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theorynexus · 4 years

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Retrospective Analysis of Dirk:

After the initial thoughts I had this morning, following some light (re-)reading, I have come to various conclusions: The role that Dave Strider played in the Meat Epilogue was nearly identical to that that Dirk’s Bro (Alpha Dave Strider) played in the story--- DOOMed rebel fighting against the rise of another dictatorial Crocker. I am sure that Dirk realized this, both considering the fact that this was an echo of Dave’s soul across the multiple instances of himself, and because he partially engineered this eventuality. Intriguingly enough, this might imply that Rose likely would have sided against Crocker (Jane) if her ascension had not incapacitated her and Dirk hadn’t been puppeteer-distracting her at the time (for reasons beyond her connection to Kanaya). More importantly, it helps establish an important further parallel: Dirk acted as the puppetmaster in the shadows, essentially controlling the election and determining its outcome from the beginning. Lord English remained the most important force in the Alpha Kids’ world and session in much the same manner, despite )(er Imperious Condescension’s attempted Rebellion. Both individuals were playing broader and longer games than the women they were manipulating to suit their purposes. Though Dirk’s purposes have not yet been revealed to the fullest extent, Jane Crocker had a narrower perspective that failed to grasp the true nature of the battles going on and underestimated her “supporter” ‘s power and intentions. This relates to another way in which Dirk Strider and Caliborn/Lord English: Both of them represent iterations/avatars/fulfillments of the idea of Calmasis--- both tricked a Calliope into losing a major confrontation by making her confuse an attack on one piece with that of another (a major short term/immediate objective--- an attack on a queen [in Dirk’s case, Jake English/the election] ---with an attack on the king [Alt!Calliope, who acted as essentially the commander of the forces opposed to him]); furthermore, and more importantly, both act as protagonists and antagonists to the story at the same time (villain and anti-hero). Dirk presumably sees himself as working towards the perpetuation of reality by forcing more conflict into an otherwise ended story; or alternatively, sees himself striving for freedom in opposition to causality and enslavement to cosmic will (which would jive well with his Kamina-esque aesthetic). Meanwhile, Caliborn/Lord English obviously served as the main villain of Homestuck, but were also the protagonists of their little side adventure and was trying to develop himself and expand his horizons despite his severe disadvantages, much the way the Kids and Trolls did. Dirk’s fulfillment of that role may have actually been why he downplayed the importance of Complacency of the Learned in his conversation with Rose just before he began to subsume her will in earnest. Of course, that is somewhat speculative, and hard to prove, one way or the other. ... Regardless, upon making these sorts of connections, I began to think about whether Dirk was intended to become a villain from the moment he was introduced, and/or relatively early on. Andrew Hussie seems to have a habit of working out many plot details a great deal in advance (see the Alpha Kids being hinted at as early as Act 4 with Jake’s letter to John, Doc Scratch probably being intended to have been/contained at least an iteration of Dirk from the beginning [as shown via his comment to Rose that she ought to think of him as a kindly human uncle figure-- shoved in our face via a certain Truthsplosion]), so the idea didn’t seem all that farfetched. After all, as referenced in the above parenthetical reference, Doc Scratch shows that Dirk always had at least the potential for villainy in him, under the right circumstances. The first thing that jumped into my mind (other than the fact that Bro is a bit of a dick, I guess, and the early narrative of Act 6 emphasizes the fact that this is in fact the kid version of Bro quite a bit) was the fact that Dirk’s introductory period created clear parallels with two trolls of a highly corrupt moral character--- Vriska and Equius: Beyond the obvious tendencies to manipul8 others and his willingness to “cheat” in certain ways (defeating Squarewave in a rap battle bit exploiting his weakness to liquid shorting him out, teleporting his head to Jake for the revive+kiss with the intent of forcing a start to their relationship that way, et cetera) Dirk is also pining for a Page who he attempts to force a redrom with (more effectively, in his case, at least in the short term), and whom he attempts to “groom” by pushing challenges that the Page is clearly not prepared to face his way (Brobot’s awkward difficulty settings parallel the FLARP encounters Vriska gave Tavros). That Vriska and Dirk’s first on-screen kills were both decapitations is probably a coincidence. As for Equius: There is the wife beater