He Doesn't Even Understand The Concept. He's Like A Dog He Saw It Elicited A Positive Response And Therefore

So I found this comment in a poll asking which is more overrated: anime or videogames, and I think this comment applies pretty well to the state mha is in. Emphasis on the explosions part.

A Shoto arc retrospective

Can I say something really mean about my hero academia? Can I??

I got into mha when I was a 14 yo girl, I saw Deku vs. Todoroki at the sports festival and I was immediately sucked into the story.

I was a little girl being physically abused by a parent at home, and when I saw Shoto, the first ever character I came across in TV who was being abused in a similar way as me, it sparked hope deep in my chest. That he was going to be saved, that he was going to be believed and helped and rescued and maybe, just maybe, that meant that there was a chance for me too.

Maybe I was going to be saved.

For years, I daydreamed about the time when the truth of Endeavor would come out, when Shoto was finally going to be safe. Sometimes it was my only comfort when I dissociated during or after being hurt.

Then it happened, and Shoto wasn’t saved, and Endeavor faced no consequences with the law or his reputation. Shoto’s feelings on the matter were never addressed. He never got to cry, his friends never got to comfort him, Aizawa or any other adult in his life never got to save him like I had imagined so many times.

Maybe it’s selfish of me to project my desire to be saved onto a fictional character that isn’t mine.

But I was 14, and I was still scared to call what was being done to me ‘abuse’, and Shoto was my anchor through a lot of pain. Because he was like me, isolated and hurt. And I hoped that I could be saved like he was going to be.

And then he wasn’t.

Now I’m 23, and mha is ending, and I’ve never been more disappointed by a piece of media in my life.

How a typical scenario with Bakugo and Class 1A would go in cannon

Note: I thought this scenario was kinda funny in my head because judging by how everyone acts with each and around Bakugo, something like this would happen in the main series. If Bakugo is going to constantly have toddler like tantrums and get physical with someone(Ex. Blowing up the dorm and a card game after getting a tie in a match with Deku/ Attacking Deku immediately after he congratulates Bakugo for getting his provisional license/ Throwing his sharp headgear at Deku causing him to bleed), then he would definitely do this. Anyway feel free to add your introspection. Normally Bakugo would have a hissy fit over something that is either petty, stupid or outrageous to fuel his inferiority complex so let’s say that he got mad for getting the second highest score on a test.

How this scene would play out is that class 1A would get their results of a test they took. Bakugo would get pissed because that he got the second highest score meanwhile Momo Yaoyorozu got the first highest. While Momo keeps her pride to herself, Bakugo would make a baseless claim the she is making fun of him. So Bakugo would proceed to attack Momo out of jealousy.

- Momo would be in a lot of pain from taking an explosion to the face

- Jiro, Kaminari, Mina, Sero, Tsuyu and Ida would get pissed and try to intervene but it probably won’t amount to anything

- Deku would probably try to intervene but Bakugo find an excuse to fight him

- Uraraka would direct her attention to Deku if he got attacked by Bakugo; ignoring Momo’s condition

- Mineta would make another perverted comment

- Todoroki wouldn’t do anything in this scenario(Good luck Todomomo fans)

- Sato and Tokoyami would just comment on how Bakugo’s attitude is ridiculous and not do anything else

- Kirishima would probably stand up against Bakugo while at the same time convince the others that his actions are reasonable

- Aoyama, Hagakure, Ojiro, Shouji and Koda would keep to themselves and not intervene

- Aizawa would harshly punish all of Class 1A and give Bakugo a light punishment

In layman’s terms, All hell would break loose.

Writing Notes: Metafiction

Metafiction - a self-conscious literary style in which the narrator or characters are aware that they are part of a work of fiction.

Often most closely associated with postmodern prose, it involves a departure from standard narrative conventions, in which a self-aware narrator infuses their perspective into the text to create a fictional work that comments on fiction.

This kind of fictional writing can appear in novels, short stories, plays, video games, film, and television.

Characteristics of Metafiction

Breaking the fourth wall: Breaking this boundary between writer and reader blurs the lines between real life and fiction. Metafiction often directly addresses the reader, openly questioning the narrator’s own story.

Self-reflexive: Authors use self-reflexivity, or self-consciousness, to reflect on their own artistic processes, drawing the audience’s attention away from the story and allowing them to question the content of the text itself.

Experimental: Metafiction is often experimental in nature, fusing a number of different techniques together to create an unconventional narrative. Metafiction can also experiment with the role of the narrator and their relationship to the fictional characters in the story.

The main purpose of metafiction is to highlight the dichotomy between the real world and the fictional world of a novel.

Metafiction can be used to parody literary genre conventions, subvert expectations, reveal truths, or offer a view of the human condition.

Often used in postmodernist fiction to comment on the world that our character inhabits, metafiction helps give a work of text more significance by providing an outward, exploratory look of a self-contained world.

