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stillness-in-green · 3 years

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MVA In Memoriam (4/5)

The Comprehensive Account of the Butchering of My Villain Academia

(Introduction and Part One, Episode 108: My Villain Academia) (Part Two, Episode 109: Revival Party) (Part Three, Episode 110: Sad Man's Parade)

Part Four, Episode 111: Origin: Shimura Tenko

Chapter 233 – Bright Future

• Twice clearly having arranged a Skeptic puppet to where its arm can be used as a pillow for Toga’s neck. A cute little character detail while also being kind of disturbing? Very on-brand for the League! A not-immediately-plot-crucial visual of a member of the League demonstrating obvious care for another member? The guillotine awaits!

• A little explanation about how clones’ physicality and memories work relative to the last time Twice saw the people the clones are based on. This is a very useful little nod of explanation to something that remained unclear from the dialogue of Mr. Clone-press last chapter. Twice’s quirk is pretty arcane in its ins and outs, frankly, and the clearer those details are, the fewer plot holes you’re leaving for later.

• The scene of Skeptic being right on the verge of confronting Twice. Skeptic has, oh, about five moments where he’s obviously a big tense neurotic who’s unpleasant to be around if things aren’t going his way, and the anime deleted or downplayed all but two of them. As ever, it’s obscenely damaging to the characterization of the MLA cast, who we have little enough time with as it is. Further, it was a particularly weird choice to make with Skeptic, who is as of this writing the only major MLA character who’ll emerge still free and active from the War Arc. Why shaft the characterization of the one of new characters who’s going to be getting the most attention out of any of them in the next arc, with yet more scenes yet to come after?[1]

• A full page’s-worth of Spinner’s rationalizations on targeting Trumpet and ordering the Twice doubles to do the same. This lays out the details on why targeting Trumpet stands to relieve some of the load on Shigaraki. It isn’t because Trumpet’s quirk makes the crowds more dangerous, though that is true. Spinner targets Trumpet because he’s seen enough to know that attacking the MLA’s leaders gets them crazy riled up; he knows that if he makes himself a threat to Trumpet, then all Trumpet’s followers’ attention will shift focus to Spinner, leaving Shigaraki with less to deal with. Spinner also knows that that is ludicrously dangerous to him personally, given his weak quirk, but he actively makes that choice anyway, because that’s how much he’s devoted himself to Shigaraki without (yet) quite articulating the nature and reasons for that devotion. Targeting Trumpet without any of that reasoning made for a perfectly sound tactical decision, but it missed the regard Spinner shows the unnamed mobs of the MLA, and it really missed the probable savage beatdown and even possible death that Spinner consciously chooses to risk for Shigaraki’s sake. Of course, a chunk of what the episode deleted is flashbacks to scenes the anime also cut, so they couldn’t figure into Anime!Spinner’s reasoning. This does not excuse yet more cuts to Spinner’s arc and characterization; it only adds to how badly the anime maimed him. Also, on a less salty but still confused note, deleting all the Twice clones from the beginning of the scene and just having Spinner running along a wall past mobs of people instead of laboriously fighting his way through the street to the van was really dumb. Why did all those MLA people just stand there and let him run by? Where did all the Twice clones that just helped save Spinner from a huge flurry of long-distance attacks disappear to? Come on.

• Trumpet’s thought that using Sevens Loud will draw every bit of strength from their warriors, but that it’s necessary. Setting aside that it looks far less necessary when there hasn’t been a crowd of Twice clones fighting Trumpet’s people this whole time, just Spinner by his lonesome, we still lost quite a bit to this cut. Firstly, a nuance on the trade-off Incite gives—that its stat-boost is temporary, and that it’s borrowing from the future to pay for the present, a stock that is limited and a bill that will come due when the effect wears off. Secondly, it’s another demonstration that the MLA leaders aren’t just thoughtlessly wasting their followers’ lives; they’re very consciously doing cost/benefit analysis on how much danger their people are in versus what stands to be gained by the potential exertion or outright deaths those people will suffer. It’s cold reasoning, yes, but that’s how the Liberation Army operates: not for the personal gain or lackadaisical ease of the people on top—Trumpet would just have been in the tower speaking through city-wide loudspeakers, if that were the case—but for the advancement of the group’s ideals. It also just grants Trumpet some interiority, but of course the anime can’t have that.