that Dirk sometimes wears, the similarities between horses and musclebeasts, the fact that both build robots whom they then face off against in lethal combat, the fact that both wear shades and are initially blacked out upon introduction (though this latter matter is of less significance) the fact that both have dominating personalities and a secret kinky submissive side (albeit these play out in different ways for the two), the fact that Brobot and Aradiabot both take out their “hearts” and POUND POUND POUND them up dramatically (note: though this is a bit of a stretch, the parallel makes the affinity’s intention obvious), their willingness to lie and take extreme measures (Equius considers lying and double-crossing to be in a blue blood’s nature and/or their “superior” culture; Dirk outright tells Jane that one of three statements he is making is a lie, and the only one it could possibly be is that he believes that Roxy’s decision to blow up Jane’s computer as a way to scare Jane away from playing was too extreme [meaning that, since this was a lie, he is absolutely willing to go to such extremes to get the job done--- as shown later with his willingness to decapitate himself, publicly display the fact that he’d killed Hegemonic Brute, et cetera])... and most obviously+ominously, his declaration to Jane that while she was going to remain the group’s leader as far as everyone else was concerned, he was going to be the person controlling things from the shadows (which is a reversal of Equius’ demand that Aradia be the shadow leader for the Blue Team, but obviously calls him to mind via allusion/reference). Now, while a case can be made for either of these characters not being that bad, and I am personally someone who likes and feels for Vriska quite a lot, I will be the first to admit that she is the closest thing the trolls have to Caliborn or Dirk (Gamzee doesn’t count: he’s has a mental breakdown and is basically brainwashed by LE via Lil Cal; he’s not a planner or someone who went out of his way to embrace his “turn to the dark side” of his own volition--- if you can call it that, for Caliborn; you know what I mean). As for Equius: he was highly violent and could have been quite the menace, if it weren’t for his moirail. He had a generally demented mentality. Neither of these are the sorts of comparisons you want to be made with a character being painted as particularly heroic and good. Next comes the fact that, as I have discussed previously, Dirk Strider and Caliborn/Lord English have been deeply entangled with one another’s fates. Caliborn liked Dirk the best out of all of the Alpha Kids, it was ironically Dirk who ended up defeating him in the end (in both the form of soul trapping and via ARquius). However, it was also Dirk who provided Caliborn with the mechanical leg that allowed him to escape (and presumably have confidence in the idea of escape) from his SAW Room Death Trap binding with Calliope. Presumably, either Dirk or AR must have figured that that was the intention behind the request/present, at some point. (I rather doubt it was something that Dirk knew the implications of at the time, but I wouldn’t necessarily rule out that possibility. He might not have cared, especially since that was years before the Alpha Kids began their session, and he/they might not have had much of a bond with Calliope, at that point. Not that he ever got all that close to her, generally.) Note: Caliborn’s favor toward Dirk does not necessarily suggest anything inherently wrong with Dirk, but it helps set him apart from the others. This is just another warning sign suggesting something “off” about him. Dirk’s “I have failed,” before he went wandering off into the glitches and self-destructed in the [S] Game Over. version of the Alpha similarly can be interpreted as hinting at his God Complex/Megalomaniac tendencies. It seems a logical extension of his general personality that he wouldn’t be able to settle down and enjoy a peaceful life in a “perfect” paradise planet (which is probably one of the reasons he decided to leave it). I suppose this is just another thing that wasn’t generally thought about as the community was so focused on the actual process of getting to the victory point, and what that would mean? At the very least, I don’t remember any such considerations. There were certainly warning signs. The biggest factor that convinces me that Dirk’s villainy was planned quite early on (and which thus supports to some extent the idea that Jake is meant to be his eventual foil) is that Dave, after seeing his Bro’s corpse, said, “I’m not a hero, my bro was.” This was almost certainly made at a point where Dirk Strider was conceptually developed/invented already, definitely was at a point where Dave’s baggage surrounding heroism and its connection with how he felt toward his brother was in play, and most certainly was well after the audience could have seen that Bro was abusive and sortof a dirtbag. Thus, there was already some irony, there. However, he also called John a hero in that same statement, so it clearly was not