#class talk

O It was nice to see Ochaco’s program in more detail than the jaw-droppingly bad handwave it got in 430, but I still think it didn’t go anywhere near far enough.  To wit, what we see is a nice introduction to a program that could well be effective at finding some people with behavioral, familial, or quirk-based problems, but the depiction is badly lacking an illustration as to what will be done regarding people with problems that can’t be helped by a tiny bit of encouragement and support.  As it’s with Toga in mind that Ochaco undertook this whole project, it seems fair to ask: How would Toga have fared in it?

If it had been young Toga Himiko in the scene instead of Shy Mining Helmet Boy, Ochaco offering her a little anti-gravity boost would have gone exactly nowhere because no amount of manuevering would have changed Himiko’s basic inability to participate in the activity.  It would have clued Ochaco into Himiko having an issue, though, and perhaps that discovery could have led, with further interaction, to uncovering her feelings of repression and, critically, her problems at home.  Great!  That stuff absolutely needed to be uncovered!

But—then what?  When Ochaco’s program turns up Himiko, a girl with a problem so severe that no amount of welcoming class play is going to resolve it, what’s the next step?  Recommend counseling for her parents, too?  What if they’re resistant, resentful, or they outright refuse?  Do you then remove Himiko from the home?  Let’s switch the lens over to a different kid for a second: Shimura Kotarou.  As evinced by his massive unaddressed abandonment issues, the alternative child care system clearly did him no favors!  And he didn’t have a taboo quirk[1] to add on top of the perception of his being an “unwanted child”!

So if you haven’t improved the state of Japan’s alternative child care system—and there’s no specific evidence that anyone has[2]—have you done much but kicked the consequences down the road a few years or slightly changed the color of the problem at hand?  Would Himiko really fare so much better in a group home or orphanage?  Would the views of the people in charge be significantly different than those of Himiko’s previous counselor?  Or would they just be, as Tomura described his family doing to him, rejecting her kindly instead of cruelly?

1: And “taboo” is honestly putting it lightly.  Shinto beliefs about the spiritual pollution of spilled blood being what they are, Toga’s quirk would actually be profane to a devout adherent—if the reader is familiar with X-Men, think about the kind of nastiness that periodically gets thrown at Nightcrawler by particularly militant Christians.   There’s no indication that Toga’s parents are more devout than the average Japanese person, of course, but values embedded in the culture are going to be embedded in the culture all the same.

2: All we have in that direction is Uraraka enthusing that the program has a lot of support and does very thorough work, and noting that Hawks does negotiations with the Ministry of Education and other (non-specific) organizations, which we see him framing as “investing in young people.”  While this could be indicative of efforts being made somewhere, by someone, to improve the situation for children in alternative care, that read is undercut by Uraraka following up with the note that all this work has done a lot to improve “the quirk education environment.”  This falls far short of specific evidence for improvements to any given other aspect of child welfare.

While I’m sure we’re intended to read Ochaco’s program as one that will be meaningfully helpful to children like Toga—and I don’t even think that it categorically couldn’t be!—what we see directly on the page simply does not prove that case.  Encouraging a baseline kid with an emitter quirk and age-typical shyness does not prove that The Problem of Toga has been addressed.  So what was even the point of showing it to us?

What Himiko really needs—if you’ll pardon my MLA Stan coming out here for a bit—is a complete reevaluation of what quirks are and how people can use them.  She needs a world that’s willing to throw out its old ways of thinking, to update its “notion of normal” to something that will allow the Toga Himikos of the world to live without suppression.  For all the good I'm sure it will do, I don’t see Ochaco’s program doing that.

O It’s so hilariously telling that we got that whole shpiel about updating the Billboard Charts such that non-professional Heroes can be recognized for their efforts, only for the last chapter to give us jack shit on any non-Pro Heroes charting at all.  And like, I’m willing to be generous here: I always assumed that Hawks wasn’t talking about adding non-Pros to the charts verbatim, but rather creating a brand-new chart for the recognition of Civilian Heroes.  But we don’t get anything like that at all—and Deku being a teacher and public speaker gives us a perfect opportunity to indicate such a chart’s existence!  But then, maybe he can’t count because he does Hero work on the weekends, which leads me to my next point.