• The note in Trumpet’s meta-ability explanation that the more his voice causes the air to vibrate, the stronger Incite’s effect. This is—good god, it is literally the entire design mentality behind Sevens Loud! Sevens Loud purpose isn't to make his voice louder so more people can hear him (which I would think is the most logical assumption an anime-only person would make as to why he puts it on); it’s to make himself louder because being louder enhances the boost. It’s about the quality of the effect, not the quantity of targets. This is why Trumpet has the thought about how using Sevens Loud will drain the strength reserves of his people. There’d be no correlation there if Sevens Loud were only about boosting his range.

• When Spinner got porcupined in the anime, they did a close-up on his face, possibly to avoid the gore of showing the spines piercing through his forearm. That’s fine, but they also emphasized the reaction by having him lose his grip on the huge fuck-off knife he had clutched in his teeth. In the manga, sure, he yells in pain, but he doesn’t lose the knife. Indeed, he gets the guy off him by slashing at him with it—a shot the anime dropped. So Spinner doesn’t even get to keep displays of his pain tolerance, a trait he doubtless improved during those six weeks against Machia. Why does the anime hate Spinner so much, you guys? Why did it go out of its way to make him look lamer, when Dabi and Toga were out there getting anime-original flourishes to make them look cooler?

• Spinner’s thoughts, “When I get inspired to act, I don’t know what the heck I’m doing! I’m just a loser jumping on a bandwagon. Or at least that’s what it looks like.” A humorous bit of self-awareness from Spinner here. The anime got at the self-awareness. The humor, as we’ll see, not so much.

• Spinner’s thoughts, “Look at me. Look at me!! With all that prejudice in your eyes!” Hah hah, laughed BNHA the anime nervously, what prejudice are you talking about, Spinner? No idea what you could possibly be referring to there! This one’s particularly annoying because, while one might think that the anime was just dodging the heteromorphobia angle it eradicated all references to back at the beginning of the arc, the prejudice line isn’t even about heteromorphobia, not really. See, the Japanese line there literally translates to, “With those colored glasses!”—to see with colored glasses being a Japanese idiom for seeing something from a biased viewpoint. So aside from being a wordplay jab at Trumpet’s choice in eyewear, it’s also about Trumpet’s expressed view that Spinner, having been a shut-in with a weak quirk who decided to take his resentment out on the world, can’t possibly amount to anything much. So, what, did the people in charge of making those cuts think Trumpet was right? Why even keep the line where he disparages Spinner if you’re not going to let Spinner call it what it is? He’s not calling out fantasy racism there, anime! He’s calling out the bias against weak quirks that even the good guys in this world sometimes partake in! Possibly it’s because non-villains in the world[2] sometimes use reasoning that leads logically to quirk supremacism that the anime got gunshy with it, or it was more reluctance to give the villains—and the Too-Real Iguchi Shuuichi especially—moral ground for accusations against their society that get too close to real life. Whatever the motivation, it’s a bullshit cut.

• Shigaraki calling RD “Detnerat,” presumably because he neither knows RD’s real name nor cares to dignify him by using his code name. The anime, again, made neither the connection nor Shigaraki’s recognition explicit, so it lost the specificity and pettiness of that little snub.

• A little exchange between Giran and a Twice clone as they flee. It doesn’t give you much you wouldn’t assume just from seeing them flee, but it always feels more immediate and empathetic when the characters talk and you can see their expressions, instead of just a quick shot of them from behind as they run away in complete silence. Heck, running away in complete silence is actively out of character for Twice!

• Because the anime has some kind of aversion/restriction on showing hand-related violence, it radically changed how Shigaraki lost his fingers,[3] resulting in the loss of several important shots. To the best of my parsing, in the manga, when Re-Destro makes that first big jump to avoid Shigaraki’s decay wave, he comes back down specifically aiming for Shigaraki’s outstretched left hand, spread wide and flat on the ground. Shigaraki tries to evade (you can see the blur of his left arm in the panel where RD lands), but either RD does manage to clip the hand or he simply hits the ground with so much force that the sheer explosive burst of rock shreds Shigaraki’s hand and part of his coat sleeve. Being so much larger, RD then simply snags Shigaraki by the wrist before he can get out of range. It’s very fast, a burst of speed and violence, and very different (read: cooler) from Shigaraki flipping end over end in slow motion in a way that seemed to imply visually that he was thrown well out of RD’s grabbing range. As to the shots we lost? I counted three. First, Hana’s hand crumpling amidst all the flying debris. Second, that big dramatic panel of Shigaraki’s maimed hand ribboning blood into the air as the narration box finally drops Re-Destro’s identity and code name. Third, the shot of him catching Shigaraki, almost delicately, between one thumb and forefinger and delivering the, “Was it this hand that committed such evil acts?” line—a clear threat to what of that hand Shigaraki has remaining—as we find out what his meta-ability is. This is all hugely dramatic in the manga, because, of course, readers always assumed Shigaraki needed all five fingers to activate his quirk, and here Re-Destro nigh-effortlessly robs him of fully half his capacity to use it. It’s a shocking turn-around and instantly ups RD’s threat level by allowing him to permanently maim Shigaraki in a way that no one, hero or villain, has done before or since. Robbing Re-Destro of the immediacy of that seemingly devastating blow—inflicted within moments of meeting the real Shigaraki—did immeasurable damage to his credibility as an arc boss. The shot in the manga is also just arresting visually, with RD finally getting to properly loom over Shigaraki. Most of the shots up to this point have been framed such that, while RD is obviously bigger, he and Shigaraki have still been moving and fighting in a pretty level way. This is the first place where the viewer is situated so squarely behind Shigaraki that they can really feel how massive RD is in comparison. It’s certainly a more impressive visual than this mess—thanks, anime; thanks, whatever broadcasting standards forced overworked and uninspired animators to undertake a redraw of RD’s quirk reveal panel when every other member of the MLA brass had theirs carried over directly from the manga.