totally derogatory, and so the irony could be increased. It was, as shown by the fact that the Alpha Kids were not “Heroes” of their session, but Nobles. This was not enough. Dirk has eventually turned into the anti-hero and villain of his own story. Perhaps this might be enough; however, it wouldn’t quite feel fully “right” if he hadn’t been intended to have been so from the beginning-- and perhaps that’s actually why their group were called Nobles in the first place, not only because of the fact that they couldn’t complete their session without the others, but because not all of them were heroic at heart. [Non-sequitur: I wonder if LE would have been anywhere near as dangerous, if not for Lil Hal’s capacity to make incredibly complicated calculations {needed for Furthest Ring travel, among other things, presumably}, and his capacity as Doc Scratch to pave the way for LE’s arrival. This would seem a very similar relationship to how Dirk facilitated Caliborn’s entry via the leg, in retrospect.] ... While the section immediately above isn’t as well-developed as I’d like-- mostly because I’m tired, distracted, and it’s been at least 3 hours since I started this post in the first place, and I want to at least get the last part that I thought of in before it leaves my memory. I may add to/edit in more for this post, or post follow-up material later, when I remember more that might have slipped my mind on this subject/I think of more. Anyway!--- as I was considering all of this, a very intriguing thought popped into my head: While I had initially assumed that it was simply to not rehash old material and/or that it was to keep us with John for the sake of narrative consistency, since I now know that it was Dirk who was narrating this segment of the story, and thus it was a narrator with bias and interest in the facts being related, it has occurred to me that it is actually quite odd for Dirk to omit some relation of the actual facts of the Caliborn’s Masterpiece encounter. We are placed by his hand at a place even further removed from the reality of the battle than the clearly biased and somewhat embellished account that the Cherub gave of his own rise to power. This strikes me as odd particularly given the fact that it is Dirk’s great moment of heroism, which might serve as a sort of counter-balance to much of his otherwise morally questionable deeds. Given his egotism (and the fact that there would seem to be no OOC reason strong enough to justify such an omission on the author’s part, since this means that there is no faithful depiction of the battle shown to us in the story), this makes it seem as if Dirk chooses to not show the conclusion of this battle for some specific and tangible reason. I would not suspect it to be out of embarrassment, a desire to conceal his identity longer, or plain trollishness (though the last of these strikes me as almost being fitting). Rather, I wonder if there is something worth concealing in the end of this encounter. Maybe the Alpha Kids actually lost, and Dirk’s placement of Cal into Lil Cal was an act of capitulation. Maybe Dirk otherwise willingly and knowingly created Lord English via the soul trap at the behest of ARquiusprite, or said sprite tricked him into doing so, claiming it was the only way to defeat their opponent (which it was) and omitting the consequences. I do not know which of these, if any, is the correct answer, but Dirk being the one to choose to omit the details does, I shall repeat, seem extremely fishy to me, all things considered. ~~~ While I will not put a summary here, I would just like to say: In retrospect, the Meat Epilogue has done more than the requisite “adding on to the story in appreciable ways and tying up loose ends,” but has served to add depth to an already incredibly deep story and caused me to reconsider and better understand characters and themes which I had not previously delved into so deeply before. I wonder, now, if Dirk Strider and Lord English shall prove to have been even more deeply connected than it has seemed up to this point, once I have reached the end of the Candy Epilogue and thus will be allowed to properly investigate what’s going on at the beginning of Homestuck^2. Final thought: Hmm. So much of his imagery speaks to him being a sort of twisted version of Kamina (embodiment of masculinity, warrior spirit, noble sacrifice, heroism [not being able to live up to those last two, and lampshading to some extent his frustration at that, in Epilogue Part 7]), but it also vaguely seems to me that he at least sees himself as being like Simon--- this is to say, leading the charge for freedom against the forces of determinism and the chains of repression that would hold back humanity (and/or himself). It’s a very striking thing, especially considering the fact that it is only Simon who takes the fight to space in a fancy ship, once what seems to have been the final villain was defeated and the real threat began to loom on the horizon. I wonder how this contrast will develop in the future, and how noble his true ideals may in fact be. ~~~ Major Edit:

