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Orihime transferred into Shinji’s class after moving from her hometown of Karakura. Fast-forward to seven years later, and they’re VERY close college sweethearts, much to the dismay of Asuka.
So this one’s a bit difficult to explain. Yea, this is a sequel page to the previous one I made commissioned by zeronos12, https://www.deviantart.com/gairon/art/Shinji-Asuka-and-Orihime-01-1011322245, but THIS page is commissioned by someone else - slyboyseth, the deviant who started this Shinji x Orihime storyline with me in the first place, several years ago! Enjoy!
Commissions at this time are OPEN! Look at the rules below for information.
There is a lot of information coming out right now about DA:TV from many different sources. This post is just an effort to compile as much as I can in one place, in case that helps anyone. Sources for where the information came from have been included. Where I am linking to a social media user's post, the person is either a dev, a Dragon Age community council member or other person who has had a sneak peek at and played the game. nb, this post is more of a 'info that came out in snippets from articles and social media posts' collection rather than a 'regurgitating the information on the official website or writing out what happened in the trailer/gameplay reveal' post. The post is broken down into headings on various topics. A few points are repeated under multiple headings where relevant. Where I am speculating without a source, I have clearly demarcated this. if you notice any mistakes in this post, please tell me.
as this post hit a kind of character limit, there will probably be at least 1 more post. :)
Character Creation
CC is vast [source] and immensely detailed [source]
We will enter CC straight after Varric's opening narration [source]
You are given 5 categories to work your way through in CC: Lineage, Appearance, Class, Faction, Playstyle. Each of these has a range of subcategories within them. There are 8 subcategories within the "head" subcategory" in "Appearance" alone [source]
Lineage dictates things like race (i.e. human, elf, dwarf, qunari) and backstory [source]
Backstories include things like factions. Factions offer 3 distinct buffs each [source]
There are dozens and dozens of hairstyles [source]
There are separate options for binary and non-binary pronouns and gender [source]
"BioWare's work behind the scenes, meanwhile, goes as deep as not only skin tones but skin undertones, melanin levels, and the way skin reacts differently to light" [source]
CC has a range of lighting options within it so that you can check how the character looks in them [source]
There are a range of full-body customization options such as a triangular slider between body types and individual settings down to everything from shoulder width to glute volume [source]. There are "all the sliders [we] could possibly want". The body morpher option allows us to choose different body sizes [source]
All body options are non-gendered [source]
They/them pronouns are an option [source]
Rook can be played as non-binary [source]
Individual strands of hair were rendered separately and react remarkably to in-game physics [source]
Special, focused attention was paid to ensuring that hairstyles "come across as well-representative, that everyone can see hairstyles that feel authentic to them, even the way they render" [source]
The game uses strand hair technology borrowed in part from the EA Sports games. The hair is "fully-controlled by physics," so it "looks even better in motion than it does here in a standstill" [source]
The ability to import our choices from previous games is fully integrated into CC. This will take the form of tarot cards - "you can go into your past adventures" and this mechanic tells you what the context was and what decision you want to make [source]
In CC we will also be able to customize/remake our Inquisitor [source]
A core tenet of the game is "be who you want to be" [source]
There are presets for all 4 of the game's races (human, elf, dwarf, qunari), in case detailed CCs overwhelm you [source]
Story
The story is set 9 years since Inquisition [source]
The Inquisitor will appear [source]
Other characters refer to the PC as Rook [source]. This article says they are "the Rook" 🤔 [source]
The ability to import our choices from previous games is fully integrated into CC. This will take the form of tarot cards - "you can go into your past adventures" and this mechanic tells you what the context was and what decision you want to make [source]
The prologue is quite lengthy. A narrated intro from Varric lays the groundwork with some lore and explains about Solas [source]. In this Varric-narrated opening section, the dwarf recaps the events of previous games and explains the motivations of Solas [source] (Fel note/speculation: this sounds like this cinematic that we saw on DA Day 2023)
What happens first off is that Rook, who is working with Varric, is interrogating a bartender about the whereabouts of a contact in Minrathous who can help them stop Solas. The bartender does not play nice and we are presented with our first choice: talk the bartender down or intimidate them aggressively [source]
