g. Captain Celebrity or The Crawler, he’d be more famous and recognizable instead of being basically a joke. o Brand (Pinstripe Shark)– If his quirk is so impressive, why does he bring a katana to the battlefield with him? o Scarecrow and Nimble - Are their heteromorphic appearances all they have going for them?  If not, we sure didn’t see them do anything else, even in the middle of pitched combat. 

Functionally useless in an every-man-for-himself world:

o Trumpet – If he had to live in a dog-eat-dog world where only the strength of one’s own quirk, zero other factors, determined who got ahead, he might as well be quirkless.

There are other issues, of course, but another one that’s on display this week is how quirk supremacy is nowhere to be found in the words of Destro or Re-Destro.  Nowhere in any line Rikiya has ever spoken, even in the privacy of his own mind, has Might Makes Right-style quirk supremacy been in evidence; he has unfailingly thought of nothing but liberation and building a better, freer world.  Here this week, Hose Face’s flashback entails a memory of Re-Destro calling himself and whatever audience he's speaking to comrades, equals, “one and the same.”  What part of your supreme leader calling himself and you equals is in accordance with the law of the jungle?

Seriously, guys, if the MLA were actually supposed to have believed all this in such a heavy-handed way all along, why was Geten[5] the only one who actually brought it up during MVA?  MVA is the arc that introduced the CRC; surely Hori wasn’t worried about the League fighting a bunch of violent extremists!  Or is it rather that he didn’t want to show the League allying with a bunch of violent extremists, so he downplayed the truth as much as he could?

Is it doublethink/groupthink, a cult-enforced unwillingness to ask logical questions if they run you into trouble with the dogma?  Is Hori just simplifying them because he’s rushing the ending and doesn’t have time to resolve their plot lines in the way that would be necessary if they were written as having valid points?

On both the Watsonian and the Doylist levels, I’m completely at a loss.

Stray Notes—

O Hose Face’s face hose gets torn apart, and I have some seriously pressing questions about whether he just lost a limb to what was functionally a hero’s attack.  I suppose it could have been a support item, but no lines between his quirk, his briefly glimpsed fighting style, and an enormous fucking hose on his face leap to draw themselves in my mind.  Again, if his quirk is a biohazard of some kind and he needs a mask to protect him from its effects, like Mustard, surely he wouldn’t use it to float his unmasked allies around the battlefield? So what is it, just dead weight on his mask to make him look creepier?

Anyway, there’s none of the blood spray that has tended to accompany traumatic limb loss in the series to date, but I do wonder.  It would be, I think, the only instance other than All Might pulping AFO’s face of heroic action maiming a villain to such an irrevocable degree.[6]  You know, just to exacerbate the severity of turning Machia on his allies even further.  God knows Shinsou doesn’t tell Machia to hold back, and those claws were plenty lethal against heroes, as we all well know.

O Not sure why Shinsou had to base his Persona Chords arrangement on recordings from Tartarus when he could have just gotten it from the phone call to the Aoyamas.  I wonder how much time he needs to program those voices in?  It definitely drives home that the heroes had been contemplating using Shinsou against Machia for a long time, though.  Which, again, would be perfectly fine if all Shinsou were doing were making Machia stand down.  Not so much all the rest of it, though.

O Would it kill Horikoshi to stop telling us the outcomes of these flashbacks before we spend whole chapters on them?? At least when Mirio came back during the war, we spent like a page and a half on the foregone conclusion before getting on back into the swing of things. The reason the fight with Spinner at the hospital had tension is because we didn't know the outcome in advance. What exactly would have been the issue with ending Chapter 382 with Machia showing up and hurling a mountain at the combatants without revealing that the target is AFO and showing Shinsou and Kirishima?

(Tune in next time for: trying to make heads or tails of what exactly Shinsou thought he was doing.)

------------------ FOOTNOTES ------------------ [1] I’ll take Scale Considerations the Author Probably Wasn’t Thinking About for $600, Alex.