O Ochaco and Deku should both have just retired, and Shouto should be on sabbatical.  Seriously, if Horikoshi really had the courage of the convictions he was putting to paper, and if it were really true that the Villain emergence rate was down and Heroes were beginning to have more free time, then Ochaco and Deku should both have decided to prioritize the work they believe is more meaningful and helpful than Professional Heroics, and Shouto should feel free to take some time completely off for his self-exploration.  That none of this happens suggests that Horikoshi either didn’t believe or didn’t trust his audience to accept his idea that there are meaningful ways for these characters to be heroic without them also having to be Heroes.

O Ochaco musing about Toga still existing somewhere inside her, and especially all the junk about the dead bisexual teenager being used to encourage the exhaustingly hetero endgame, really just makes me want to read the actual ghost story where Toga is literally haunting Ochaco.  Toga still loves Ochaco-chan, of course, but her encouragement for Ochaco-chan and Deku to hook up is aimed solely at getting the two of them alone in a quiet, private room.  Once that happens, Ochaco’s eyes will go gold and slitted, the walls will start dripping blood, and Deku will find out quite quickly that not everyone is so willing to move on from him murdering Shigaraki Tomura of the League of Villains.

O I miss the Bakugou who was on-course for a big personal growth arc about learning to work in a team.  I feel like that Bakugou, alongside having had a way less tiresome endgame battle, might actually have been able to keep some sidekicks without being chiefly concerned about the level of their personal ambitions.  I don’t give a shit about his (or anyone else save one guy’s) chart position, but it’s exhausting that he had great development into being a proud but capable team player all the way up through the 1-A versus Deku fight, and then all of that gets flushed down the toilet to revert to him getting a badass solo fight against All For One and an epilogue that allows him no work partner options whatsoever outside of the main character.

O The comedy visuals of Deku’s dumb face being subsumed by Bakugou’s plush backseat make me want to die.  Someone please throw this main character away.

O I’m glad Mina reclaimed at least some aspect of her original Alien Queen aspirations with the “Ridley Hero” thing.  Good for her.

O On a worldbuilding note, my attention is caught by Shinsou being described as “not contending” for a chart position, though the kanji can also mean things like “out of contention” or “beyond the sphere of.”  I assume it’s just indicating that Shinsou is an underground Hero like his mentor Aizawa, but a) I feel like that runs a bit counter to his goal of proving that he can be a Hero even with a quirk like Brainwash, and b) isn’t it a bit sketchy if underground Heroes can just choose to exempt themselves from the most visible, public-facing form of Pro Hero evaluation?  Maybe the HPSC charts them for its own records and then removes them from public visibility, of course, or maybe the charts only go down to 200 or so and stop after that, with Shinsou, not seeking for attention, comfortable to be below that cut-off.  Not sure, but there are some interesting possibilities there, as well as some concerning ones.

O HOLY GOD, Monoma’s new look.  I like it very much.  He is also the only person I want to see on the charts at all.  Two hundred ranked entries of Monoma's daily work antics. I support him wholly and with only the most loving of faceitiousness.

O Extremely funny to me that all the people I saw on Twitter talking about this chapter confirming KamiJirou had to first ignore Jirou explicitly denying that there’s anything going on and second be very disingenuous indeed with the panel crop they used to wave around crowing about their ship. I don’t have a strong distaste for KamiJirou relative to my distaste for Kaminari himself, but my tolerance for him pretty much starts and ends with KamiJirouMomo as a poly arrangement, so I was pleased to see that left open here.