The first hour of the game is "a luxurious nighttime romp through a crumbling city under a mix of twinkling starlight and lavish midnight blue" (Minrathous) [source]. The game begins with a tavern brawl (depending on dialogue options) and a stroll through Minrathous in search of Neve Gallus, who has a lead on Solas [source]. Minrathous then comes under attack [source] by demons [source] (Fel note/speculation: it sounds like the demo the press played is what we saw in the Gameplay Reveal). Off in the distance is a vibrant, colorful storm where Solas is performing his ritual. [source] Eventually we come upon Harding. [source] and Neve. Rook and co enter a crumbling castle, where ancient elf secrets pop up, "seemingly just for the lore nerds". [source] Then we teleport to Arlathan Forest, have a mini boss fight with a Pride Demon, and there is the climactic confrontation with Solas. After a closing sequence, at this point it is the end of the game's opening mission. [source] (Fel note/speculation: So the Gameplay Reveal showed the game's opening mission)
The action in the story's opening parts starts off quite quick from the sounds of things: the devs wanted to get the player right in to the story. because, “Especially with an RPG where they can be quite lore-heavy, a lot of exposition at the front and remembering proper nouns, it can be very overwhelming.” [source]
BioWare wanted to make the beginning of Dragon Age: The Veilguard feel like the finale of one of their other games [source]
Rook's Faction will be referenced in dialogue [source]
Minrathous is beautiful, with giant statues, floating palaces, orange lantern glow and magical runes which glow green neon. These act "like electricity" as occasional signs above pubs and stores [source]
The story has a lot of darkness tonally. These dark parts of the game contain the biggest spoilers [source]. However, the team really wanted to build in contrast between the dark and light moments in the game, as if everything is dark, nothing really feels dark [source]
Our hub (like the Normandy in ME or Skyhold in DA:I) is a place called The Lighthouse [source] (Fel note/speculation: I guess this screenshot shows the crew in The Lighthouse? ^^)
Each companion has a very complex backstory, their own problems, and deep motivations. These play out through well-fleshed out character arcs and missions that are unique to them but which are ultimately tied into the larger story [source]
We will make consequential decisions for each character, sometimes affecting who they are in heart-wrenching ways and other times joyously [source]
Decisions from previous DA games will be able to be carried over, it will just work a bit differently this time [source]. The game will not read our previous saves. For stuff pertaining to previous games/choices, players will not have to link their accounts [source]
Characters, companions, romance
Varric is a major character [source]
Every companion is romanceable [source]
BioWare tried to make each character's friendship just as meaningful, regardless of romance [source]
If you don't romance a character, they may end up romancing each other [source]
There will be some great cameos [source]. Some previous characters are woven into the game [source]
Companion sidequests/optional content relating to companions is highly curated when it involves their motivations and experiences [source]
Some companions could die permanently depending on our choices [source]
Our choices can influence if characters get injured and what they think about us [source]
The bonds Rook forges with companions determine how party members grow and what abilities become available [source]
Each companion has a very complex backstory, their own problems, and deep motivations. These play out through well-fleshed out character arcs and missions that are unique to them but which are ultimately tied into the larger story [source]
We will make consequential decisions for each character, sometimes affecting who they are in heart-wrenching ways and other times joyously [source]
Gameplay, presentation, performance etc
Each class (warrior, rogue, mage) has 3 specializations. The ones for Rogue are duelist, saboteur and Veil ranger [source]. (Fel note/speculation: Veil ranger reminds me of Bellara. Maybe this is her 'spec' too?)
Duelist gameplay involves a sharp combination of dashes, parries, leaps, rapid slashes and combos [source]
Faction-related buffs include being able to hold an extra potion or do extra damage against certain enemies [source]
Individual strands of hair were rendered separately and react remarkably to in-game physics [source]
Playstyle settings include custom, distinct difficulty settings for options as granular as parry windows, meaning "players who might fancy that playstyle but typically struggle with the finer points of combat can give it a go" [source]
Combat mechanics is a mix of real-time action and pause and play. Pausing brings up a radial menu split into 3 sections: companions to the left and right, Rook's skills at the bottom, and a targeting system at the top which helps get in focus on certain enemies. [source]. In the pause system you can queue up your whole party's attacks [source]
Tapping or holding the shoulder button pauses the game, allowing us to stop the action and issue orders to companions [source]
There is a system of specific enemy resistances and weaknesses [source]. Weaknesses and resistances plays a big role in combat and abilities are designed to exploit these accordingly [source]. An example is that "one character might be able to plant a weakening debuff on an enemy, and another enemy might be able to detonate them" [source]
There is a vast skill tree of unlockable options [source]
You can set up specific companions with certain kits, e.g. to tackle specific enemy types, to being more of a support, or as flexible all-rounders [source]
Healing magic returns [source]
Abilities can change together with elaborate results, e.g. one companion using a gravity well attack that sucked enemies together, another using a slowing move to keep them in place, and Rook using a big AOE to catch them all at once [source]
A shortcut system lets you map a few abilities to a smaller pinned menu at the bottom of the screen [source]