[2] Consider, for example, Bad Future Timelines where the present-day heroes have to debate and, ultimately, defeat jaded dystopian future versions of themselves. Or the perennial question, "Why doesn't Batman kill the Joker?"

[3] This after crediting her Acid Man move as being inspired by Kirishima’s Unbreakable, too, recall.

[4] And I’ll note that both times she’s brought up Midnight, here and in the war arc when Mineta is fretting, it’s in the context of going back to Midnight’s classes.  She never actually brings up Midnight as her own person, Kayama Nemuri, because Mina doesn’t know Kayama Nemuri.  It’s always and only “Midnight-sensei, whose classes I like.”  It can’t be stirring and personal when it’s so staunchly removed from being personal.

[5] The kid whose name means Apocrypha, to repeat myself for the umpteenth time.

[6] Give or take the way the heroes have been pretty openly using lethal force against Shigaraki ever since he got out of the tube.

#bnha #chapter thoughts #bnha 383 #gigantomachia #pink alien on parade #meta liberation army #plf advisors #ethics of heroism #my writing

[lakesbian]

its also so funny and blatant how selective taylor is with her "yes, this is a hero thing to do" mindset during the abb raid. she's like "yeah this is a Heroic thing to do, saving a life" while preventing newter (villain she knows very little about the personal motives or ethics of) from dying (it's true it was good of her but actual heroes in worm do not consider the peak of heroism to be saving a villain from another villain while engaging in villain gang wars) and then going "it was very Heroic to get a horrible person sent to Forever Jail" (lung). and then after the raid ends she's like here, mr villain. have some money from the abb. everyone may as well take a bag. GIRL THEY WOULD SEND YOU TO JAIL FOR THAT !!! YOU JUST DISTRIBUTED HUGE BAGS OF CASH TO AN ILLEGAL MERCENARY GROUP !!!!! and i love how she doesnt actually fully grasp Villain Politics yet so shes just like. "well i dont really care about the money...may as well let them have some" about a group ran by someone tattletale fucking hates that did absolutely nothing 2 earn the money while the guy in the group is standing there like. ? for real . ? if literally any of the undersiders but bitch were here they would be like jesse what the fuck are you doing.

#wormtime 2 #wormtime 2 arc 5

[scarletspider2the2ndpower]

“The Scarlet Thread,” Point One (Vol. 1/2012), #1.

Writer: Christopher Yost; Penciler: Ryan Stegman; Inker: Michael Babinsky; Colorist: Marte Garcia; Letterer: Joe Caramagna

#Marvel #Marvel comics #Marvel 616 #Point One #Scarlet Spider #Kaine #Kaine Parker #I just find this new internal conflict for Kaine interesting #because previously a lot of his motivation could be boiled down to either “how do I make Ben’s life as miserable as mine?” or #“how do I continue eking out an existence (or die???) on my own terms?” with the occasional rare glimpse of the morality in him that he #never fully succeeded in smothering #now that he’s not dying and after his first instance of Big Time Heroism #there’s a much stronger call of altruism #there’s still a struggle and Kaine is not suddenly a Superman-level altruist (which I find to make for interesting reading at least) #but indicates that a not ignorable amount of Kaine’s bitterness was fueled by a struggle to survive drowning out any ethics #that might have been imprinted in him #(I mean what he did was still murder but at least there’s some explanation hahaha) #and that final panel just really gets me thinking #about how much of Kaine’s existence has been spent characterized by the idea that he’s not his own man #that he’s only the Jackal’s puppet or Peter’s imperfect double #and how much time he’s spent pushing against that idea (often violently) #and this story offers an interesting solution to that issue that I think is part of the reason why I jive with Scarlet Spider (Vol. 2/2012) #so much and which we shall most definitely discuss hahaha

[ilynpilled]

I think the idea that jaime’s evil is because of cersei and his relationship to cersei just breaks apart most of his character and his development