O If I dislike Toga’s image being used to encourage Ochaco to hook up with Deku (and I dislike it very much, particularly given the loathsome last words Deku spoke to Toga when she was alive, but at least I can see the sense it makes from a thematic and characterization perspective), I have only profanity for how much I hate Shigaraki’s image being used to encourage Deku in confessing to Ochaco.  Just take my entire folder full of negative reaction memes.  Jesus Christ.

I have said before, and will have more to say in the future, about Deku’s assorted failures as a protagonist and hero, but him deciding that the kind of adult he wants to be is a Hero high school teacher really is the ultimate indicator of just how little he cared about who Shigaraki was and what he wanted.  Ochaco is making a good faith effort to help the Toga Himikos of the future.  Deku, meanwhile, is shallowly paddling around in his Hero Worship wading pool, ignoring both the Shimura Tenkos and the Shigaraki Tomuras of the world—the people Hero Society outcasts, villainizes, and sweeps under the rug.

Shigaraki’s last behest—that Deku ensure the things Shigaraki fought to destroy remain destroyed—was wasted on Deku, who, once he got Spinner and Overhaul off his conscience, clearly could not give less of a shit about helping the people Shigaraki fought for.  To see that last behest come back in the context of Deku using it to bolster his goddamn love life is a fucking travesty, and I hope Ochaco dumps him inside of a year if Toga Himiko’s vengeful ghost doesn’t get him first.

O DON’T WORRY, GUYS; I’M SURE THE HEROES TOTALLY TRY TO BE MORE COMPASSIONATE AND UNDERSTANDING TOWARDS RANDOM, DOWN-ON-THEIR-LUCK VILLAINS NOW.  THINGS ARE SURE TO BE TOTALLY DIFFER—

Oh.  Oh, it’s not different at all, is it?

(Have I mentioned enough times yet how much I really, really dislike the street crime scenes where Our Heroes stand around and chitchat in the middle of a crime scene, having successfully dealt with the big bad villain whose actions they did not even attempt to de-escalate and whom they have immediately forgotten all about?)

O Wow, thanks for letting us know you don’t think impulse criminals aren’t wicked to the core, Iida.  That makes me feel real reassured about how you guys are handling Villains who premeditate! (It does not.)

O I’ve already said I disliked how Toga’s “image” is used here, but let me not shortchange the fact that it also sucks because it puts the last nail in the coffin of Uraraka having any agency over sharing her own feelings.  She has a lengthy arc about how she is—like Toga in the past—repressing her feelings for the one she loves; she gets through to Toga by frankly admitting to those feelings, as well as all the other things she was sitting on about Toga herself.  And then in the aftermath, she goes right back to repressing her feelings, now ones of paralyzing grief over Toga’s death. Deku witnesses those feelings not because she chooses to share them with him, but because he tracks her down mid-cry.  And now we find out for sure what Chapter 430 left unclear: that in eight years, Ochaco hasn’t said a word about her once-again repressed feelings for him.  Instead, just as she did when she was a teenager, she’s doubled down on putting those feelings away in the name of what she “should” be doing.

And here?  Does she finally take control of her own life, her own feelings, her own expression?  No.  At least, not until after Deku has been the one to confess first and Vision!Toga psychically shoves her forward to close the gap.  The only thing left for Ochaco to do, the only assertiveness asked of her, is to accept or rebuff Deku’s overture.  Good god, you’d think she was Eri, a helpless waif wrestling with indoctrination about how much she’s not allowed to want anything for her own sake, whose turning point in the narrative is finding the strength to reach back for the hand being extended towards her.