What. The heck. How did I not remember this blatant nonsense? Fricking... darn it.

#Homestuck Spoilers #Homestuck Epilogue #Meat Epilogue #Homestuck Liveblog #Character Analysis #Retrospective #Toppa Tengen Gurren Lagann #Bro Strider #Dirk Strider #Homestuck Theory #Caliborn #Calmasis #Themes #Allusion

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neongreengummiebears · 4 years

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Thoughts on Isaac and Representation

I don’t have a point- let me just say that now. This also stands to be perhaps my most controversial post, but that’s a risk I’m willing to take in order to get my thoughts out. This will be long and rambling. You have been warned.

With the release of Sex Education Season 2, fans have been introduced to a character named Isaac, to mixed response. He is Maeve’s new neighbor, a barrier to her relationship with Otis and potentially a new love interest.

It’s not unusual to introduce a new love interest into a show to prolong the drama and keep the tension will-they-won’t-they romance alive. In season one we Otis in love with Maeve, thwarted by the fact that Maeve was dating Jackson, and that Otis never really believed that Maeve could like him anyway. Resigned with this fact, Otis attempted to move on with Ola who had appeared conviniently around the time that Maeve had realized her feelings for Otis and ended her own relationship. It was all very ships in the night.

In season two we get a sort of role reversal: This time it’s Otis in the relationship and Maeve left pining, thinking that he could never love her. It makes sense that this would be the time to introduce a new love interest for Maeve, sort of HER Ola, if you will. The difference here is that Ola is sweet and wonderful and Isaac is sketchy AF.

I hate him, and I’ve made no secret of hating him, because personally I find him sketchy and manipulative. There are other fans who like them though and ship the two of them. That’s fine; it’s a perfectly valid opinion, and shipping wars have been around as long as fandom. That’s nothing new. There is another issue though...

Isaac is in a wheelchair.

While that isn’t necessarily a problem in GENERAL, it is something that effects the way his character is handeled, as well as viewer interpretation. It’s my experience that in media, certain characters are usually gifted a sort of “plot armor.” While that term is most commonly directed towards characters who play too pivotal a role in the story to be written off, I find it often also applies to characters who fit into the role of “representation.”

But wait, you might say, that doesn’t sound right. POC and queer characters get killed off all the time. It’s practically a horror movie trope, and “Kill your gays” didn’t come from nowhere. To which I would reply: Exactly. We have all seen it a million times, have raised it as an issue, and I would like to think that as a society we are attempting to move past it. That gay characters are less likely to die because of the attention brought to the “kill your gays” trope.

It’s my understanding that these common minority tropes originally stem from their initial introduction into media. At first they didn’t have any representation at all, and then gradually they were allowed to be incorporated in media in small ways that didn’t offend anyone’s delicate sensibilities. A very famous example would be the inclusion of African Americans: At first they weren’t in movies at all. Then they were(sort of?) but they were represented by white actors in blackface. Then when black actors were allowed to play their own roles, those roles were harmful stereotypes; You wouldn’t get a black actor playing a heroic lead, but he would be the brutish savage, or the “mammy” character. They were either relegated to minor side charactes, comic relief, or the villain- roles that didn’t challange the views of society.

There was a similar experience in regards to homosexuality in films, where once gay characters started appearing they were portrayed as sexless comic relief or villinous. The general idea behind it seemed to be that there could be homosexuality in films, but it had to be shows as wrong and corrupt, or destined to end in tragedy. After all, how could anybody in such a relationship possibly be happy? Ridiculous.

While media (and society) are still making strides towards diversity and inclusivity, you can’t say that media isn’t in a better place now than it was even ten or twenty years ago. I was born in the 90′s and the amount of difference I see even in the twenty-seven years I’ve been alive is actually a little astounding. I can’t even imagine the difference for people who are older than I. Even just since I graduated highschool (2010) I’ve seen such a huge difference in regards to representation across the board and while we still have a ways to go we are certainly far from where we started.

