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#mha 319
bakuhatsufallinlove · 5 months
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I hear people are rustling about again saying that if Katsuki called Izuku "Deku," it would be a regression of character development.
Other people have talked about it before, but I'm here to remind you that 1. Katsuki has already called him "Deku" again, and 2. it is actually further proof of his development.
This isn't an "old habits die hard" situation -- we already got that in chapter 327 with "De-Izuku!" No, this is something else.
Why?
Because "Deku" is Izuku's hero name.
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Chapter 345
Katsuki is communicating combat information here, so he addresses Izuku as a hero, as opposed to how he would address him in a personal context, and he still uses it when talking to Best Jeanist.
If anybody cares about being addressed properly by their hero name, it's Katsuki!
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Chapter 319
He bristles at Yaoyorozu for calling him Bakugou-san during their mission to rescue Izuku.
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Chapter 346
The first time Mirko calls him the wrong name, it's during the heat of battle, so he actually ignores it and answers her with the pertinent information.
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Chapter 347
He only argues with her the second time she calls him by the wrong name when they are regrouping.
And, wait, okay, look, I actually want to point out something hilarious here--in the English release, they had Mirko calling him "Dynamight," dropping the Great Explosion Murder God part, but in Japanese she actually says Dainama (ダイナマ), not Dainamaito (ダイナマイト), both times.
Which means she shortens his hero name not just by ditching the grandiose title, but also by removing the All Might reference.
I like to think that is what he is most pissed off about LOL.
(Bonus: I highlighted in blue where he calls her ウサギやろー, usagi yarou, meaning "bunny bastard." The word "yarou" is typically an insult directed at men; the etymology itself is masculine. The official English release made this "bunny gal," I'm guessing to avoid readers walking away with the notion that Katsuki is confused about Mirko's gender or that he was insulting her gender. In reality, Katsuki is simply a progressively-minded foul-mouthed youth who does not discriminate between bastards!)
Anyway, see, we have already been shown how Katsuki refers to Izuku when he isn't communicating battle information.
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Chapter 362
He uses Izuku's name out loud to himself as a personal aside right before his moment of heroism.
I think everybody is missing out on a much more delightful question. Katsuki has used Izuku's hero name, so are we ever going to get to see Izuku use Katsuki's?
And if he doesn't, if he just blurts out "Kacchan!" on the battlefield like the damn nerd he is, will Katsuki correct him?
I mean, we've never once seen him demand Izuku stop calling him by his childhood nickname, so is he just gonna let that one slide?
What a funny fucking exception that would be, huh?
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missingbk-dkhours · 3 months
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"...I'm fine."
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denkisauce · 1 year
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the tonal shift between the manga and the anime for this will never not be the funniest thing
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rekibae · 2 years
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i like the panel where katsuki finds izuku bc it looks like he’s taking a picture of izuku lol
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ignitification · 2 years
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Re-reading last arc, I saw this panel - and I’ll never be over their seriousness and the stubbornness of teenagers, their stoicism, and the way they eagerly took action and took responsibility for it, because Izuku was not there with them. Showcasing their believes and the way they stand for what they think is right; and not taking the version given to them by the adults, not taking anything for granted, not feeling comfortable to have them managing the situation. The distrust in the adults having the situation at bay and being able to make their best interest, the question written on their faces because despite being young, they are still capable to take their own responsibility and step up when they think they should. Future heroes of a new society.
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sleepingpopplio · 1 year
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But tell us this… are you still smiling now?— Bakugo Katsuki, BNHA Chapter 319
original panel:
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pikahlua · 1 year
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Winner Stage-Left, or: Did you know any MHA character’s position in the frame is a spoiler?
(Subtitle: Who’s gonna stop me from converting other old Discord conversations into meta? You? YOU? Doubtful.)
Honestly it’s just embarrassing that I haven’t made this post yet.
I’ve talked before about horizontal and vertical design on the faces of MHA characters, but there’s another visual trick that’s ever-so-present in MHA--nay, in all of shounen manga and anime--that deserves at least a cursory discussion. Ever since I was a wee tyke, I noticed an odd tendency in anime to always place the winner of a fight (or...children’s card game) on the right of the screen. I never thought anything of it for a long time, but a few years ago a friend mentioned something about it to me in passing. This friend was very unfamiliar with anime but had somehow heard something about this phenomenon and its potential origins. Naturally, I had to look into it.