• A chapter-ending cliffhanger of Slidin’ Go helping direct traffic on the outskirts of Deika and the warning rumble as Gigantomachia approaches. Aside from being a nice little tension boost—Will Gigantomachia roll up just in time to see Re-Destro making a mess of Shigaraki? Who will he target? Will Shigaraki ever be able to win him over if he sees a scene like that?—it’s good foreshadowing for what the news reports will eventually be saying. Remember, the claim is that a bunch of villains lured Deika’s heroes away and then attacked the city while it was defenseless; that’s why we never see any of the MLA’s heroes involved with the fight once it starts. And now, here, we find out where they’ve been the whole time: making sure no outsiders get in who might be able to undermine that narrative.

Framing Shifts

• Once again had an MLA member using their Detnerat item say its name out loud, when it’s clear in the manga that they’re just thinking the names internally. Once again, it was kind of silly.

• When Spinner flashes back to watching Stain on TV and being inspired, the manga uses a shot of Stain’s face, snarling and defiant. The anime used—a shot of Stain from behind, only visible from the shoulders to the knees, hunched so that his lower back and ass were towards the camera. Bones… What exactly were you implying lit Spinner’s fire there? Or did you just not have the time or budget to go pull Stain’s reference sheets for drawing his face?

• A tone issue, but a major one: Spinner should be grinning, face alight with accusatory challenge, as he hurls his accusations of the MLA/Trumpet being the same bandwagon-jumping nobodies that he is. This is the moment in the manga where we see Spinner truly throw his hesitations and his doubts to the wind and embrace Shigaraki’s nihilistic fervor and the beauty, value and profundity of emptiness. So what if I’m empty? So what if he wants emptiness? Who cares about other peoples’ ideals if their ideals leave no room for me? It’s not a heroic triumph, but it’s a triumph all the same, and losing Spinner’s smile made the moment far too bitter.

• Meanwhile, in exactly the opposite problem, Shigaraki by this point is not smiling. In fact, he’s barely on his feet, swaying violently in place with accompanying sound effects. While his words are openly mocking, he seems to wholly lack the energy to back them up with his usual verve. The anime didn’t have him smiling, admittedly, but the whole time the ‘camera’ wasn’t directly on his face, his voice actor was reading the lines with an uneven, chuckling cadence that suggested Shigaraki was seconds away from breaking into howls of laughter. He was also, of course, impossibly clean, at a point at which his manga counterpart is muddy, bloody and tattered from the horrifically extended combat he’s been living for six weeks. It’s stuff like this that made it so impossible to take the Army or even Machia as much of a threat in the anime, when, other than the red cords on his hands being broken, Shigaraki looked absolutely no different than usual.

Additions

• Gave Spinner a tiny bit of new animation when he got mobbed by people hopped up on Incite. It was nice, but if they were going to give him a flourish, I’d rather it have come when he swipes Porcupine Dude off him with a combat knife. Or, you know, just kept the bit of him telling the Twices to attack and his reasoning on why.

• Cut inside briefly to show a ballerina girl dancing through a darkened apartment right before she sliced a neat circle out of the wall. I love it, A+, exactly the kind of expansion on the action of the manga I wanted to see. My only complaint is that her manga self looked more like Pearl from Steven Universe.[4] XD

• A quick new shot of RD when Shigaraki was hounding him about his feelings. His teeth were visibly gritted, the corners of his mouth pulled down. It stands out because there’s only one shot of RD there in the manga, and in it, he’s smiling, close-mouthed and calm. The anime copied said shot, smile and all, then cut away, and when it cut back, Re-Destro had a totally different expression on his face. Baffling. Anime!RD having a dour scowl everywhere manga!RD is smiling in a tight, controlled way was all over the fight scene, and it detracted from the sense of RD’s menace every time.