But what does any of this have to do with Isaac? He isn’t a POC, he isn’t in any way queer. No, but he is disabled which is another sort of representation and one that doesn’t get as much publicity. As such it is admittedly one that I don’t know as much about, but If I had to guess it’s probably because theres never (to my knowledge) been a big court case about whether or not disabled people deserve rights. It’s never been a hot button issue in a political debate the way that race politics or gay rights have and so I feel like it hasn’t gotten as much attention. Still disability representation is still a topic that comes up in conversation when discussing media.

So what does that have to do with anything? Why was I talking about plot armor? I had a reason, I promise. I’ve found that due to the problematic history of representation, shows (at least the socially aware ones) have been taking strides to try to avoid falling into the same harmful patterns as their predecessors. Since there was a long history of POC characters being cast as villains, evil characters to be defeated by the white protagonists, there was a stretch of time there where you wouldn’t see a single POC villain at all. It wasn’t quite true equality, but it was an effort to combat the harmful stereotypes that the media had perpetuated for so long.

Eventually we got to a place where it was generally acknowledged that you could have a POC villain as long as they weren’t the ONLY POC in your entire movie. The same goes for people of various gender and sexual identies. You can have a gay antagonist, but it’s impportant to include other gay people who ARENT evil to show that it’s the character that is evil, indepent of his sexuality. This isn’t seen as often however, probably due to the relative novelty of the inclusion of queer characters, which is why my examples for these points are POC characters who have a comparitively longer history of inclusion. That’s not to say that the history has always been positive, just that queer inclusion is a newer development and active disability rep seems even more recent.

I apologize if I’m phrsasing any of this poorly, but I’m hoping that you’re tracking the main points. Now. I repeat: What does ANY of this have to do with Isaac?

Isaac is, as of now, the only disabled character in Sex Education. As such, I feel like it’s kind of expected for him to be given “plot armor”, not in regards to being killed off but in his depiction. As the show’s only example of disabled representation, as well as his introduction as a love interest for Maeve, I feel like the expectation is that he would be a protagonist. At the very least he would be a good guy. And maybe some people think he is? I don’t know, he has his fans, but I’m not one of them.

This is the part of my post where I stop having a point and just start listing my thoughts.

When I met Isaac I expected to like him and I wonder how much of that stemmed from the fact that he was in a wheelchair and as such I expected that the show wouldn’t possibly portray him in a negative light. Even when he was rude to Maeve in the beginning I was willing to forgive it- I don’t mind my characters being prickly and Lord knows no other character on this show is perfect. And he was handsome, and snarky, which are usually traits that I love and I really REALLY expected to love him. However as the show progressed he just gave me bad vibes. I find him manipulative and untrustworthy.

I’m not going to go into my feelings about Isaac because I’ve already made one very long post duscussing his character, but instead I’d like to discuss his role in the show and how his disability factors into that role.

As I said before, it makes sense that this season would introduce a new love interest for Maeve. It’s not a terribly uncommon formula in shows like these. Considering that Maeve is considered the “bad girl” (even though we all know she’s a cinnamon role that just deserves ALL the love) who has self esteem issues and an inaccurate view of herself, I was honestly surprised that the show gave her such a cute, healthy relationship with Jackson. Were they perfect for each other? I don’t personally think so, but there wasn’t anything inherently problematic in their relationship. Jackson is a legitimately nice guy, I wish him the best and he was a pretty good boyfriend.

It wouldn’t be unheard of though to see her fall into a more toxic relationship, and while that’s a very strong term that even I am hesitant to use toward Isaac at this point, it does look as if the groundwork might be there for that kind of subplot. It could really go either way at this point- maybe Isaac’s actions are influenced by his own personal insecurity and he would be much nicer once they were in a relationship. Or maybe he would be scared of losing her and things would get worse. It’s not just the fact that he deleted her message in the last episode, but that he’s seemed very manipulative throughout the entire season.

It seems to me that Isaac fits the stereotype of the abusive boyfriend- He’s handsome and charming, but also very skilled at manipulation. If you watch their relationship, it also falls into a lot of the same patterns as romantic comedies. That’s not meant as a compliment however, a lot of romantic comedy relationships are built on very questionable foundations. The leading men do a variety of unethical things, but are forgiven on behalf of being handsome and funny and those actions are forgiven and even romanticized for the sake of the love story. This also reminds me of Maeve and Isaac. How often does he push himself uninvited into her life? How often does he managed to get out of facing the consequences of his actions?