BNHA's Women As People

As people—characters who act in ways reminiscent of real-life humans—Hori’s women are relatively solid, especially the 1-A students.  They have varied personalities and body types,(1) loads of different interests and styles, and outside of the unified front against Mineta, they’re never really treated like a monolith.  That is, no one (as best I can recall) makes big summary statements of Girls Like X or Girls Can’t Y that go uncontested by the narrative like you’d see in truly, openly sexist works.(2)

The worst I can say about the Class A girls' characterization is that they're all too nice, but I would contend that that's true of most of the students, which is why I don't care much about Class A: With the exception of Bakugou, they're all too nice, and it leaves them undernourished, dramatically speaking. But the girls at least aren't blandly nice; they do all have distinct personalities beyond, "Pretty and sweet."(3)

They also have trackable, unique relationships. Consider, for example, the difference between Uraraka’s relationships with Tsuyu and Mina, and how different either is from Momo and Jirou’s friendship!  Further, they’re allowed to be friends with boys without it having to be romantic.  Yeah, there’s Uraraka’s whole thing with Deku, and that’s a chore, but Kaminari and Jirou, or Kirishima and Mina, wherever they may wind up later in life, really are just friends right now—there’s no blushing or stammering or awkwardness going on between those pairs at all.

The Class A girls aren’t defined by their proximity to the nearest male—and that much, at least, is also true of the Pro Hero women like Mount Lady and Mirko.  Hell, even someone like Nana—only in the story because of her relationship with/to men—is actually so important to so many men that I’d contend that she crosses out the other side and winds up in territory that is far more often populated by male heroes and mentors, people who might be dead but who mattered to a bunch of really important living characters.

Nana may be a Dead Mom, but she’s not a saintly photo on the mantelpiece, taken down to be remembered fondly by her widower.  She’s All Might’s beloved mentor, yes, but she’s also the reason Kotarou was such a mess, which is in turn a huge part of Shigaraki’s damage.  She’s the reason Gran Torino is involved in the plot at all.  Even AFO seems to be able to make room to be especially vindictive about her compared to the way he talks about most or even any of the other bearers.

All that, and she even still gets to be “alive” inside One For All so we get to hear her opinions on things now and again!

Things are spottier with the lady villains—mostly because there are so few of them, and even fewer who walk out the other end of their arcs—but even there, I think there’s room for nuanced reads.

Magne’s motivations, such as we ever got of them, were all about being able to live freely.

Curious may have had that flashback to her blushing in front of Re-Destro, but the takeaway from it is how something he said inspired her to mature as a writer, not her being in looooove with him(4)—indeed, Geten is much more directly motivated by RD’s approval, and both Trumpet and Skeptic pivot entirely into being driven by fear for RD’s life the instant they think it might be in danger.  Even now, every single one of Skeptic’s appearances from the cave onward sees him namedropping Re-Destro somewhere.  So even if RD is Curious’s Most Important Person, that just puts her in good company with the rest of her peers.

Meanwhile, Lady Nagant is no more “defined by a man” than Hawks is “defined by a woman” because of the genders of their respective HPSC Presidents.  The easy way out with Nagant would have been to have Bitty Keigo play some role in her turn—indeed, loads of people expected exactly that as soon as the audience realized who and what she was.  But her President being a man is immaterial; the real entity that victimized Nagant is the HPSC as a governing body; its President was simply the face of that body, exactly the way President Pearls was to Hawks a generation later.  Likewise, her turn isn’t because of her feelings about Some Guy, it’s because of her own awareness of the discordance between the façade and the reality of Hero Society.

Until either of the remaining PLF advisor women get anything to say, that brings us to Toga and La Brava.  And okay, yes, La Brava is motivated entirely by a dude; there's no getting around that.  On the other hand, I can’t help but compare her backstory to Spinner’s.  Both of them suffered judgment and ostracization because of their quirks, both were hikikomori, and both had their lives changed because of a man they saw in a video who showed them a new world.  Hell, Spinner had his life changed because of a man showing him a new world twice.

La Brava calls her feelings love, while Spinner calls his devotion, but it’s the same story, just wearing a different costume.  At the very least, then, you can’t say that that plot is one Hori only gives women.  Rather, I think it just ties into the broader theme of how the public consumes people they see on TV, for better or for worse.  You could tie that to a lot of stuff in the series, including Deku’s own heroic aspirations as embodied by that iconic video of All Might he saw as a kid, Can’t-Ya-See-kun's fannish opinions about Endeavor’s heroic persona and his later attempts to reject Dabi’s video, the refugee civilians having to wrestle with the reality of heroes as opposed to watching them from the couch, and so on.