There are class-specific resource systems. For example, Rogue has "momentum", which builds up as Rook lands consecutive hits [source]
Each class will always have a ranged option [source]
Rogue Rook can do a sort of 'hip fire' option with a bow, letting you pop off arrows from the waist [source]
Warriors can throw their shield at enemies, and can build an entire playstyle around that using the skill tree [source]
There is light platforming gameplay [source]
The game runs on the latest iteration of the Frostbite engine [source]
The game targets 60 fps
On consoles it will feature performance and quality modes so we can choose our preferred visual fidelity [source]
The game is mission based [source]. Some levels that we go to do open up, some with more exploration than others. "Alternate branching paths, mysteries, secrets, optional content you're going to find and solve." [source]
Everything is hand-touched, hand-crafted and highly curated [source]
Some sidequests and optional content is highly curated, especially when it involves the motivations and experiences of the companions. In others we may be investigating for example a missing family, with an entire open bog environment to search for clues and a way to solve the disappearance [source]
Gameplay, presentation, performance etc continued, after the above bullet list hit a character limit
There is sophisticated animation cancelling and branching. Gameplay is action-like, and the design centers around dodging, countering, and using risk-reward charge attacks designed to break enemy armor layers [source]
The dialogue wheel returns [source]. It gives truncated summaries of the dialogue options rather than the full line that the character is going to say [source]
The bonds Rook forges with companions determine how party members grow and what abilities become available [source]
For stuff pertaining to previous games/choices, players will not have to link their accounts [source]
We can play the game fully offline [source]
There are no microtransactions [source]
The game itself is not as cell-shaded in look as the first trailer looked [source]
[☕ found this post or blog interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]
Dear, sweet, Littlefoot, do you remember the way to the Great Valley? I guess so. But why do I have to know if you’re going to be with me? I’ll be with you. Even if you can’t see me. What do you mean I can’t see you? I can always see you.
AO3 Comments are SO SO SOOOOOOO important because you can only leave Kudos ONCE. You add to the hit count ONCE (every 24 hours).
So whenever someone updates their fic, the ONLY way an author knows who their regular readers are is if they comment on each chapter. And we WANT to know who's still reading.
Believe it or not, some of us think about the name that pops up constantly in the comments and go "omg I can't wait to see what they think of THIS SPECIFIC SCENE cuz I KNOW they'll say something about it!!!"
Don’t forget “Bakugou attacking Izuku because Izuku passed his provisional license exam and Bakugou failed.”
“Bakugou feeling guilty and angry about All Might’s Retirement and violently taking it out on Izuku.”
Lastly, “Bakugou bullied, abused and assaulted Izuku for ten damn years with a deadly quirk because Bakugou has a quirk and Izuku didn’t.”
Oh wait! “Bakugou antagonizing and hating Izuku because Izuku tried to help him at a stream when they were kids and Bakugou saw this as Izuku looking down on him.”
...You know, I wasn't going to do this, or least not for awhile yet, but the way everyone was talking the last couple of chapters (I lost interest after the Dabi debacle, so I had three of the Toga debacle to read!) was especially bad, so I checked and... yeah. It lived up to the hype.
And so here we are where, yet again, I find myself loading words with my pure frustration.
*claps hands*
So! Does this title sound similar to any of you? If it does, that's because it's basiclly the title of my Bakugou post, and that's for a good reason: beyond the extra special last minute writing we're witnessing (the fact her Quirk isn't working right is beyond stupid), Toga's overall problem is the same as Bakugou's, something I'm now calling 'Quantum Characterization', because I'm shit at naming things and I like this name the best thus far.
So, here's the thing with Toga: there's two versions of her, and they're both existing in the same place at the same time: one that is actually doing things in story, Toga A, the blood thirsting girl, and the one that people in story (and to some extent, out of it) react to, Toga B, the love starved girl.... who is effectively a shared mass hallucination.
The first Toga is her actual actions: the vicious, blood thirsty, actively insane serial killer. The main thing that motivates this Toga, the Toga that is actually acting in the 'real world' of MHA, is loyalty to her friends and literal blood lust. This Toga is one who, as I've mentioned before, says she 'loves' things, but actively doesn't understand her own motivations and drives, in part because her Quirk-based instincts are that strong, because she's basiclly a natural predator of humans, and in part because nobody ever dealt with them properly.
The thing is that Toga A thinks she loves all these things, attractive people, friends, blood, and so on, but it's not actually one emotion she's feeling, it's multiple. Some of it is normal attraction, some is lust, and a good deal of it is hunger, and somewhere in there there's a crush or two. The problem is that it's all so muddled in her head that she actively responds to the thought that, X is pretty/cute/or whatever else with hunger, even if that initiating thought wasn't actually about how tasty they would be, so, in her mind, 'love' is the urge to devour someone, for whatever reason.