It’s a fairly common trope tbh, and the only thing that isn’t common is that he’s also physically disabled. Which honestly lead me to doubt whether or not he was being sketchy or not. Like, could I be wrong? I eventually concluded that I don’t think I was, but it leads me to consider the fact of his disability on viewer perception.

Are viewers more likely to forgive his behavior because his wheelchair paints him in a more sympathetic light? That isn’t to say that everyone who likes him only does so because of the wheelchair - I’m sure some people just legitimately like him- but I wonder how many do? And why? Is it because you feel bad for the character? Or is it because, as our only disabled character, we are programmed to view him as a protagonist? Is his disability part of an effort to be more inclusive, or to subtly subvert our expectations regarding his character? Neither? Both?

If he is indeed going to be an antagonist then that raises further questions in regards to Isaac as disability representation. On the one hand, it’s not like being in a wheelchair automatically makes someone a good person- as with any other demographic of people there are going to be nice guys and assholes.

Is it better that they’re treating him like they would anyone else? Like, he’s just a regular guy who happens to be in a wheelchair, and the guy that he is, is prone to questionable behavior. Is it better that they’re treating him the same as they would any other able bodied character in this role? Or, as their only depiction of a disabled character, should they be portraying him in a more positive light? I personally find him to be very manipulative, and often he uses his disability as a part of his manipulation. Is that just an example of Isaac being opportunistic and using the resources available to him, or is it indicitive of a larger problem with his depiction?

Have physically disabled people faced the same issues in media as other groups, in that their depictions were historically negative? I’m going to be honest with you here, that’s not a question I know the answer to. I haven’t seen them largely portrayed as villains, but that doesn’t mean that it hasn’t happened.

I don’t know the answer to any of these questions, and I won’t until I see where season 3 plans on taking this, but these are the thoughts that have been circling my mind since I finished season 2. Do you agree? Disagree? Did any of this even make sense?

#sex education #isaac #maeve #sex education season 2 #sex education spoilers

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sazorak · 7 years

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My Hero Academia’s hero and villain are not very good

My Hero Academia, Kohei Horikoshi’s shounen manga take on Western super hero comics, has been running nearly three years now. I am something of a binge-reader when it comes to media; I don’t care for the drawn-out schedule that comes from following serialized releases. But My Hero Academia (alongside One Piece, Berserk, and One Punch Man) is one of the few that I actively follow. Lately though, I’ve been wondering why.

It’s not that the comic has taken a particularly egregious downturn in quality or pacing – it’s been fairly consistent all in all. The current arc about the class becoming intern sidekicks has been interesting, and it’s been moving at a rather brisk pace. The issue I’m struggling with is more fundamental. It’s a problem My Hero Academia has had since the beginning, and it’s done little to ameliorate over time.

The main protagonist and antagonist of My Hero Academia are just not very good.

The lead of My Hero Academia, Izuku Midoriya, isn’t a bad character per se. The angle of an ordinary kid born into a society of supermen finding himself entrusted with power by his world’s urhero is a pretty good one. It’s an underdog story with tons of good karma built in as Midoriya is forced to struggle to surpass those who had mocked his lack of abilities. It’s also good for hitting those power-fantasy notes that are so crucial to making the shounen genre work. He’s earnest and likeable. It’s easy to root for Midoriya and put yourself in his shoes as he is manages to pull himself to the front of the pack by sheer heart and willpower alone. These are all good attributes for a protagonist in a heroic work!

But as time has gone on and as his powers have developed, he has ceased to be the underdog. Where he was once only keeping up with his classmates’ inborn genius by hard work and determination, now he’s not only the most driven but also the most talented. Midoriya’s climbed what should have been the first foothill on his journey to the top, and we’ve found that there is actually nothing else on the horizon— the foothill was the mountain. Midoriya’s journey of growth being essentially complete is dire, because it’s all Midoriya actually has: It turns out he’s REALLY boring.