Examples of Metafiction in Literature

The Canterbury Tales (1387): Geoffrey Chaucer’s classic anthology of interconnected stories that parody the conventional elements of fiction. Chaucer blends linguistic styles and rhetorical devices to craft a collection of stories within the overall story, regularly breaking the fourth wall to address the audience directly and apologize for any offense the narrative may cause.

Don Quixote (1605): Miguel de Cervantes Don Quixote is essentially a book about books. In the prologue, Cervantes breaks the fourth wall by commenting on his process of writing the book, in which he urges the reader to make up their own mind about the written text. The ensuing novel discusses the adventures of the protagonist, Don Quixote, who has gone mad from reading too many chivalric romance stories.

Giles Goat-Boy (1966): John Barth’s fourth novel is a prime example of the metafiction characteristic of postmodernism, featuring several fictional disclaimers in the beginning and end, arguing that the book was not written by the author and was instead given to the author on a tape or written by a computer.

The French Lieutenant's Woman (1969): Written by John Fowles, The French Lieutenant’s Woman is a historiographic metafiction novel about a love story between a gentleman and a governess in the Victorian era. The book features a narrator who becomes part of the story and offers several different ways to end the story.

Slaughterhouse Five (1969): In Slaughterhouse Five, Kurt Vonnegut includes his own voice as a character in this non-linear narrative. The main character has been “unstuck in time,” oscillating between the present and the past with no control over his movement, emphasizing the senseless nature of war.

Gravity’s Rainbow (1973): This story by Thomas Pynchon is the poster child of postmodern literature, using a complex, fragmented structure to cover various subjects such as culture, science, social science, profanity, and literary propriety. In this particular narrative, Pynchon questions history and how it gets created, and also how it affects both society and the individual.

Source ⚜ More: References ⚜ Writing Resources PDFs

Bakugou stans who hate Endeavor and Endeavor stans who hate Bakugou make me laugh.

Because when you get down to it, they both benefit from the same things: in-universe privilege, narrative advantages, and plot manipulation. Their arcs enable each other in a way, they're both abusers being given more exposure and grace than their victims. They're both constantly being propped and accepted by the other characters despite being horrible people.

Criticizing one and not the other is obtuse. They're cut from the same exact cloth, the issues with their characters are nearly identical. And the focus of both their characters contribute to the overarching problem of MHA; not only pandering to abusers but pandering to those born privileged and who knowingly abused that privilege. And neither had to face actual repercussions without being protected by the author.

The only difference between them is in the literal sense; Endeavor is a worse person morally while Bakugou is a worse character narratively.

They both still suck ass

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Kaminari and Tsuyu’s underutilisation really grinds my gears because they had SUCH potential to be really interesting characters who would have fleshed out areas of the story that were otherwise lacking. Like just off the top of my head:

Kaminari has a pretty high social intelligence. He’s generally pretty good at diffusing stressful situations, handling difficult people, and connecting with others regardless of their origins. All of which are skills it would have been REALLY useful for Deku to develop if the end goal was for him to save villains. Additionally Kaminari’s struggle to control and utilise his very destructive quirk, which effectively damages him if he uses it too much, could have acted as a more open, smaller and closer to home comparison to Dabi’s situation, providing the main cast with a starting point for understanding some of what he went through.

Tsuyu is really the person who should have been given the mutant plot line. Unlike Shoji, she was a character we’d actually spent time with, and even if the plot line was last minute, Tsuyu had in text things that could be built off, like her difficulty making friends due to her appearance, and the fact she’s shown to be hesitant of using certain powers (like regurgitation) because she feels they’re gross. Additionally, Tsuyu internship seemed to be setting her up to be a sea based hero, an environment that people often (famously) need to be saved from, but also an environment where heroes will always be needed even if their jobs lack the glamour of villains to fight.

Yeah, I agree.

Tsuyu was an early favorite of mine, so I was really sad to see her fade into a really lame storyline where she could add nothing.

I think both Tsuyu and Shoji could have been used in the mutant plotline (and Tokoyami + Kouda), but it also should have been built much earlier - showing microaggressions, slowly weaving in the type of discrimination that heteromorphs face. And it should have been resolved better than telling heteromorphs to be "good victims" and solving it by giving Shoji an award.

And yes, Tsuyu absolutely should have been a sea-side water-based rescue hero and not continue to exist to be Ochako's emotional trashcan in a wildly imbalanced "friendship" well into her late 20s.

Kaminari to me actually had some nice highlights in that he was one of the only students ever showing emotions like fear in battle situations (like he did in the PLF War). What I really wanted is a pay-off for his friendship with Bakugou. I think it would have been awesome to see him defend Bakugou's body when the Twice clones swarmed Floating UA and restart his heart in the end, instead of the self-exploding sweat nonsense.

FROG EYE KOKUSHIBO

*turns him into a pin*

yesh I made this hes so silly goofy

moiii :)

Goodness gracious