Now, theoretically, this is something that could be managed, or dealt with, but Toga A isn't aware of this, at all, and thinks her 'love' is normal, and the fact that no one else ever acts similarly to her means they don't like her, while, at the same time, the fact that people negatively to being eaten means they don't like her, or think she's horrible... when in fact, they're reacting negatively to the eating part, since it's killing them. All of this is complicated by the fact that, as I said, she's basiclly a natural predator of humans, but lives as a human, with humans, and likes human, but has no idea how really actualize and deal with all these conflicting facts, or that she even should.
All of this shit, along with parents and a social environment that seemingly has no context for these predatory instincts (I'm not sure why she's so different in this respect, but I don't think there's anyone else in story as actively mentally influenced by their Quirks as Toga is, even if it's implied there's others) slowly festered in Toga for years and years, while she tried to act like everyone else, without any understanding of why she was different except the fact that she was failing at it, somehow, until she snapped and fell back on her instincts without any idea of how to properly manage them. In other words, she killed and ate someone. That, of course, fucked her life up and she went on the run, and then spiraled hard on the run until we get to now: a girl with a persecution complex, always blaming everyone else, actively deluded to how things work and what she's doing to herself and others.
Someone who is ultimately pitiable, but still an insane serial killer, for who much of her motivations go back to, 'I don't understand why no one likes it when I drink their blood'.
Here's the thing: Toga A's story is... actually pretty interesting? Also, with a quite a few similarities to Shigaraki, if for radically different reasons.
There's a lot of fucked up in it, honestly, but the thing is Toga A lives in Tokyo Ghoul, basiclly, while everyone else is in MHA, but she has no fellow ghouls to bond with, or to explain shit, but the fact that Tokyo Ghoul was so popular means that, if done well, Toga A's story could just be really fun to read! Here's the problem: while Toga A is the one acting in the story, people are reacting to Toga B.
Now, Toga B is the one most fans are familiar with: an abused girl who just wants to love people. She's attracted to a lot of people, generally on a shallow, surface level way more related to how attractive they are, but there's a handful she's more actively romantically attracted to, (Ochaka, Izuku, maybe Tsuyu). She craved blood, and didn't always handle it well, but a lot of her problems came from her parents who found that very desire monstrous, and basiclly never forgave her for being born. Eventually, she snapped, killed someone on accident, and had to go on the run where, over time, facing more oppression and harsh conditions, she became more comfortable killing people and feeding her desires the only way she knew how.
This... also could be interesting, but the timeline of it is a bit... lacking. That's because Toga B doesn't actually exist, beyond how people react to her, and so her history is in doubt in multiple areas.
There's only Toga A, a serial killer who hunts and kills people because they taste good... but for whatever reason (*cough, cough, Hori making villains simultaneously pure evil and pitable*) people talk to her like she doing completely different things. The fact that she's killed people, quite a few people in fact, is almost never brought up, because Toga B doesn't hunt people, only stalk them (which is still bad, don't get me wrong, but less bad than the hunting) and those rare times when someone we've seen her kill is brought up, it's brushed over as quickly as possible to go back to the narrative of the love starved girl, instead of the blood thirsting one.
Over time, the love starved girl, the one who is effectively a mass hallucination shared by a good deal of the cast, fell into actual romantic love with Izuku, then Ochaka. She formed a sort of... Romeo/Juliet style dynamic with Ochaka based on her attraction to her, and both of them connected with each other through their mutual love with Izuku, and to some extent, each other, (giving all of this dual love triangle and three way energy, all at the same time, and also sometimes Tsu is involved as well, as a sort of attachment to Ochaka) but this feeling could never be explored due to them being on either side of the hero/villain dynamic, cruelly torn apart before they could be together or even meet by the hands of fate and the indifference of the populace, until things came to a head now, as Toga was driven to the edge by the heroes and forced to finally embrace her inner villain, drawing out a heartfelt confession by Uraraka!
...
I mean... if you ignore what's actually happening, anyways. There was always a problem with this, obviously, but Toga B has so wildly diverged from Toga A that even people who didn't see a problem before are being forced to notice that, hey, something's weird, which itself is exacerbated by both the decline in writing quality and the general rushed to tone of the story overall.
Honestly, my little monologue about 'the love starved girl' is me doing some quite a bit a lot of extrapolating on what their relationship would be if it was actually done 'right', then it is the actual 'facts' we have in story, because until five minutes ago Uchaka wasn't actively... a part of it, at all, it was Toga just basiclly having a conversation with a version of Uraraka in her own head, while Uraraka was just trying to stop her from killing people. The thing is, now, Uraraka is suddenly being changed to also be living in this same story, which makes this whole situation even more awkward, because there was this whole phase of their 'relationship' that, even in the magical mass hallucination land they're all living in now, never happened, and so they're skipping a lot of steps on their relationship while acting like they didn't.