Midoriya’s character revolves entirely around his desire to become a hero and imitate the super hero paragon, All Might. That’s it. This is literally all there is to him. He has no other interests. No particular ambitions beyond the dream to be The Best Hero. The only real struggles remaining for him are narrative happenstance and the gradual power-ups that are practically prescribed at this point. There’s nothing else to his story.

Here’s an example: In order to convince All Might’s former side kick to give him an internship, Midoriya has to make him laugh. This isn’t going to be easy; the sidekick is a straight-laced nerd, AND he has the ability to see the future. This concept has a lot of good goof-potential. You could conceive Midoriya in all his earnestness constructing an elaborate comedic scenario that, while perhaps falling on its face, would at least show off his good qualities. Maybe he’d screw up and it’d result in the kind of unplanned comedic pratfall that would be easy for the sidekick to laugh at.

Instead, what does Midoriya actually do? He does a bad impression of All Might of course, because “I want to be like All Might!” is his entire character! It pisses off the sidekick so much that the whole laughing angle is completely abandoned, and instead a scenario is contrived where Midoriya has to steal the approval stamp from the future-seeing sidekicks hand. Ultimately? He gets the internship because he didn’t damage any of the All Might memorabilia in the room. Midoriya’s All Might-mania would be a funny gag if it wasn’t the crux of who he is.

The only other aspects to Midoriya’s character beyond his hero-crush is his very typical shounen budding romance with Ochako Uraraka (that has not and will not ever be developed until the very end of the story, as is the staid shounen manga way), his willingness to occasionally break the rules in order to save lives (and then let McGruff the Crime Dog unironically say that he should have let his friend be murdered in front of him), and a mostly one-sided rivalry with his childhood bully Katsuki Bakugo. Only the rivalry actually feels that impactful to the story, and that has more to do with Katsuki’s personal arc than Midoriya’s.

The issue isn’t that Midoriya doesn’t have any major flaws necessarily – though that certainly doesn’t help – it’s more that there’s not much else to his personal story at this point beyond the narrative events unfolding before him. He fundamentally lacks agency and meaningful personal struggles. Things happen, and he reacts to them; his arc is essentially complete. It’s a foregone conclusion. His single-mindedness makes the story flat in a way that it really need not be.

Narratives revolving around villains doing nefarious things tend to lead to reactionary heroes, but the best heroes are ones who are more than just the mask—they’re also people. Peter Parker has a day job, has to deal with people trying to constantly hunt him down and kill him, and has to fight to balance his romantic dalliances with the responsibilities of being Spider-Man. Bruce Banner may fight the occasional radiation monster, but the Hulk’s story is more about his struggle with his own inner demons than him punching real ones. Hell even Superman, the poster Generic Nice Boy, tries to have a personal life beyond the cape and liven up his Fortress of Solitude.

There’s more to good stories than Good Man Beats Up Bad Guy. While personal struggles can be completely ancillary to the action at hand, they can also be far more challenging for the hero to surmount and far more engaging. Even if the are trivial, that doesn’t make them unimportant. Diversions may not matter much to the ongoing “plot” always, but they give the characters character. Something as inconsequential as the heroes going out to get Italian food can be huge as far as characterization goes; it speaks volumes to the interests of the characters, it humanizes them, and makes their situation more relatable.

The tragic thing is that there are major characters in My Hero Academia who would make for far better protagonist material than the actual lead if the story had been built differently. The frog-girl Tsuyu Asui is a good example. She’s been raising her siblings on her own while going to hero school due to her parents being constantly away at work. Her powers seemingly have low potential (she does whatever a frog can do), but she rises to the top by being smart with them. She wants to become a hero to help people— but seemingly doesn’t have too much of an interest in getting into the bad-guy fighting side of things. Throughout the story, she’s also wrestled with the whole legality / morality of saving people without a license, which frankly the most under explored aspect of the narrative by far given how weird and complicated the subject matter is. These are all interesting angles that easily have been built out to create a different, more engaging My Hero Academia.

Not having an engaging protagonist for your narrative puts a greater onus of the villain being interesting. For My Hero Academia, this is a BIG problem. If the hero Izuku Midoriya is uninteresting, the main villain Tomura Shigaraki is outright lame.