The research I did wasn’t as conclusive as I would have liked, but I did discover something about the topic. What I discovered was that in traditional forms of Japanese theater such as kabuki and noh, stage-left is considered a superior position to stage-right. Someone of a superior ranking to the other would stand stage-left. Sometimes this “superiority” would be as simple as social ranking or whatever.
But then you have various anime with confrontation via martial arts or sports or fights where "stage-left" can take on a different meaning.
As we explore this concept as presented in MHA, I would like to start with this back cover of tankoban #33.
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For clarity’s sake, note that Izuku is looking towards the right of the page while Katsuki is looking to the left side. Stage-left is determined by looking to the left of an actor when they stand on stage and face the audience (in other words, from the audience’s perspective, stage-left is to the right). Izuku and Katsuki in the above page are facing each other, and so on-screen Izuku would be standing stage-right and Katsuki would be standing stage-left.
But what does it all mean?
(It means Katsuki is the hero in this moment.)
I wrote above that in anime confrontations "stage-left" can take on a new meaning. Specifically, the concept of what "superior ranking" is can be played with. We end up with the story’s hero often being stage-left. Or sometimes this positioning is broadcasting who will be the winner of the match. Go watch an older anime like Dragonball Z or Yugioh and take note of each match-up: who is standing on the left and who is on the right? Then guess who wins the match. The statistics are pretty clear on this: stage-left is most often (if not always) the winner.
But in many of these older anime, the positioning of the characters remains the same for the entire match. That’s not the case with MHA; Horikoshi loves to change up who is standing where throughout a match (or dialogue, if you will), so it’s important to pay attention to what’s happening when positions get swapped around.
With regards to the above image and the events of Deku vs Class 1-A, consider who is positioned where and when. Just think about these images:
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Here in chapter 319, Izuku is stage-left. The depiction is supposed to prime us to believe he is stronger than Class 1-A, which technically he is--in a contest of each individual’s strength.
But then if you read chapter 320, you'll find that once the action starts, Class 1-A is almost always standing stage-left of Izuku, specifically when they're trying to talk him down.
The whole ice ramp chase sequence in chapter 321 shows Izuku fleeing towards stage-right while the others are stage-left and chase after him.
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And then you have this moment, where Iida passes Izuku just to get more stage-right of him. This is an interesting way to play with the “winner” side of the stage. In order to save Izuku, Iida is elevating him from the self-destructive “Symbol of Peace" back into Izuku Midoriya their classmate. Izuku, their friend and one piece of class 1-A, is meant to be the “hero” they wish to save, not the loner Deku whom Izuku tried to become.
And then we get to think about what this staging means in the apology.
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Katsuki stands stage-left, which we’d expect him to do as the forecast "winner." But this is such an interesting take on staging because Katsuki is essentially debasing himself by bowing to Izuku with his apology--but it’s in order to win, in order to get Izuku back, in order to achieve his goal of saving Izuku. It's almost paradoxical, but it's basically broadcasting to us the reading audience whom we should be cheering for: Katsuki.
This isn’t the first time MHA has played with positioning like this. The sports festival is one of my favorite examples. If you look at how the anime depicts the match-ups and who wins each match, the matches can be listed in stage-right vs stage-left format (bold names are the winners):
Midoriya vs Shinsou Todoroki vs Sero Kaminari vs Ibara Iida vs Hatsume Ashido vs Aoyama Yaoyorozu vs Tokoyami Kirishima vs Tetsutetsu (draw) Uraraka vs Bakugou
Tetsutetsu vs Kirishima (arm-wrestle tiebreaker)
Midoriya vs Todoroki Ibara vs Iida Ashido vs Tokoyami Kirishima vs Bakugou
Iida vs Todoroki Tokoyami vs Bakugou
Bakugou vs Todoroki
And if we take a closer look at the anomalous stage-right winners:
Midoriya vs Shinsou ends with Midoriya's victory, but Shinsou is portrayed as the hero we should sympathize with in the end. Thus, he wins the attention of Aizawa and the audience enough to give him a shot at the hero course, which fulfills his original goal in competing.