YES. the world if this fandom actually accepted that jaime’s corruption is not because he was “being manipulated/groomed into it by cersei”, nor is it just pride and bitterness over society’s hypocritical reaction to his finest act and his vilification through the “kingslayer” label which leads to the development of a persona that he plays into and eventually becomes one with, and while it is all affected and set up to be worsened by parental abuse, unhealthy family dynamics, and tywin’s rearing during formative years, that is also notably not the main cause. cynicism that leads to his specific moral decay and “the flame going out” is primarily rooted in his specific experience with an institution and a tyrant whose power is sustained and actions are enabled by everyone around him —including the “moral paragons” of westeros and the heroes he sought to become — that in effect leads to an extreme and concentrated disillusionment with moral and ethical constructs that define the order of his society, a gruelling dismantling of previously idealized abstract concepts and aspirations that he revolved much of his identity around as a “very idealistic young boy” (such as heroism, honor, and knighthood), intense survivor’s guilt due to a failure to grapple with and triumph over these contradictions (he couldn’t even keep the vow to protect the innocent entirely: “i left my wife and children in your hands” | “…i was with the king” | “killing the king. cutting his throat”), and an unaddressed identity crisis and trauma during his teens that leads to destructive coping mechanisms, a reliance on compartmentalisation and self-delusion, isolation, selfish and cowardly stagnation, and spiteful moral nihilism in adulthood. over time, it leads to the intensification of his worst qualities, and the obstruction of his best ones. and the possibility of triumph in his story, and by extension the possibility of atonement, redemption, and forgiveness (“real world questions” the author explicitly said multiple times that he is dealing with using this character but does not intend to provide a resounding and unequivocal answer for) is rooted in overcoming this specifically, which is internal, and relates to his experiences and character. and the parallax in asos/his backstory is also not done with the intention to absolve or victimize him, but to contextualize him, explain his behavior and how he views the world at this point, and set up his arc.

#ask #the world if fandom stopped prioritizing some weird fanwar agenda or whatever over the actual like #writing #like the way he is victimized by some of u feels like it supports the argument that he is ‘inherently a better person’ #thats not how ppl work imo #but just makes the writing worse like who cares what do u really gain from it #he is not a real person u have to defend from execution sgdhwhr #u r not his lawyer #and ppl do this w so many characters in this series imo #same w the reverse when ppl take everything in bad faith like pls #u r just as embarrassing u r not unbiased and smart lol

[djuvlipen]

Wanna learn about women history and WWII? Here is a non-exhaustive list to get you started

German women and the Nazi regime

Mothers in the Fatherland: Women, the Family and Nazi Politics, Claudia Koonz

Female SS Guards and Workaday Violence: The Majdanek Concentration Camp, 1942-1944, Elissa Mailänder

Zwangssterilisation im Nationalsozialismus: Studien zur Rassenpolitik und Frauenpolitik, Gisela Bock

Hitler's Furies: German Women in the Nazi Killing Fields, Wendy Lower

"Backlash against Prostitutes' Rights: Origins and Dynamics of Nazi Prostitution Policies," in Journal of the History of Sexuality Julia Roos

"German Women and the Holocaust in the Nazi East," Wendy Lower, in Women and Genocide, Elissa Bemporad & Joyce W. Warren

Frausein im Dritten Reich, Rita Thalmann

Women as victims or perpetrators of the Holocaust (general)

"Women and the Holocaust: A Reconsideration of Research," in Signs, Joan Ringelheim

Women in the Holocaust, Dalia Ofer & Lenore J. Weitzman

Das KZ-Bordell: Sexuelle Zwangsarbeit in nationalsozialistischen Konzentrationslagern, Robert Sommer

SS-Bordelle und Oral History. Problematische Quellen und die Existenz von Bordellen für die SS in Konzentrationslagern, Christa Paul & Robert Sommer

Sexual Violence during the Holocaust—The Case of Forced Prostitution in the Warsaw Ghetto, in Shofar: An Interdisciplinary Journal of Jewish Studies, Katarzyna Person