Meanwhile, Toga is so fascinating because, yes, her concerns and interests are stereotypically feminine—her appearance (both in the sense of cosmetic things like A-line coats but also her transformation quirk), cute things, talking about boys, relationships in general, her prioritization of her own inner landscape as opposed to big worldly ambitions.

On the other hand, Horikoshi really commits with Toga.  She’s stereotypical in some ways—the predatory bisexual being a big glaring one—but she is in no way a shallow stereotype.  The reader can’t just write her off as being a collection of tired tropes because of the degree to which the story insists on her being specific and deserving of attention.  She’s not Like That because, for example, that’s what Horikoshi thinks of all bisexuals.  She’s Like That because of an array of factors in her nature and nurture, her societal conditioning, her lived experience, others’ reactions to her, and so on.  Bisexuality is really only the tiniest fraction of who Toga Himiko is.  That’s my feeling, at least.

(As an aside to Anon's suggestion about Toga being polyamorous, while that is clearly the case in the sense that she freely falls in love with multiple people, rather than having monogamous affections, her being interested in poly relationships is much more in the air.  As she is now, her idea of fulfilling love lies in becoming the object of her affections, not being with them.  I feel like if she could find someone into bloodplay, she’d do just fine with that without having to get to the point of murder, but as it is, it doesn’t seem she or anyone she’s met has considered that an option.  That being the case, we don’t know if she’d be willing to limit herself to taking only safe and consensually given amounts of blood, or if her desire to become the people she loves can only be satisfied by murdering the other party. If the latter, it rather takes romantic relationships off the table entirely!)

To sum up: As people, Horikoshi’s women are generally just fine.  He was a wide variety of them and they all manage to stay pretty distinct!  There are some that look more stereotypical than others, but even those still tie in well with the story’s overarching concerns or feel like sincere explorations of the stereotypes they represent.

Horikoshi’s problems with his female characters come in, to me, much more when you start looking at them as characters, instead of as people.

BNHA's Women As Characters

Consider the female characters in BNHA. Do their stories contribute in a major way to the narrative as a whole, or are they just side color?  How much focus do they get?  Are they granted comparable interiority as their male counterparts?

Given the story’s nature as a shounen battle comic, how many big wins do women get compared to the dudes, and are they fighting those battles against equally dangerous opponents?  Do the women always and only fight other women?  Do they only ever beat other women, but lose to men?  How much would be lost or radically changed if they were removed from the story?

Mount Lady’s a fantastic example of the characterization/attention dichotomy.  I’m inclined to agree with Anon that she’s probably Hori’s best lady-type Pro Hero, allowed to have real flaws, enough backstory to get an idea of where she’s coming from, and a startlingly clear character arc.  However, unlike e.g. Endeavor, whose arc is taking place entirely in the foreground, given lavish amounts of time and attention, Mount Lady’s is all background.  We don’t know what her crux point was in realizing that she needed to get her priorities in order, if she indeed ever had one. It’s possible she’s simply matured over the course of the story without ever quite clicking into Endeavor’s mode of self-reflection.

People like Ryukyu fall even farther behind.  She’s been heavily involved in the climaxes of two major story arcs—the Shie Hassaikai arc and the War arc—yet we don’t know the first thing about her away from the job.  Same with Mirko: She gets that huge blowout against the Near High Ends, but as far as what she wants, why she became a hero, what she thinks about this huge collapse she’s witnessing? Total blank slate.

And sure, that’s true of plenty of male heroes too—look at all Mount Lady’s teammates, for example—but we don’t have any female heroes equivalent to Endeavor, Hawks, or even Best Jeanist, the latter of whom has gotten ample room to espouse his ideals and a variety of his beliefs about heroes, even as we don’t know anything about his personal life.