Todoroki vs Sero ends with Todoroki's victory, but the end is perceived by Midoriya as "sad," and the audience ends up cheering for Sero when it's all over. Todoroki is still a captive of his hatred for his father, and in that sense he is the loser.
Iida vs Hatsume ends with Iida's win on a technicality. Hatsume clearly has control over the entire match and only loses because she wants to, and even then only after she presents all the gadgets she wanted to, which achieves her goal in competing.
Ashido vs Aoyama can be considered an outlier with Ashido's win until we remember Aoyama as the unwitting traitor may have actually wanted to lose? Either that or this fight is meant as a joke to subvert our expectations because of Mineta's call to see Ashido's underwear at the start. Either way, even if Ashido starts on stage-right, she actually swings her way over to stage-left for her surprise victory at the end.
And then we have Bakugou vs Todoroki, which actually becomes Todoroki vs Bakugou as soon as the story makes it clear to us that Torodoki is wavering on whether or not he'll use his fire. Bakugou switches over to stage-left before the end, and the final non-clash keeps him there, even if that's not how he wants things to play out (he certainly would have a hard time considering himself the “winner.”)
Another one worth rewatching while keeping this positioning phenomenon in mind is absolutely “Deku vs Kacchan, Part 2.” Holy shit, they swap places so damn often, and it's always about what they're saying or doing in the moment.
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What’s wild is how in the manga, this sequence is played with Katsuki stage-right...
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...but in the anime he’s played as stage-left.
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And just think about how that affects the portrayal. In the manga version, is Katsuki being portrayed as a victim who needs saving by hero (stage-left) Izuku? Is Katsuki’s despair the trial for the hero to overcome? In the anime version, is Katsuki’s anxiety meant to be relatable and sympathetic for the audience? Is Izuku’s ignorance of Katsuki’s true feelings the obstacle for hero (stage-left) Katsuki to overcome?
Stage-left is even played with when the boys are airing their grievances! Whoever is speaking gets to occupy the hero spot:
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And of course there’s my favorite example from this face-off: the ending where stage-right Katsuki, refusing to lose, grabs Izuku's sleeve and forcefully switches them around to pin Izuku from stage-left.
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We have a winner!
These examples, of course, are not the entire list. Read the chapters or watch the episode and count how many times they swap places. It puts that whole sequence in the anime where the camera swoops around the boys as they clash in the sky into a whole new perspective (like the story-boarders just gave up on all the position swaps and pulled out the 3-D graphics in protest.)
So give it a shot next time you read/watch MHA and see if you notice these positions. I obviously pay the most attention to the ones with Izuku and Katsuki (their stage positions get played around with a lot). Consider the first anime opening when they're drawn in one positioning as kids but swap when they hit middle school. And the creek flashback scene? Izuku offers his hand to Katsuki from stage-left. And in the PLW arc? Izuku vs Tomura in the sky? Izuku starts out stage-left, but they swap when Izuku goes feral and Katsuki starts panicking. Katsuki saves Izuku by traveling from stage-left. In the final panel of chapter 285, we see Katsuki still positioned stage-left as he’s stabbed, which highlights his heroism.
Oh, and here’s the new part I’m adding that wasn’t in the Discord conversation that spawned this meta: Katsuki vs TomurAFO. I just find it so telling wherever Katsuki is positioned.
Chapter 359: Katsuki is portrayed as stage-left.
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Chapter 360: Katsuki is forced stage-right by TomurAFO...
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...but the heroes pluck Katsuki back into stage-left...
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...where he stays.
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Chapter 362: Katsuki attacks from stage-left and continues to circle around TomurAFO to stage-left.
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Katsuki is depicted as stage-left as he meets All Might’s vestige...
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...but as soon as he expresses his desire for an autograph, he unexpectedly moves to stage-right...
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...and takes a fatal blow.
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Talk about a visual plot twist!
(I also happen to think Tomura’s positioning throughout this arc is very curious, and I will continue to pay attention to it.)
Have fun with the new lens!
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anti-katsuki-lounge · 6 months
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I wonder if Bakugou’s white knights accuse someone of “being stuck on chapter 1” and the response back to them was, “Actually, I’m still stuck Chapter 319, where Bakugou, after everything that has happened, STILL finds it in himself to treat Midoriya like shit despite all that Midoriya has accomplished.” How do imagine they react? I personally think their brains would short circuit. 🤷‍♂️
I don’t know how they’d react.