In a side note, in a society where All Might single handedly changed how Japan works, and could probably physically break it, the fact a single person can change the world isn't surprising, it's established fact, because, well, All Might, and also All For One, even if his history of doing just that is less well known. So that reporter in the helicopter might as well be talking about how this crazy stuff scientists have been talking about, rain, which even now is falling from the sky, is wet, and she sounds about as stupid right now as she would if she was saying that instead.
I know I’m going to get hate for this and I don’t care.
But can My Hero Academia go five minutes without romanticizing a fucked abusive unhealthy, destructive or terrible relationship?
Because right now, the heroes look like self-righteous dumbasses who should not be trusted nor have any good sense of reason, logic or frankly a consistent sense of morality, ethics and justice.
And every time the story pulls out that “the villain is a child inside” crap or goes on about how life was unfair to the mass murderer, it makes the villain look more and more unintentionally unsympathetic.
Can heroes like Izuku and Ochako be allowed to set boundaries and priorities to let horrible people hurt them without being considered bad heroes or bad people? Is it really bad for them to not let themselves get hurt just to validate some asshole’s feelings?
Ochako doesn’t owe Toga shit. Toga isn’t entitled to shit. But the story is basically absolving Toga of all of the shit she’s done so that Ochako looks heroic for bleeding to death to reach out to this selfish murderous psycho bitch with a stalker complex. It doesn’t make Toga sympathic, it makes her look even more selfish. It doesn’t make Ochako a better character, it actually makes her kind of pathetic and hard to respect.
I’m not sorry, I can’t respect people who disregard lives lost, families destroyed and can actually look a mass murderer in the eye and say that she has a lovely smile and admires how carefree she is while attacking her and her friends.
This is Ochako’s big moment apparently. Enabling and coddling a fucking murderer because holding her accountable for her crimes and telling her that she mad bad choices and she’s responsible for them is “bad”. Society may have been unfair to Toga, but Society didn’t make Toga kill Saito (yes he’s dead per the databook) or any of the people she left to bleed to death, Himiko Toga choose that for herself.
However, when I say Toga’s responsible for her choices I also state that she has the ability to make the right choice and do the right thing. Same goes for Shigaraki, but that requires taking personal ownership and responsibility for your actions.
This is why the Toga and Ochako storyline sucks so much because it acts like Toga’s entitled to sympathy and patience and completely ignores all of the horrible and shitty things she’s done or been apart of. When Ochako says that she “can’t forget Toga’s actions”, this is empty protest and her actions and other words like “have my blood for the rest of my life” don’t add up.
And no, Toga being bisexual does not excuse shit. She’s still a psycho murderer and deserves consequences. She sure as shit doesn’t deserve Ochako after nearly killing her and all of the harm she’s caused against her and her friends. I won’t change anyone’s mind here, but wanting TogaChako canon is basically saying you support a fucked up relationship between a selfish psychotic murderous borderline-sexual predator and the girl she’s trying to murder.
If you want to support a Yuri ship, at least pick one that isn’t romanticizing or enabling abuse and romantizing suffering for an abusive or harmful partner like for example Momo x Kyoka.
If Toga was a male, ya’ll would agree with me and you know it. I halfway wonder if some of you only ship TogaChako despite all of the objective red flags because you’re that desperate or thirsty for some kind of validation. Well sorry folks, you’re picking the wrong hill to stand on because canon-wise it sucks.
Fanon wise, you can make it whatever you want, I mean it. I’ve read plenty of good fanfics where Toga got the help she needed before she went off the deep end and I enjoy reading about her relationship with other characters like Ochako and Izuku.
But just like how Fanon Aizawa or in some cases “Dadzawa” is very different from the objectively asshole Canon Aizawa, Fanon Toga is a sweetheart compared to the psycho murderer Canon Toga is.
I honestly wouldn’t care what you ship because it’s your business. I highly question your choice of ship, but feel free to ignore me and enjoy your warped fucked up ship as you please. With that said, I’m free to dislike said ship and use evidence from the story to point out how this is the worst possible cruelty you could inflict on Ochako.
But please stop pretending like Canon Toga wouldn’t be a constant threat to anyone she was with. She fucking stabbed the first guy she had a crush on and he died (again databook) and even if he didn’t die, that’s still not someone who should be shipped with anyone.
And after reading all of that, if you think I’m some kind of sexist, homophobic asshole because I don’t absolve or excuse murderers regardless of race, sex or sexual identity then we have nothing to discuss because I’m not wasting any breath on you. Fuck off.
For the record, I already had this problem with the Bakugou and Izuku dynamic where Bakugou basically gets no consequences for his objectively bad actions and attitude. No justice for ten years of abusive bullying; No accountability for trying to kill Izuku during the training exercise; Izuku holds Bakugou on a pedestal he doesn’t deserve and basically does all of the suffering and giving for their messed up relationship; and the story doesn’t even do the bare minimum to make Bakugou’s “redemption arc” passable. The story ignored it for almost 300 chapters and then puts in a few grand gestures then acts like that’s all that’s needed and goes no further.