Chapter 234 – Destruction Sense

• The illustration(s) accompanying Re-Destro’s, “Let’s not judge people by their quirks,” line. The pictures are cute, but the real loss there was the note informing us that they’re excerpts from a children’s book published by Shoowaysha—Curious’s outfit—called Quirks and Us. That’s a very concrete illustration of the kinds of things the MLA is getting up to in the world, and an equally concrete thing an anime-only viewer lost. Of course, that viewer never even found out Curious was in publishing, so it wouldn’t have meant anything on that front, but there is one other thing I think is notable: the way that book implies that the only people explicitly pushing a “don’t judge other people by their quirks” message are the radical Liberationists. See, the rest of the story touches on the virtues of a nonjudgmental attitude here and there, but actually finding people willing to say it out loud is—unprecedented, I think. Deku comes across situations where he could say something like that multiple times and he never, ever does—not to Shouto, nor to Shinsou, nor to Eri, nor to the giant fox lady. And that’s not even touching on Shouji’s mask, or the discrimination Spinner faced, or the CRC “losing support” without being declared illegal. I think the manga itself is against judging people by their quirks, but it’s interesting that it doesn’t make its characters into mouthpieces to say as much. This is because its characters are thoroughly enmeshed in a society that very much does judge people by their quirks, regardless of whether or not it will say that doing so is bad or rude or prejudiced. Re-Destro and the MLA aren’t immune, of course—Re-Destro himself says that quirks are linked to personality—but they adhere to a different set of values than the larger society does. While Hero Society talks about quirks in terms of being heroic and/or useful versus villainous and/or useless, the MLA spectrums instead emphasize how capable a person’s quirk is of helping them exert their will and how ambitious the quirk’s bearer is in that exertion. That is, their ethics are less about morality and utility-to-society than they are about aspiration and utility-to-self.[5] Both worldviews have their pros and cons, but that, I think, is what the children’s book is getting at when it says not to “judge”—don’t assign an arbitrary moral value to a quirk; judge a person by their actions. And isn’t it interesting, that the only explicit verbal statement of that value comes from the leader of a radical cult descended from a famous insurrectionist quoting a children’s book published by a member of selfsame radical cult? The value is not ever stated by a member of the heroic cast, so are we to assume that the heroes don't actually believe it? Do people profess to believe it but everyone knows it’s only for courtesy’s sake, with only the MLA willing to breach that wall of “things we don’t talk about in polite society” to actually talk about it in anything other than platitudes? Obviously, you lose this entire line of discussion when the "don't judge people by their quirks" value is just never mentioned at all.

• The phrase, “In that case,” from RD’s, “You will never measure up to me.” It establishes continuity to what RD was saying before. He’s not taking breaks from talking while Shigaraki has flashbacks; the two are happening concurrently.

• RD’s, “Cracking apart…?” reaction to his Decayed fingertip, and the dripping blood from the injury. I’m not hugely fussed about the former, but I like the latter as indicative of what Re-Destro’s Stress powers actually do. That is to say, he isn’t covering himself in a thick shell of Stress power or something; his Stress powers make him physically larger, infusing his body and swelling his size. That’s why he bleeds when Shigaraki touches his fingertip. Admittedly, the size distinction was more obvious in the anime, where the audience watched RD’s shoulders inflate like balloons last episode, compared to the manga, where you don’t get in-between animation. Still, given that RD still has that wound even when he goes back down to normal size, and is still wearing bandages for his speech a week later,[6] it’d be nice to mark the severity of the wound with a bit of blood. Oddly, the anime did keep the wound for the crater scene, visible red slices opened in the flesh along the length of his finger, very obviously the sort of injury that would have bled upon being first sustained. Maybe RD ran afoul of whatever the studio mandate is on when Decay has a dust effect and when it leaves gore? (More of that later.)

• Shigaraki’s, “Mother!” for the first panel we see of her. It’s obvious enough who she probably is, but odd that we got a whole bunch of narration for Hana, and likewise an acknowledgment of his grandparents, but not even a single word for Nao.

• Very significantly drops the grandfather’s, “Eating yummy things helps make the sadness go away.” Grandpa’s not just randomly handing Tenko his favorite snack in that memory—he’s trying to treat some kind of grief or wrong without actually addressing the wrong, opting to just put a flavorful band-aid on it. That could be fine if it were something outside Grandpa’s control, but we’ve already gotten some early hints from Hana’s phrasing that things are not okay in the household, and thus the grandfather’s attempt to bribe Tenko with sweets is just as ominous a sign of what’s to come as the grandmother’s attempt to guilt him into not crying lest he make her cry too.