Honestly chapter 1 didn’t make me hate Katsuki. The suicide baiting was gross af but when I saw it, I thought MHA would do what all good stories do and humble its rival character. It was only during Bk vs Dk 1 that I really began to dislike him and it was Bk vs Dk 2 that solidified to me how shitty of a character he is.
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raz-b-rose · 1 year
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I posted 2,805 times in 2022
That's 1,673 more posts than 2021!
230 posts created (8%)
2,575 posts reblogged (92%)
Blogs I reblogged the most:
@in-christalone
@purpleisnotacolor
@azzy-the-christian-furry
@almostswimmingdreamer
@rebelknight
I tagged 2,699 of my posts in 2022
Only 4% of my posts had no tags
#raz is a christian - 537 posts
#raz speaks out - 319 posts
#pro life - 222 posts
#encanto - 153 posts
#spy x family - 102 posts
#raz thoughts - 91 posts
#funny - 88 posts
#mha - 80 posts
#bnha - 79 posts
#raz answers - 65 posts
Longest Tag: 101 characters
#as it should be used not for angry people to hide behind like there's no consequence to those actions
My Top Posts in 2022:
#5
Just some of my favorite green characters 💚
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See the full post
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#4
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Me too Anya, me too lol.
76 notes - Posted December 19, 2022
#3
It is telling that when you have to explain how sex/baby making works that most of these adults are simply still children who were never given a proper sex education and that abortion wouldn't even be an issue if women understood fully how it all works and how to plan around their bodily functions. Also that men aren't asking the right questions when entering into a sexual encounter with a woman.
107 notes - Posted July 10, 2022
#2
Hey @staff can you please help spread more of the resources available to women who are in the midst of an unplanned pregnancy?
Only linking women to abortion donation sites, leads them to think that their only option (or choice if you will) is abortion. Because all you have is-
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After all these all exist for women
See the full post
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My #1 post of 2022
I’d LOVE a series on this 😂
241 notes - Posted January 8, 2022
Get your Tumblr 2022 Year in Review →
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essaer · 11 months
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Debattbok av socialdemokratiska paret Alva och Gunnar Myrdal från 1934.
Boken behandlar de demografiska problem som följer på att barnafödandet i Sverige vid tiden minskade. Den sänkta befolkningskvaliteten behövde hanteras för att förbättra folkmaterialet.
Två samhällsproblem och osäkerhetsfaktorer som inverkade på befolkningens benägenhet att skaffa barn ansåg Myrdal var arbetslösheten (som vid tiden låg på 20 %) och bostadsbristen (som delas upp i dels trångboddhet och dels undermåliga bostäder). Individens medel för att uppnå förbättrad levnadsstandard var att tillgå den liberalekonomisk lösningen att skaffa färre barn. Myrdal förespråkar genomgripande fördelningspolitiska, socialpolitiska och produktionspolitiska reformer som det offentligas sätt att höja fruktsamheten (s 112).
En samhällsordning, som […] icke har råd att ge barnen tillräcklig och sund föda, fuktfria och rymliga bostäder, betryggande hälsovård och en god uppfostran, och som samtidigt saknar bruk för en stor del av sin arbetskraft, vilket får gå arbetslös – den samhällsordningen är orimlig, oförnuftig och omoralisk, och den är genom ett sådant medgivande redan dömd (s. 285).
Eftersom samhället drar nytta av att barnafödandet höjs till det optimala reproduktionsgränsen om 3 barn/familj bör samhället bära en del av den ekonomiska bördan för barn, bl.a. genom  barnpenning i någon slags offentlig regi (?) och ersättning när kvinnan missar arbete efter födsel.