I also have this issue with how Izuku is lionized for acting on blind idealism and emotionality to try and “save” Shigaraki despite the thousands he’s chosen to kill; the path of villainy that he’s chosen to take; and how he’s going to kill everyone if he’s not stopped. Society didn’t make Shigaraki become a villain; attack USJ; attempt to murder the Class 1-A students and teachers multiple times; send an attack against the Camp; try to make Bakugou join him or die; make an alliance with Overhaul whose torturing a child; or willingly take AFO’s quirk to be even more destructive and evil.
That was Shigaraki’s choice. Tomura Shigaraki made that choice. Tenko Shimura made that choice.
The little child within Shigaraki is irrelevant.
It’s not who you are underneath, but what you do that defines you.
If Izuku and Ochako really respected Shigaraki and Toga, they’d respect their choices and stop holding back. Take off the kiddie gloves and defeat them however they have to. If the villains have to die so that no one else is killed at their hands? So be it.
Nope, instead the story treats Shigaraki and Toga like children who can’t be held responsible for their actions because it’s all society’s fault. Which is insulting to them as characters, insulting to the many they’ve killed and Izuku and Ochako are also disrespecting their friends, teachers and comrades who’ve died or almost died including Midnight who was killed by one of Shigaraki’s men on Shigaraki’s command.
What is heroic about disregarding the families destroyed?
How will Ochako and Izuku explain themselves to the families of Shigaraki and Toga’s victims? Will they have any answer that doesn’t involve blind emotionality or idealism? I doubt it.
What’s wrong with holding the villains accountable for their actions and giving them deserved consequences and acknowledging that society is flawed and wrong them? They are not mutually exclusive. You don’t have to scream at the audience about how you’re ignoring the problem if you don’t absolve these unsympathetic people because you know murder is wrong.
And while we’re at it, if Horikoshi really wanted a story about Izuku and Bakugou repairing their relationship, then he needs to hold Bakugou accountable and responsible for his shit. Izuku needs to be allowed to love himself, knock Bakugou off of his “symbol of victory” pedestal, and learn that he doesn’t need to tolerate shit from Bakugou nor prove anything to him.
Instead, Horikoshi’s portraying his characters as emotional pushovers and I’m sick of abusive horrible harmful people being treated like they’re entitled to sympathy, empathy or whatever. All because society wronged them and that apparently validates their chaotic emotions and how they’re lashing out and killing thousands of people. Yet, the story expects us to treat them like they’re the victims and they’re therefore entitled to infinite patience, forgiveness and empathy.
They’re not.
They’re entitled to a punch to the face.
And I’m done here.
Note: If you disagree with what I said then do so with respect. I don’t care if you agree with me, but harassment, threats and bullying will not be tolerated.
Note: Just because I’m critical of MHA, doesn’t mean I’m any less of a fan. I just will not ignore its major problems as I’ve outlined. So if anyone wants to tell me that “I’ll have no peace in this fandom”, then just know that I don’t give a damn if you think I belong here or not.
PS: Despite my harsh and blunt language, I really have nothing personally against TogaChako, BakuDeku shippers or whatever. I just hate these ships because of the unfortunate implications within them due to the canonical actions and attitudes of Bakugou and Toga.
I strongly and fundamentally disagree with anyone who’d support or defend these ships and it honestly annoys how much some fans desperately force their interpretations over other fans, but otherwise you can like what you like. I just reserve the right to hate what I want to hate and sadly, your ship checks off all of the wrong boxes.
My thoughts in a visual nutshell courtesy of Bojack Horseman:
(No direct spoilers for now) At this point, fuck MHA's save the villain nonsense, Toga needs to die. While we're at it, Shigaraki can die right along with her. You don't get to kill people and then expect everyone to feel bad about you because of your crybaby sob story or because life was unfair to you. I won't say exactly what happens in the latest mha chapter. But it confirms something I've always been frustrated with regarding MHA's theme about "saving the villain".
The story constantly talks about how the villains are people and that they needed to be understood and so on. But we are constantly seeing said villains killing or trying to kill people. How many thousands does Tomura have to kill before Izuku accepts that he needs to die? How many people does Toga have to stab before Ochako accepts that she's too far gone to be saved? I'm fine with villains that have sympathetic backstories or reasons, but don't baby them.
They made their choices, they made choices that is harming other people and they deserve CONSEQUENCES for their choices. If those consequences mean that they lose their life? So be it. Horikoshi will write his story as he pleases, but I'm once again adjusting my expectations downwards.