• A little shot of Shigaraki stirring in the rubble when RD answers the phone. It’s a nice demonstration of their size difference, especially comparing both of them to Machia, who we just saw tearing through buildings like the kaiju his theme music declares him to be.

Framing Shifts

• When Shigaraki narrates that Hana always took him by the hand when he got weepy, she actually does take his hand in the manga, her fingers wrapped around his, his clasped over hers. It emphasizes that this is what he can’t do anymore, simply hold hands with people, the innocence lost aspect, and it suggests the closeness he once had with his sister. In the anime, she reached out a hand but wound up taking him by the wrist instead, his hand splayed open beneath hers. This suggested, albeit very implicitly, that maybe that innocence was something he never had from the beginning; it also suggested less reciprocity in his relationship with Hana. Even though Tomura said in narration that their hands were joined, what we saw was that Hana just pulled him where she wanted him and he didn’t fight her on it, not that he held her hand in return. Alternatively, the anime could have been drawing a parallel to how her hand would eventually be gripping his wrist in a much different context (a more necrotic one, for starters) later in life, though if that's what they were going for, they could have stood to tweak the dialogue so it actually matched the onscreen action. (Credit to @robotlesbianjavert and @aysall respectively for these two theories!)

• Shigaraki still having his fingers when Re-Destro squeezed his hand made RD look like a real moron. I assume the intention was that he assumed he’d done enough damage—broken bones, torn ligaments, etc—to prevent Shigaraki from being able to move his hand in more than spastic twitches, but like, if all it takes is a hard enough spasmodic clench to dust you, you are playing much riskier games than the MLA is generally portrayed as favoring. (Not that the anime kept many of the scenes that demonstrated all the planning and prep that the MLA did as groundwork for their attack, as I have complained about at length.) In the same sequence, Anime!RD turned and bodily hurled Shigaraki away from him, while Manga!RD threw him a similar distance with nothing more than a flick of a finger. Anime, why you gotta make Re-Destro look so lame all the time?

Additions

• Just one episode prior, the anime managed to turn in an entirely reasonable assemblage of swiping and dodging between Shigaraki and Re-Destro while RD was rambling on about the Mother of Quirks. What the hell was the excuse for this episode’s ridiculous shot of Shigaraki literally running circles—big, broad circles—around RD multiple times in the time it took RD to finish one (1) thought? For heaven’s sake, if you don’t have the budget for flashy, just use slow motion or more flashback animation or something. I know there’s more leeway for long thoughts in manga, where the reader understands that thoughts are moving far faster than action, and that it can be hard to bridge that gap for anime, where motion is motion but voice acting still has to rattle its way to the end of a sentence. I understand that measures have to be taken to account for that. Still, I promise, something that just looks a bit padded is much preferable to something that looks outright dumb.

• I admit to having found huge Stress monster RD pulling out a teeeeeny-tiny cellphone very funny—even more so the distinct cracking sound it made when Skeptic reported in bad news and RD’s fingers tightened infinitesimally—but the manga suggests fairly strongly that RD’s just answering on some kind of earpiece or micro-receiver, the same kind of thing Ujiko hands out and that Skeptic is associated with on multiple occasions. It’d be nice if RD could have kept more of the jokes he actually makes, the ones that stem from his native good humor, rather than the anime making up new ones based entirely in the contrast of Re-Destro and the viewer’s expectations of Re-Destro.