"Gender: A Crucial Tool in Holocaust Research," Marion Kaplan, in Women and Genocide, Elissa Bemporad & Joyce W. Warren

Different Voices: Women and the Holocaust, Carol Rittner & John K. Roth

Resilience and Courage: Women, Men, and the Holocaust, Nechema Tec

« Reframing Sexual Violence as a Weapon and Strategy of War: The Case of the German Wehrmacht during the War and Genocide in the Soviet Union, 1941–1944 », in Journal of the History of Sexuality, Regina Mühlhäuser

Sex and the Nazi soldier. Violent, commercial and consensual encounters during the war in the Soviet Union, 1941-45, Regina Mülhäuser

Romani women during the Holocaust

« Krieg im Frieden im Krieg: Reading the Romani Holocaust in terms of race, gender and colonialism », Eve Rosenhaft

« Hidden Lives : Sinti and Roma Women », Sybil Milton

« Romani women and the Holocaust Testimonies of Sexual Violence in Transnistria », Michelle Kelso

"No Shelter to Cry In: Romani Girls and Responsibility during the Holocaust," Michelle Kelso, in Women and Genocide, Elissa Bemporad & Joyce W. Warren

Jewish women during the Holocaust

Jewish women's sexual behaviour and sexualized abuse during the Nazi era, in The Canadian Journal of Human Sexuality, Beverley Chalmers

Sexual Violence against Jewish Women During the Holocaust, Sonja M. Hedgepeth & Rochelle G. Saidel

Persecution of lesbians by the Nazis

Days of Masquerade: Life Stories of Lesbians during the Third Reich, Claudia Schoppmann

Nationalsozialistische Sexualpolitik und weibliche Homosexualität, Claudia Schoppmann

“This Kind of Love”: Descriptions of Lesbian Behaviour in Nazi Concentration Camps, from Nationalsozialistische Sexualpolitik und weibliche Homosexualität, Claudia Schoppmann

Queer in Europe during the Second World War, Regis Schlagdenhauffen

Ravensbrück

Ravensbrück. Everyday Life in a Woman’s Concentration Camp 1939-45, Jack G. Morrison

Ravensbruck: Life and Death in Hitler's Concentration Camp for Women, Sarah Helm

Women and the Memory of WWII

Women, Genocide, and Memory: The Ethics of Feminist Ethnography in Holocaust Research, in Gender & Society, Janet Jacobs

Lessons Learned from Gentle Heroism: Women's Holocaust Narratives, in The Annals of the American Academy of Political and Social Science, Myrna Goldenberg

« An Austrian Roma Family Remembers: Trauma and Gender in Autobiographies by Ceija, Karl, and Mongo Stojka », Lorely French

Beyond Survival: Navigating Women's Personal Narratives of Sexual Violence in the Holocaust, Roy Schwartzman

Comfort Women and imperial Japan

Comfort Women: Sexual Slavery in the Japanese Military During World War II, Yoshimi Yoshiaki

The Comfort Women: Japan’s Brutal Regime of Enforced Prostitution in the Second World War, George Hicks

The Japanese Comfort Women and Sexual Slavery During the China and Pacific Wars, Caroline Norma

Lola's House: Filipino Women Living With War, Evelina Galang

Soviet Women during WWII

« “Girls” and “Women”. Love, Sex, Duty and Sexual Harassment in the Ranks of the Red Army 1941-1945 », in The Journal of Power Institutions in Post-Soviet Societies, Brandon M. Schechter

Soviet Women on the Frontline in the Second World War, Roger D. Markwick & Euridice Charon Cardona

Soviet Women in Combat. A History of Violence on the Eastern Front, Anna Krylova

#^ i know way more about the holocaust and women than other topics and that's why there are barely any books on women soldiers (except for #german women soldiers - duh - and soviet women (that's bc they were assigned readings)) #and i included stuff in german because those books haven't been translated in english but i still think my german speaking mutuals would be #interested in them #holocaust #wwii #herstory