I think Momo’s the clearest example of this issue on the student side.  Virtually all of her development is narrated by other characters, mostly male ones, rather than the reader getting to see Momo’s own thoughts directly the way we do with buckets of male characters.

Momo contributed the tracker that got Deku and company to Kamino, but was given no contributions to the action of retrieving Bakugou.  She’s ultimately the one who organized the students into dosing Gigantomachia,(5) which did eventually take effect some chapters later, but in the moment it happened, it looked like a failure, so instead of it being a big triumph for her, we had to see her and the rest on their knees in what seemed like a moment of total defeat.

Momo lost two mentors in the war—Midnight and Majestic.  What does she think about that?  Who knows?  We’re just not privy to it.  Momo spent her entire arc learning how to be more decisive and better at overseeing resources.  Where is she now?  Popping out industrial goods for a girl who doesn’t even know her name.

Meanwhile, we have things like the ludicrous disparity between Gran Torino, a shrunken geezer in his 70s getting punched through the chest by the final boss and surviving, and Midnight, a young and healthy 32-year-old getting merely jumped by a third-string PLF guy who hasn’t even gotten a name yet and then dying off-panel.  Don’t get me wrong; I love Hose Face, and I don’t even mind that Midnight died as such.  I mind that it was so ignominious compared to the fates of all the similarly important male heroes who took part in that battle.

Star & Stripe?  She is alleged to be the strongest woman in the world, yet her arc could be removed from the story with zero consequences whatsoever.  Everything she brings to the story is new for her arc; she doesn't resolve or remove anything save that which was introduced in her own set of chapters.(6)  Her accomplishments are arbitrarily defined, and could be equally arbitrarily redefined without her.

That’s just a few examples of story structure issues, which is where my main concern lies, but you could certainly look at surface stuff, too. 

Consider: Does the way women in the story dress match their personality?  In movement and at rest, does their body language match who they are as people?  How does the “camera” view them?  Are they introduced as people or as collections of attractive body parts?  Are they allowed the same range of expressiveness men are, or are they more limited because their anger or pain still has to be attractive to the presumed audience and/or the artist?

Some of this Hori does okay with—Mirko’s doing some fantastic angry glowering this week, and Toga can absolutely tip over into horror manga expressions sometimes, ones that are very clearly not intended to be sexy or cute.  But he does sometimes let his women down on this front, too—speaking of Mirko in this week’s chapter, WOW, that sure is a boob hanging right there front and center at eye level, when it would have been so easy to just have ShigAFO’s hand-o-rama wrapped more fully around Mirko's torso.

Toga is a bit more complicated to me, in that, taking it at face value, I actually don’t really mind her frequent goopy unclothedness.  Her posing in those scenes stays pretty true to her personality and the situations at hand, and she's drawn with what seem to be to be decently realistic curves and weightiness.  Rather, the issue with Toga's nudity goes to another frequent problem with the way the women in the series get treated, and that’s the inconsistency between how men and women's quirks interact with clothes.

The go-to contrast here is Mirio and Hagakure.  Neither of them can affect clothes with their quirk, but for some reason, Mirio can get a costume made out of his own hair and thus stay respectably clad during all his fights.  Hagakure, by contrast, is noted more than once as fighting completely nude save for her gloves—why doesn’t she get the haircloth fix?  If there’s an answer to this, it’s arbitrary.

Toga’s quirk would seem to be based in DNA, in that she requires blood to use it, but DNA certainly wouldn’t explain her ability to shapeshift clothes.  It’s easier for the story if she can shapeshift clothes—it’d be a lot harder for her to impersonate specific costumed heroes if she didn’t have ready access to their costumes!—but it doesn’t make much sense as a blood-based ability.  Taking it a step further, if she can shapeshift clothes because Magic Wand That Says She Can, why can’t she just change the shape of her own clothes?  If her goop can change her body, why can’t it change her clothes?  Because Magic Wand Says Then She Couldn’t Be Nakey When She Changes Back, that’s why.