As is the super hero convention, Shigaraki is dark mirror of Midoriya— where Midoriya is a child who looks up to heroes and wants to grow up to be like All Might, Shigaraki is a man child who never grew up, doesn’t like heroes, and wants to murder All Might. And just like Midoriya that’s literally all there is to him. He has some kind of tragic past due to heroes not saving him when his parents died, but even that’s paper thin. Ultimately, he’s just a petulant kid who never grew up; he occasionally sends mutants his spooky adopted dad made for him to punch trucks. Because that’ll show ‘em.

The narrative openly acknowledges the fact that he doesn’t have any particular beliefs beyond disliking heroes. Other villains with actual raisons d’etre confront him about it, and he no joke throws a tantrum over the fact that they have views. Like Midoriya, the single-note nature of the character comes across as borderline comical. (Also: his character design looks stupid.)

Villains, like protagonists, need motivations to be compelling. That motivation can be as small as being a crazy mofo or just plain greedy, but it should at least be understandable. Shigaraki isn’t a revolutionary— he’s a child with a gun. An inordinate amount of power has been thrust into his hands for no particular reason. That doesn’t actually make him feel like that great of a threat to society as a whole; it just makes him a deadly nuisance if anything. Earthquakes are unpredictable and can hurt a lot of people but that doesn’t make them particularly compelling villains.

Villains need to be likeable. Not necessarily as a people— far from it in most cases, really. But they need to have some trait that is inherently admirable to make them work as the foil for the protagonist. In X-Men, Magneto is a fantastic villain because he’s ultimately a flawed idealist; his charisma and the fact that his views sometimes seem attractive is what makes him so compelling. He’s complex. Single-mindedness too can be admirable if it’s portrayed well. Kira Yoshikage, despite being an outright serial killer still has admirable traits in just how ruthlessly efficient he is at maintaining his “ordinary life”. That doesn’t make him less reprehensible— if anything those traits are what makes him so potent a threat, far more than his murderous tendencies.

Totally uncharismatic antagonists can work as small-bit villains – but there’s a limited lifetime for which their existence is tolerable. Past that point, their continued position as a central part of the narrative just becomes annoying, if not totally implausible. How are we the audience supposed to believe that Shigaraki can amass followers and inspire loyalty in them when we cannot muster the slightest bit of admiration for him ourselves? He’s not even shitty enough for it to be played up for comical effect!

This situation is all the more crazy when you remember that My Hero Academia serializes alongside One Piece. One Piece’s Oda Eiichiro has writing good bad guys down to a science. His bad guys range across the whole spectrum, from the immeasurably bad at their job to the point where you’re actively rooting for them (who the hell doesn’t like Buggy the Clown?) to the dark-mirror of the lead that you just love to hate (Blackbeard you monstrous son of a bitch), to a whole heap of over-zealous enforcers of law and order (go to hell Akainu). Oda’s a master at manipulating the audience’s feelings and creating characters that work in both short and large doses. Characters with short-lived appeal are dealt with appropriately, while those more sweeping interest and unexplored complexities are kept around for years. Oda will occasionally even turn past arc’s main-villains into bit-players in ongoing ones. Knowing when and how to subvert expectations like this speaks a lot to Oda’s abilities at constructing characters and narratives.

The sad thing is that I just can’t see Kohei pivoting with My Hero Academia. The trajectory My Hero Academia is on looks to be the one it’ll stick to for the future. The foregone conclusion of Midoriya’s journey is in plain sight; while I’m sure the ongoing story will take some amount of twists and turns, there’s not a lot of mystery left in how Midoriya fits into it. Shigaraki taking his place as the main villain is outright uninteresting and unappealing at this point. While the actual writing of characters and the flow of the chapters is good, the broader sweep of the work viewed from a weekly-perspective now leaves something to be desired.

I suppose there’s nothing left for me to do at this point than to let it fall to the wayside and just read at my own pace when more of the material is built up. Actively following a work as it releases requires considerably more personal investment, and I’m not sure I can muster that for this story anymore.

Oh well!

#think piece #nonfiction #writing #my hero academia #midoriya izuku #shigaraki tomura #super heroes #manga #anime #media

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