Chapter 235 – Shimura Tenko: Origin

• The man at the door, whom Nao is apologizing to at the beginning of the Tenko flashback and the apparent reason Tenko got busted for playing hero. I don’t love the way deleting this obscured that Tenko, in some fashion, troubled someone to lead to Kotarou dragging him down the hall (the anime also dropped Kotarou’s subsequent line, “Causing trouble?!” that’s supposed to supplement his, “Playing hero again?”), but it’s not like the manga doesn’t imply that the same thing would happen for any hero-based rules infraction, regardless of whether it troubled strangers or not. No, the much, much funnier thing to me is how it just fuckin’ torpedoed the most obvious thing people point to when they posit that All For One gave Tenko Decay, kicking off the entire tragedy: the man at the door with the conspicuously shadowed face and the even more conspicuously AFO-like suit and dress shirt with the top button unfastened. Listen, I hate that theory and what it would do to the narrative of Shigaraki Tomura/Shimura Tenko as Hero Society’s long-overdue reckoning, the villain they can’t put down and the victim they can’t silence, so watching the anime summarily cut out the scene that really kicked the theory into overdrive was very validating! Conversely, I still can't deny that it's a plausible theory, so if it does turn out to be true, that means the anime shot itself in the foot on the most obvious bit of foreshadowing this side of AFO addressing Tenko by name when he finds him in the alley. The schadenfreude of that would also be very funny. Really, unlike every other cut this season, I regard this one as win-win for my personal experience with the anime. Incidentally, I was very prepared to complain about the anime dropping all the changes of clothes the Shimura family goes through over the course of the flashback—I regard the timelapse as one of the major points against the AFO Gave Tenko Decay theory, since it’s never taken a quirk bestowed by AFO multiple days, maybe even multiple weeks, to kick in before—but it turns out I’m a lot less bothered about them not taking the time to change the side characters’ clothes when the anime also deletes the dude at the door who is the only reason I care about clarity re: how much time the flashback covers! But just for the record, while they had more outfits than I was expecting them to, the family did go through fewer changes of clothes in the anime than in the manga.

• The full echo of the line about kids being sneaky and simple in favor of Narrator!Shigaraki just letting out this exhausted, rueful, “Ahhh, kids are…” I actually rather like it. It’s a clear reference back to the earlier line without having to restate the whole thing, and Uchiyama Kouki’s delivery is really excellent.

• Kotaro’s first slap of Tenko, the only one directly portrayed on-panel, and Mon-chan’s barking in response. On the one hand, I think there’s an argument to be made for the scene flowing a bit better like this—why wouldn’t Grandpa try to stop him from going for that second slap; why wouldn’t Nao pass Hana off to Grandma and do something instead of just standing there yelling for the entire scene? It makes a bit more sense if they’re hesitant to intervene because Kotarou has “only” grabbed at Tenko’s collar and they don’t yet know how that it’s going to escalate to naked physical violence in a way that it never has before. On the other hand, that first slap is so visceral and shocking. Nowhere else in the manga is domestic violence portrayed more sharply and directly, in greater detail or more cruelly generous panel space than in this moment. It’s in the difference in size between Kotarou and Tenko, the force behind the hit that’s enough to knock Tenko clear off his feet, the pages upon pages of gut-churning lead-up to this moment and what we know will be following soon after. Also too, it makes the family’s failure to help Tenko much worse that no one else acts when Kotarou pulls back for a second hit. The first one, you could almost excuse because no one saw it coming; the second throws those justifications out the window and spits on them afterward. Two hits are important—not only for what they tell Tenko in the moment about his family's inaction, but because two hits speak in ways one hit doesn't to how wildly uneven the power balance is in the house, that Nao and her parents could witness something like that and not only fail to intercede, but then take who knows how long to work up the courage to confront Kotarou afterwards. I understand very well the fear of showing this in a family TV timeslot—the violence is so much more real than any big fantasy beat-‘em-up could ever be—but it’s the kind of thing that really drives home what Tenko needed to be saved from even back then, a social issue that heroes as they currently exist were in no position to address. Far from demonstrating that heroes aren't at fault for what happened to Tenko, though, what this scene truly does is vividly illustrate the flaws in All Might's social contract, in which his power and smile seem to promise that he can save absolutely everyone, only to leave children like Tenko out in the cold with no explanation as to why. It's brutal because it has to be, and the anime shying away from depicting Kotarou's physical abuse undercut that.

Framing Shifts

• There was a bizarre, nonsensical change to the scene at the beginning of the chapter where RD is figuring out how Shigaraki survived/got back up after taking a Burden attack head-on. The manga’s explanation is that Shigaraki didn’t actually take a full force hit because he was Decaying it even as it was blowing him back. This is somewhat silly, given that even a reduced-strength Burden is still strong enough to put him through multiple buildings. It is, however, less silly than the anime’s take, in which Shigaraki touched Re-Destro rather than the corporealized Stress of Burden. How Re-Destro survived a full-fingered touch from Shigaraki’s completely uninjured right hand[7] went totally unexplained; the problem was then compounded by Re-Destro delivering manga-accurate lines about Burden not being an evadable attack despite “evasion” having nothing to do with Shigaraki’s actions. Anime!Shigaraki didn’t dodge the Burden attack any more than Manga!Shigaraki did; unlike Manga!Shigaraki, however, Anime!Shigaraki also did nothing to reduce the impact of the attack. So not only was how Shigaraki survived the Burden attack not explained, the change to the material also opened up the plot hole of how Re-Destro survived a direct touch attack that Shigaraki in the manga never lands.