For a contrast to Toga, consider the Hassaikai’s Mimic, whose power is to merge himself into objects, including ones much, much smaller than he is.  Yet somehow he doesn’t have to strip before he merges or lose his clothes to the ether when he exits.

Midnight and Momo both have quirks that emit material from their skin, nominally justifying why their costumes are Like That.  Okay, sure, but where are the equivalent male heroes who just have to wear skimpy or easily shredded costumes for reasons of quirk utility?  Wash and Bubble Girl both emit bubbles from their bodies, but for some reason the dude wears a cartoony washing machine costume,(7) while the woman is saddled with an underboob-exposing crop top. 

Suneater’s another easy referent; he transforms parts of his body into much larger animal parts, yet he still manages to have a costume that covers up everything except his feet.  Even his arms are covered, when his arms are his most frequently transformed limb! He might have a bare spot on his back for his wings, but if so, the reader never gets to see it because Suneater wears an enormous hooded cape that covers that area right up.

It makes sense that Mirko would prefer to leave her legs bare, given her all-kicking fighting style—but Deku switches to a kicking style and just gets heavier, reinforced shoes. (To say nothing of All Might and other punchy heroes still having full sleeves, when you'd think the same reasoning would apply as does with Mirko's bare legs.)

Eri’s power only works on “people”—except that it totally works on clothes, too, otherwise we’d have to see a dude naked when her power separates Overhaul and Nemoto.

And so on and so forth.  I don’t hold any of these individual examples against Horikoshi (except maybe Momo, who runs afoul of the “does this costume match this personality” critique pretty hard), but it really does become a bigger problem in the aggregate.

BNHA's Women In the Aggregate

And that’s kind of how I feel about a lot of it.  I think Hori means well—you are never going to catch me out there yelling about how Horikoshi is just slobbering all over himself to brutalize his female characters—and he legit is doing better than a lot of other manga I’ve read.  But then, I’ve read a lot of manga, you know?  “Better at feminism than manga that say straight to the reader’s face that women will never understand a man’s desire to win,” is not a high bar.(8)

Regardless of Hori’s good intentions, though, I think Shounen Jump is not an environment that is challenging him to think more critically about his women, nor one that is pushing him to include them more or give them better material.  He could absolutely do better, though, and yeah, I’m as tired as everyone else of new female characters who show up for a handful of chapters and then get obliterated by a villain or put on a bus to imprisonment and obscurity by the hero who defeats them.

If nothing else, I’ve got to hand that to Mirko.  Down two limbs and that rabbit is still going strong, and not for one single second is there a suggestion that prosthetic limbs are going to slow her down or force her into retirement.

Thanks for the question, Anon, and sorry for taking so long with the reply!

---FOOTNOTES---

1: Not a huge variety, and the adult women have less than the high school cast, but I’ve read plenty of manga across all demographics that are far worse at having female characters you could distinguish by bald silhouette.

2:  For some really clear examples, see e.g. everything the Death Note guy has ever written.

3: I might make an exception for poor Hagakure, who never had a chance to establish a personality because she needed to stay a viable candidate for the Traitor Plot. Definitely the most Generically Peppy of the girls, but at the very least she's balanced out some by male students like Ojiro, Sato and Koda in never getting enough attention to transcend their characterization shorthand.

4:  And speaking as a writer, let me tell you, a critique like the one Rikiya offers in that flashback is absolutely the kind of thing that would leave me red in the face, but definitely not because I was internally swooning.

5: And even that isn't entirely her moment, given that it stems from her being ordered to do it by Midnight and ends with Kirishima getting the final move, a move he gets at Mina's expense.

6: Wow, a Reflect quirk! Neat! Wonder why that hasn't come up anywhere before? Regardless of the three sentence back-and-forth I could get into on that subject, Reflect is the only named quirk New Order destroys, and it was nowhere to be seen at either Kamino or Jakku.

7:  Assuming, of course, that Wash isn’t a washing machine heteromorph.  Jury’s still out on this.