I know that a bunch of Toga fans will hate what I'm saying, but again, why should I care if Toga gets saved or not? She's done nothing but stab and try to kill people. I also despise this idea that these horrible people are somehow entitled to infinite patience and forgiveness no matter how many people they kill or try to kill. But that's what's happening in MHA and even after this latest chapter, I don't expect it to change. Toga and Tomura aren't entitled to sympathy and to let people kill them just because they had a hard life.
Last I checked, the main character Izuku had a hard life with abuse and discrimination too and the worst he has is stockholm syndrome for Bakugou (another subject for another day). He choose to do better. I included that Bojack horseman screenshot because Tomura and Toga are long overdue for that kind of speech. Fuck understanding them. They need to stop killing people and then we'll try to understand them. Or the heroes can grow up, be decisive, kill their asses and then try to understand them at their graves.
I doubt that will happen though because no matter how many people Toga kills or stabs, she's just a sad little girl deep down that just wants to be loved and understood.
And while I'm at it, this is the latest episode of Horikoshi bringing a female character from the sidelines just to horribly injure or kill them for shock value. This wouldn't be a complaint if the main heroine Ochako wasn't constantly overlooked or sidelined, but here we are.
And yes, I'm still an MHA fan in case you're asking. I just believe that several storylines and characters deserve better and I'm seeing too many troubling trends that just keep getting worst like the whole "save the villain" even if they kill innocent people thing.
I mean shit, Tomura literally put Bakugou on death's door, tried to dust UA and everyone in it (including best girl Mei), nearly killed or killed several heroes including Aizawa, All Might, Gran Torino, Nejire, Miruko and more.
And Izuku still wants to save his dehydrated ass. I take it Izuku cares more about the little boy inside of Tomura more than all of the innocent people he's killed or the thousands of families who don't even have a body to bury or even his own teacher Midnight who got killed by Tomura's men.
And even as Toga's using a mob of Twice clones to brutalize, kill and is trying to kill dozens of heroes already battered and injured by AFO, Ochako's still trying to "reach out" to Toga.
If she keeps trying after this latest chapter, then she's just as dumb as Izuku right now.
I'm not even bothering to try and sound smart right now. I'm just venting my raw frustrations here and I'm not sorry.
Later.
PS: No, the latest chapter getting a reaction doesn't mean it's good. Especially if the reaction is from a failure of storytelling rather than a success of storytelling.
PSS: I’ll elaborate on my thoughts in a more concise manner in comments or in another essay at a later time.
I want to make it clear that I have nothing against Toga fans, I just despise how the story’s presenting and babying her right now even as she crosses the Moral Event Horizon.
When Zuko apologized to uncle Iroh in the tent cause he was so ashamed of his actions and what he’d done to the only person who unconditionally believed in his ability to do good >>>>>
So okay, I’ve given this rant before but this is another good time for it.
Structurally speaking, ATLA did something important with Zuko that, in a purely mechanistic sense of narrative development, I think a lot of people don’t notice immediately, and that even fewer people who want to emulate what was done with him get.
Which is Zuko is made a protagonist VERY early, and the show goes out of its way to continually place Zuko into situations where the audience empathizes and roots for him.
This happens in literally the second episode of the series, if we count the two-part premiere as a single episode, which I think we should. The A-plot of that episode, “The Southern Air Temple,” is Aang reckoning with the genocide of his people… but the B-plot?
The B-plot is the introduction of Zhao, and more specifically, his introduction in a way that is calculate to shift the audience, whose introduction to Zuko did NOT engender a ton of sympathy to him, directly and forcefully onto his side. They want Zuko to kick Zhao’s ass.
This continues all through book one and book two. Remember, Zuko is never, ever the main villain of this series. That’s initially Zhao, followed by Azula and Ozai. (Plus various temporary players like Long Feng.) Whenever Zuko isn’t placed into direct conflict with the other protagonists, he’s always written and presented in a way that is careful, VERY VERY careful, not to make him too monstrous, and to make us root for him. He’s placed right next to Iroh, who is designed for people to like, and that reflects back onto Zuko; we want Zuko to be better than he is because we want Iroh to have good things.
Put aside for the moment whether any specific character, including Zuko, deserves their redemption. If you’ve decided you’re going to do that, you have to erect the proper narrative scaffolding around them, and it extends to far more things than “did this person not do things that were too horrible” and “is this person genuinely sorry and is working really hard to atone.” There’s a difference between protagonist and white hat, but if you want someone to eventually wear that white hat, you REALLY need to establish them as a plausible protagonist early on.
Yeah, it was made obvious from the get go that Zuko is definitely nowhere near Zhao’s level of nasty, which in turn means he’s nowhere near Azula’s and nowhere in the scope of Ozai’s.
1.)
