The manga My Hero Academia is approaching its end with only two chapters left, and the most recent chapter, 428, confirms that the story of Ochako and Toga has concluded off-screen. The bond between these two influential female characters has had a crucial and emotionally impactful impact on the series, particularly in showcasing the complexities of characters often judged as villains.
The choice to end their story off-screen has resulted in a range of interpretations. While many have expressed sadness, others may have a different perspective. Some viewers speculate that the off-screen resolution of Ochako and Toga’s story highlights a larger problem of neglecting female characters, possibly insinuating that their ending was not given the proper consideration and elaboration it deserved.
Some members of the community may interpret it as a manifestation of the underlying disregard for women, which is a significant injustice and highlights a fundamental issue in the story.
Please note: This article contains spoilers from the My Hero Academia manga and represents the author’s personal opinions. Viewer discretion is advised.
Debating Horikoshi’s Treatment of Female Characters in My Hero Academia
The most recent chapter of My Hero Academia, chapter 428, provides a resolution to Ochako and Toga’s story. Not only does the chapter reveal Toga’s off-screen fate, but it also explores its effects on Ochako. However, the way in which the conclusion is presented prompts an important question: was this a deliberate choice by the mangaka or was it merely a means of conveying a particular message?
Despite the apparent conclusion of the fighting and the downfall of the villains, the true consequences of the war continue to be ignored. While the world may appear bright and optimistic, the tragic tales of the villains remain unnoticed. This is likely exemplified by the unrecorded resolution of Ochako and Toga’s conflict.
While this approach may be intended to effectively convey a message, it can be interpreted as a disregard for female characters. It may indicate a underlying bias against women, implying that their stories are not important and the main focus is simply conveying a point. As a result, this method has prompted reactions from fans, including feelings of disappointment and sadness, as well as criticism towards the mangaka’s handling of this crucial aspect of the story.
Ochako and Toga’s Off-Screen Conclusion and Its Reflection on a Real-World Issue
The narrative of My Hero Academia has consistently emphasized the significance of documenting the final war and its epic battles, with a focus on capturing the perspectives of both the heroes and villains through recordings. However, chapter 428 reveals that despite the documentation of other battles, the confrontation and finale between Ochako and Toga were left undocumented.
During the confrontation between Himiko Toga and Ochako, Tsuyu, and other heroes on Okuto Island, a chopper with a camera crew was present to capture the fight. However, in the chaos of war, the camera operator failed to notice that the battery had died, as revealed in the latest chapter 428 of My Hero Academia.
Despite the epic confrontation between Toga and Ochako, including the poignant final moment where Toga uses her own blood and quirk to save Ochako’s life, remains uncaptured and undocumented, never to be witnessed by the rest of the world. The mangaka brilliantly captured the emotional and heartbreaking conclusion to these two significant female characters.
Therefore, the decision to keep their story out of the limelight is a surprising and momentous development for readers. This crucial revelation has had a profound effect on both the audience and the overarching storyline. If it was a deliberate decision made by the mangaka, it could be interpreted as a valid and distinct narrative choice, highlighting how the admirable qualities of villains are often overlooked.
This perspective emphasizes the tendency of society to classify individuals as villains within the hero narrative, often without taking into account their underlying circumstances. For example, despite Toga’s selfless act of saving Ochako, who is her enemy, the world will continue to overlook it, reinforcing her portrayal as a villain.
Nonetheless, if this outcome was not deliberate and the mangaka merely opted to illustrate their emotional scene indirectly in order to convey a more overarching message, it may suggest insufficient treatment of these crucial female characters. Additionally, if Toga’s demise continues to occur off-screen and her ultimate moments are not depicted in the storyline, it would add weight to this argument.
This method could potentially demonstrate the ongoing problem of disregarding female figures and emphasize the loss of an opportunity to fully explore and showcase their stories.
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