• There was also an extremely weird decision made to give Tenko dark, gray-blue eyes, obviously reminiscent of Nana’s, and suggest that they became red at the same time as his hair was changing to white. But in the manga, other than the size, there’s no difference between young Tenko’s eyes and how Shigaraki’s eyes have always been drawn—an unshaded iris with a visible pupil and a relatively thick line delineating the iris from the white of the sclera. Tenko’s eyes never matched those of anyone else in his family, least of all his dark-eyed grandmother. His hair changed color because of a trauma response,[8] but his eyes were always red.

• Relocated Shigaraki’s first, “Little kids…are sneakier than you’d expect. And simpler,” to underscore Hana showing him Nana’s picture in the study, squarely centering the line on her. And like, yes, that line does get its bitter echo later when Hana panics in the face of her father’s fury and throws the blame onto Tenko—but that line isn’t just about her; it’s also about what Tenko wanted to hear from the other adults in his life. It didn’t matter that his father didn’t approve; if he could get at least one adult to say he could be a hero, to take his side, then he could feel vindicated. It’s a child’s sneaky, simple reasoning: if an adult’s words are absolute, you just have to get one (1) adult to agree with you. It’s asking Dad if you can do something you don’t think Mom will agree to, and then going to Mom with Dad’s permission held defensively in-hand. Laying the line over Hana obscures that it’s as much about Tenko’s craving for external validation as it is Hana’s (entirely understandable) deceitful streak.

• After half a season full of internal monologue being voiced aloud even when it made little sense to do so, the anime decided to render clearly talk-bubbled dialogue—Tenko’s chatting at Mon about how he feels like he could take on the world—as internal monologue instead. Who talks to their animals in their heads when they could be talking at them directly like pet owners the world over?

Additions

• Added a few extra stills of Kotarou rebuking Tenko and dragging him around. I don’t think they’re inaccurate to the situation, though I wonder if it really needed to be underlined two more times than the manga did. Maybe they were trying to make up in advance for deleting the first slap?

• Added a few new stills of Nana and child!Kotarou. They hurt my soul and I love them without reservation.

Chapter 236 – Shimura Tenko: Origin, Part 2

• Hana’s second apology. What needs to get across was communicated with her first apology, but I do think the second one adds some naturalism to the dialogue. It feels very normal for a child feeling extremely guilty to apologize multiple times, like the more times they say it, the more true/convincing it will become.

• A bit of Tenko’s internal monologue—thinking Hana’s name, and Mon’s, and that he can’t talk. The anime slipped some attempts at verbalizing “Mon” into the dialogue, and it was painfully obvious just from listening to him gag and choke that he was too horror-struck to get words out, in ways that would be a little harder to convey on the page. Also, he thinks again that he can’t talk just as Hana runs away, so it gets across regardless. No real complaints here.

• Some thoughts about how he’s itchy, which, given what his itch represents (or at least what he thinks it does), they probably should have kept for continuity’s sake.

• Tenko’s last, “Hana-chan!” just as he grabs for her. I can imagine it having just that little bit more desperate impact, especially given Sekine Arisa’s great delivery of the first “Hana-chan!” but his delivery of the first one was great—weeks later, I can still remember it clearly—so it’s not a snip I’m inclined to doomsay about.

• Hana’s verbalization as the Decay hits her. Given that they kept Mon-chan’s last whimper, it’s kind of inconsistent not to keep this. It’s grueling, sure, but no more so than the rest of the horror show shortly to follow.

• An echo of Nao’s defense of Kotarou’s anti-hero stance. Frankly, I think anime already over-indulges in echoing dialogue we’ve heard not ten minutes prior, so I don’t mind losing this—in the manga, the moments would have fallen in different chapters, so it makes more sense to squeeze in the little reminder, but that wasn’t necessary for the anime, in which the original moment and the callback happened barely more than five minutes apart. It was obvious what the mental image was meant to draw attention to, since Tomura was narrating about exactly what his grievance was, and the image was followed by the two equivalent moments with the grandparents. (Admittedly, it hurt that correlation a bit that Grandpa’s line about the ohagi being intended to make the sadness go away got cut, but the sentiment was pretty clear from the man’s expression of nervy, abashed guilt regardless.)

• The line of Decay that splits Nao’s eye, one of the more vividly horrific little grace notes in the chapter. It undercut the grotesquerie just the tiniest bit, but the scene’s grotesque as-is, so I can understand that slight edit for TV standards. The discrepancy between Decay-to-dust and Decay-to-gore, discussed below in Framing Shifts, was much more damaging.