He made a deal with Aang to leave the Southern Water Tribe alone if Aang went with him. When Aang escaped with help from two of those tribe members, Zuko didn’t demand they go back and destroy what was left of the tribe as revenge. He didn’t even think of it as an option. There was no split second where he went, should I/shouldn’t I?
2.)
This is repeated. He corners the Avatar somewhere, causes some damage to the area in the ensuing fight, but does not stick around to raze the village/monastery to the ground and kill the people when he doesn’t get what he wants. Doesn’t consider this a necessary action even once.
3.)
The Iroh&Zuko relationship is juxtaposed with the Zhao&Zuko relationship. Both older men have more power over him. Iroh is a retired War General and Prince who is not banished. Zhao is a Commander in favor of the Firelord, who is also not banished. We could tell early on that Iroh is wise and despite being on the bad side, seems to be pretty chill. We took a liking to him immediately. Zhao is the opposite. He is very much like early!Zuko. Impulsive, rude, loud, cocky, etc… But why is he more annoying? Why do we root for Zuko as opposed to him?
Because we see what Zuko is like with his Uncle Iroh. Iroh does not rub in the fact that he’s banished. He doesn’t use that when reprimanding him for his attitude or his failings. That is a hot iron and he knows it. It’s to the point where Iroh can bend fire in Zuko’s face and Zuko is perfectly relaxed over it and doesn’t once believe his uncle will hurt him. There is a lot of faith in Iroh, from this angsty teenager, and it’s very obvious with their interactions.
Zhao is not trustworthy from the start. We’re shown this by how both Zuko and Iroh are hesitant to interact with him and don’t want to linger in areas he has control over, for too long. They even lie to him despite him obviously having more favor in the Firelord’s eyes than either of them do. Zhao’s personality opposes both Zuko and Iroh. And as we like Iroh, we want him to win and have nice things, as stated above. But Zuko&Iroh is a package deal. And as Zhao reveals himself more and more to be nasty even if it’s subtle, we want Zuko to win even harder.
And even when Zuko wins and he’s in the prime position to do to Zhao what Ozai did to Zuko for also ‘speaking out of turn’… he doesn’t do it. He walks away. He is the bigger man in that scenario. And Iroh further puts shame onto Zhao when he goes against the sacred rules of the Agni Kai because he can’t handle a loss to a banished teen. We are shown that Zuko follows rules and has honor, which is reinforced by Iroh’s, ‘even in exile, my nephew is more honorable than you’. Iroh’s Word is basically Law at this point. Sf he says it is so, then he must be right and the audience accepts that. He knows Zuko better than us and hopefully we’ll get to understand more as the story progresses.
Already by the 3rd episode, we’re shown that Zuko is in no way the worst person from the Fire Nation. In fact, we’re given a sort of scale now from the four major Fire Nation people we know of. Iroh–Zuko——-Zhao–Firelord.
We’re also hoping that Iroh rubs off on Zuko enough for him to also become wise and learn to chill out.
4.)
When “The Storm” finally rolls around, we’re pretty invested by then in the Iroh&Zuko relationship and that episode gives us so much more info into Zuko’s character and we are shown that Iroh is right. He has honor and he cares for others. And yet it’s obvious the Firelord doesn’t because we see Zuko do the right thing(protesting the plan to treat new recruits as cannon fodder) in the wrong place, and then his face gets burned off by his father because of it. And further, he’s banished for refusing to fight his own father. What sane parent wants to do battle with their own child? What sane parent banishes their child for speaking out of turn at the defense of their own peoples’ lives? What the fuck is wrong with the Firelord?
Zuko was punished severely for showing compassion and having a kind heart. And Iroh(and the ship crew even) is properly mortified by the punishments his nephew received for it, which in turn affects the audience’s perception of this situation. Iroh doesn’t like it, it’s especially bad then.
Now we start wondering why does Zuko wants to go back to the guy who burned his face off?! Iroh, talk some sense into him! PLEASE!
Halfway through S1, they got us to the point of wanting Zuko to have a redemption arc.
Making the audience want a character to be redeemed is also very important in this. We were shown he has redeemable qualities. We want that pay off! Do it justice!
This analysis is amazing.
You really got to the heart of the matter with ATLA show that not only does Zuko have strong redeeming qualities, but also makes the audience WANT the character to be redeemed.
A redemption Arc doesn’t work if its not sold to the audience.
Too often, I’ve seen stories have bad characters do terrible things, but the story still acts like they’re entitled to forgiveness just because they had a sad sob story to excuse the evil they do.
While Zuko is held responsible for his later actions and has to re-earn team Avatar’s trust and respect, we at least have 2 seasons worth of character development showing that there’s hope and good in him even while he was chasing down the Avatar. Or at least a consistent sense of honor.
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