Arbetslösheten kan enl författarna delvis lösas genom ökat bostadsbyggande, vars materialbehov landet dessutom skulle kunna tillgodose själv i form av svenskt järn och trä. (Klassiska kritiken att arbetsimmigration leder till lönedumpning och försämrade arbetsvillkor (s 106).) En ökning av produktion-konsumtion bidrar också till minskad arbetslöshet (det finns överflöd av naturtillgångar att utnyttja). Socialpolitiken ska dessutom bidra till en bättre konsumtion; hushållen är ineffektiva och faller för reklamens påtryckningar (s 203). Mycken statistik framläggs för att bevisa att fattiga inte får både för lite och för näringsfattig mat; samtidigt exporteras överflöd av mat och säljs till underpris, istället för att komma den undernärda delen av befolkningen till del. Mha statistik utreds bostadsbristen ur både geografiskt perspektiv (stad-landsbygd) och klassperspektiv. Lägenheter för hela familjer är inte ovanligtvis så små som 50 kubikmeter (dålig luft, dessutom ofta delvis under mark = mögel). Bedrägligt uppfattas bostadssituationen förbättras, men detta beror enbart på aktiva beslut att inte skaffa fler barn som relativt sett blivit mer kostsamma.
Denna nya familj måste bland annat vara så uppbyggd, att den icke för sin ekonomiska välfärds skull och för hustruns frihet drives fram emot fullständigare barnlöshet. […]
För många av sina viktigaste funktioner skall familjen då bero av samhället, det större folkhushållet (s 319).
Större social och yrkesrörlighet för framtida generationer. Hittills har familjerna haft en “rätt” att hålla sig i undermåliga hem, missköta näringen och hindra barnen fr vad som beskrivs som rationella yrkesval. Om samhället ska ha något att säga till om “barnens frigörelse” måste samhället betala genom att ikläda sig merparten av både kostnaden och ansvaret (s 299). Familjelivet beskrivs som en “passiv traditionsform utan social egenrörelse”, en stel social form, medan det ekonomiska livers drivande kraft är tekniken (s 295).
Ett par gånger görs hänvisningar till Tyskland som varnande exempel, samtidigt som det görs referenser till rashygien och om möjligheten att hindra att asociala skaffar barn (oklart i vilken mån det anses ärftligt, författarna erkänner att många psykiska diagnoser påverkas av miljö). Utöver en snart minskande befolkning driver boken idén att den svenska befolkningskvalitén måste höjas, och som lösning presenteras social ingenjörskonst. Många av de förslag som förespråkas kan vi idag se realiserade: bostadsbidrag, allmänt bekostad förskola, grundskola (inkl fri skolmat) och universitet samt sjukvård (med fokus på förebyggande vård) m.m.. Åtgärder som idag grundas på konventionsåtaganden och MR-perspektiv - idéer om ett värdigt liv - motiveras häri snarare som effektiviseringsåtgärder; det är t.ex. resursslöseri att mödrar bara sköter sina egna barn, det kan finnas barnlösa som gör det mycket bättre och dessutom bör ha hand om minst 8 barn samtidigt. Utbildning på högre nivå ska vara öppen för de som är mest intresserade och kan dra mest nytta av det = som ger mest till samhället. Ökad konkurrens mellan studenterna är dessutom bra eftersom lärare som redan klagar på för studiearbetet olämpliga individer då kan hänvisa dessa annorstädes och höja “intelligent- och karaktärskraven” (s 283).
Ett återkommande, och för boken avslutande, budskap är att den äldre generationen redan är förlorad - det är genom propaganda riktad mot barnen som framtiden kan se ljus ut. T.ex. ska barnen lära sig om nutrition och således uppfostra föräldrarna om vad som behövs för att växa till starka och till samhället bidragande människor.
Förhoppningen står till de unga. Den redan uppvuxna generationen är oftast hopplös: den är och blir i stort sett som den redan är (s 325).
Barnen skola bygga upp det framtida samhället medan åldringarna enligt naturens ordning skola dö (s 236).
Skolans fokus är inte längre bara boklig kunskap, utan att uppfostra en ny värld; “individens sociala anpassning är skolans främsta mål”. Den dåvarande skolan kritiseras för att uppmuntra reaktiv intelligens, men inte aktiv (s 268). Myrdal förespråkar en vidgning “från individualpedagogik [individuell och frihetsuppfostran] till socialpedagogik” (s 264-265).Liberala individualistiska ideal har blomstrat som följd av industrialiseringen, i en övergångsperiod, men författarna förespråkar kollektivistiskt tänkande som bör inpräntas i skolan, bl.a. genom grupparbeten och klassammanhållning.