• A shot of Kotarou just after he hits Tenko with the tree pruning shears in which he looks, briefly, incredibly distraught, like he’s just realized what a monster he’s become. The anime didn’t make the slightest of attempts to keep that spasm of horror, grief, and regret, and thus lost that last moment of sympathy for a man deeply traumatized by a heroic character’s actions. It’s my only complaint about Anime!Kotarou, who I was otherwise far more pleased with than I was afraid might be the case, but it’s a complaint I must register nonetheless.

• A bit of inarticulate yelling before Tenko screams, “You... Die!!” It helps get across Tenko’s rage overflowing, to have that wordless garble before he can actually wrap words around it. He was still having trouble talking, too, so it makes sense that his first vocalization would just be a long, incomprehensible screech. That said, with the music there to supplement the mood in a way the manga would lack, I don’t think the anime’s rendition of the scene suffered overmuch from its absence.

Framing Shifts

• The anime, of course, has always gone the dust route for Decay because Decay is a little too gruesome for family hour TV, and anyway, when Tomura gets as fast with Decay as he is in Deika, he really is just insta-dusting people, such that not even blood remains. But he wasn’t that fast or that thorough as a child, hence why it’s all so much gorier—and it needs to be, because it’s hard to imagine Hana freaking out like she does if all she sees is a pile of dust instead of, well, dog gobbets. (Also, if his family had gone the dust route, it would have been very hard to convince the audience that Tomura’s hands are his family hands and not fakes provided to AFO by Ujiko.) This obviously put the anime in a difficult spot, but apparently the decision they settled on was—to not decide? Everyone we saw in the active process of decaying decayed into dust as usual, but then once they were done decaying, once that transition from person to ruin was complete, there were all these heaps of gore everywhere. It was a very strange and distracting inconsistency that hurt the scene much more than any of the nearly invisible cuts, and I hope the blu-rays will change it.

• Added Grandpa catching Grandma as she staggered at the sight of things in the yard. Since his body language in the manga (the only non-Decayed shot of him in the sequence) has him leaned more forward, like he’s still halfway through running towards the kids, I thought this was a nice little touch on why he stopped, for reasons other than just the obvious.

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Episode 111 was about half of a really strong episode. Most of my complaints about the Shimura Family flashback are very minor, and most of the ones that are less minor are still easy to overlook when the rest of the presentation was so strong. Unfortunately, the non-flashback half of the episode had as many problems as ever, and those aren't over yet.

Come back next time for Part Five, Episode 112: Origin: Shigaraki Tomura. Assuming my complaining about the finalized gutting of Spinner's arc doesn't get too out of hand—which it may; if so, I'll tack on one final part to wrap things up—I'll also be running down a quick overview of the Paranormal Liberation Front scenes in the Endeavor Agency arc and some various odds & ends.

FOOTNOTES

[1] Yes, I know the Skeptic Confronts Twice scene goes nowhere, but maybe, instead of deleting it, they could have patched it up by showing Skeptic turning away from the confrontation when the tower went down? You know, actually made an effort to improve on the material?

[2] Bakugou, of course, but also Inko, Kotarou, and, very prominently, even All Might. Deku circa MVA has an entire arc lying in wait for him about how much he’s internalized All Might’s paternalism re: having the strongest quirk.

[3] Indeed, as of the scene in the crater, he still hadn’t lost them at all! He had his prosthetic by the time of the speech, so I guess we’re meant to assume that Ujiko or some MLA doctor declared them past saving and amputated them. I hope I don’t need to tell you how unbelievably lame it is to have a shounen manga character sustain a permanent injury like that off-panel.

[4] It’s the pointy nose.

[5] That, at least, is the best way I’ve found to reconcile all the related-but-distinct values professed by the various members of the MLA brass, from Re-Destro’s focus on liberation and purpose, what exactly Trumpet chooses to cite when he’s talking about Spinner not “amounting” to anything much, Geten’s open extolling of quirk supremacy, and so on.

[6] In the first big double-page spread. Oddly, no bandaging is visible in the other panel that has a good shot of that hand, possibly because Horikoshi was more focused on drawing RD’s empty pant leg. The anime kept the obvious wound during the crater scene, but not the bandages during the speech.

[7] I assume, anyway, that Re-Destro only survives Shigaraki’s first touch because it’s a weaker Decay, coming as it does from only from two fingers rather than five.

[8] The fabled Marie Antoinette Syndrome. Never been scientifically documented as such (hair can whiten because of extreme stress, but not overnight) but it endures in fiction because it’s pleasingly dramatic. Trauma-based eye-color changes, not so much.

#my villain academia #boku no hero academia #my hero academia #bnha #bnha meta #my writing #stillness has salt

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