Myrdal beskriver det liberala idealet som ironiskt konservativt; "att kvinnans plats var i hemmet” var enbart relevant under den period som männen tog sig in i fabrikerna och kvinnorna pga barnafödande och -skötsel var bundna till hemmet. Innan dess var hemmet hela (produktions- och konsumtionsenheten) familjens plats. Att kvinnan skulle fortsätta förpassas till hemmet i den myrdalska visionen där uppfostrans- och utbildningsväsendet expanderar, är slöseri på produktionskraft. Men den konservativa liberalismens svar på halvfabrikat och att allt mer av hemarbetandet har flyttats till fabrikerna och staden blir den “kvinnliga uppfinningsförmågans instängda triumf”, som innefattar ett överlastat umgängesliv med middagsplanering, shopping och intensiv förströelseläsning eller virkning (s 312).
En intressant passage berör trångboddhetens psykologiska och själsliga konsekvenser, bla sk könsumgänget. Införandet av sk barnkammarskolor och gratis skolgång handlar inte bara om att mödrarna/föräldrarna ska ut i arbetslivet, utan också om att barnen ska få socialisera. I det post-industriella, moderniserade samhället rör sig inte familjen och bygemenskapen in och ut ur produktionsenheten hemmet (jmf “de växte upp i den arbets- och livsmiljö de för framtiden skulle tillhöra” s 292), eftersom det numera förminskats till enbart konsumtionsenhet i vilket hemmavarande leder till isolering. Mödrarna och barnen behöver komma ut för social och intellektuell stimulans. Att ta sig till jobb och skola/dyl är ett sätt att få andrum från den kvävande ostimulerande hemmiljön. Pga bostadsproblemet är idén om hemmet som en plats för uppfostran en borgerlig idé (s 234).
Själva detta faktum, att släkttillhörigheten måste spela en allt mindre roll nu än under gamla, mer stabila förhållanden, ställer på den moderna familjen det kravet, att den måste göra det psykologiskt lättare för barnen att lösa släkt. och familjeband. Detta är ett kanske paradoxalt krav i en tidsenlig uppfostran: vi måste frigöra barnen mera från oss själva. Det duger inte att låta dem fixeras alltför start till oss. Den faran är emellertid överhängande nu, äsrskilt då barnens antal blivit mindre och varje individ därför utsätter för en allmer intensiv föräldrapåverkan och tillgivenhet (s 301).
Mest uppseendeväckande är kanske stycket om sterilisering är, vilken ska grunda sig på frivillighet. Men, om upplysningar till den enskilde inte leder till att samtycke till sterilisering ges kan man behöva ändra lagarna så att tvångssterilisering är möjlig i sådana fall.
Matcentralisering inom fackföreningsrörelsen bygger på representativa demokratins principer = nedslå gruppegoistiska tendenser (s 280).
Tidigare idéutveckling
Malthusianism - det finns ingen gräns för förökning men tillväxten begränsas av en begränsad matproduktion och efterföljande svält som en anpassning efter mattillgång, fattigdom kan inte besegras genom ökad produktion. Lösningen är sena giftermål och sexuell avhållsamhet. Efter Thomas Malthus (1766-1834) = “gammalliberal malthusianismens eländespessimis” (323)
Nymalthusianism - förespråkar förebyggande handlingar i form av preventivmedel och abort = “nyliberala nymalthusianismens ensidiga preventivmedelsoptimism”
2023-04-26
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konote-art · 3 years
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Chapter 319 expectation vs reality
I really thought that Deku would be like "oh thank god someone's here for me, finally I need a nap"
But NO THEY'RE ALL GONNA FIGHT
God he needs a hug, please hori
[Please do not use or repost my work]
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rinriemie · 3 years
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“Take me home...“
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lift-blog · 3 years
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we’ve come full circle
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rosieu · 3 years
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MHA 319 spoilers be like:
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hylialeia · 3 years
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so chapter 319 huh
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sauceystripes · 3 years
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bnha spoilers:
bakugou, staring dramatically off into middle distance: all my life I wanted to be better than all-might...
bakugou, directly into the camera like he’s on the office: turns out he’s a shitty enabler and i’ve been better than him for fuckin’ years now.
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