Emotionalism And Growth

What’s feasible to comprehend on this current generation of anime, in particular the shonen strain of shows, is how varied the aforesaid sub-genre has become and how much more accepted it is to generally watch series that are formulaic, yet self-aware in presenting motifs that audiences can subsume to. Indeed, while shows like Once Piece and Dragon Ball are the noticeable exceptions in both respectfully obtaining this continual longevity of attracting viewers through more episodes and stories, long gone are the days of the Big Three and early 2000’s shonen as anime sweethearts like Naruto, Death Note and Bleach have seen their fitting ends. Within the past few years however, fans and devotee’s have seen a new crop of shonen series that have challenged the status quo; essentially re-inventing the wheel when it comes to shows such as this which circulates its particular narrative structure around a protagonist achieving his/her’s dream and/or goal. This is certainly the case when it comes to Kohei Hirokishi’s concept of My Hero Academia; a popular manga and anime that not only obeys to shonen necessities through its diverse characterisation and rewarding plot, but also upholding themes that are forever relatable. Through it’s eye-catching visual standout moments and simple-yet-effective super-heroic milieu, there’s no surprise as to why My Hero Academia subsequently has become the anime series to go to; for devotee’s and newcomers alike. It retains qualities that everyone can enjoy and this latest and 4th season of the show proudly exhibits its strength once again in divulging further into many different characters whilst also developing the central players. Indeed, for those that are acquainted with the story so far, one paramount aspect to take-away instantaneously from the latest seasons beginning, is this idea of growth; maturity especially seen through its lovably diverse characters…

With the “Symbol of Peace” now retired from the world of saving those in need, society in the world has now drastically changed. Whereas heroes far and wide try to rise to the loss of All Might – especially that of The Flame Hero Endeavour, villains, such as Tomura Shigariki and Overhaul, consolidate their strengths to equally overthrow a society that has been comforted by the gleaming smile of the former number one hero. Back at U.A high-school however, Deku, in witnessing All Might’s last act as a hero, must also rise to the occasion and take the next step into becoming the worlds greatest hero. For him to do this, Deku, along with a few other friends from Class 1-A, take it upon themselves to enrol at an internship to improve his “One For All” power that was bestowed upon him and experience what it means to be a hero. With the help of Mirio, a third-year U.A. High school student who’s one of the members of The Big Three, and Sir Nighteye – a former sidekick of All Might’s – Deku is thrusted into a world of despair when faced against not only Overhaul, but also the innocent Eri who’s become ravaged by the said villains dastardly scheme. In not only facing his toughest villain yet, but also rescuing the heart of a little girl, and understanding more about the power that was passed onto him, can Deku edge further in becoming the next symbol of peace?…

As I’ve come to state many times in regards to my many preceding anime reviews of My Hero Academia, the aforesaid and adhered series significantly reigns over its Shōnen counterparts thanks to distinctive universality in showcasing ever-growing and relatable characters and a super-heroic sub-text that audience, in this day and age, gorge over thanks to the genre’s admiration through the likes of the Marvel feature length films. Like many Shōnen archetypes that have come before it, My Hero Academia similarly and inherently occupies a contextual outline which imbues audiences with aspiring stories and ambitious characters to mainly inspire. However, while Kenji Nagasaki’s adaptive-anime may seem as though it inherits many of the same constructs that are synonymous with such a popular anime genre, what sets My Hero Academia apart from the rest is how it consistently evolves itself from being Shōnen to a distinctive show that breaks away from its appeared singularity and presents mature scenarios and motifs that are discernible in contrasting genres. This is especially the case in this fourth and latest of the show where the precedent is set throughout all of the mini-arcs that growth of certain characters takes over the screen-space instead of grandiose fights, of the likes of Deku vs. Muscular or All For One vs. All Might, take up the mantle and entertainment value. By no means does this mean we still don’t get to see beautifully vivid action scenes that subtly interweave between the ideologies of protagonists and antagonists, as My Hero Academia has so effortlessly done since its inception. However, what’s imperatively uplifting to take notice of in this latest series is not only the natural progression of Deku and his coming of age story, but also this tectonic shift in tone and focus from the dynamic personalities and tensions between class 1-A members. As much as the show still retains much of its buoyant charm where possible, especially in the U.A school festival arc where everyone from class 1-A decide to form a band and perform a song that has everyone comically bonding and working together, season 4’s central focus lies in its growth of characters and subsequent consequence of these many and respected character changes. As much as I adore the way in which My Hero Academia seamlessly tells its story in a manner which sees all of its characters being given their respective depth and backstory where we’re relating to a multitude of persona’s and points of view, one the biggest gripes I personally had with the aforesaid show’s narrative was it’s lack of sequential severity; a common-trope in many different superhero stories. As much as the likes of Deku and the rest of Class 1-A in the Provisional Licence Arc of Season 3 were giving everything they had to get the license they need to then properly fight villains with reasonable means, and even when Iida confronts Hero Killer: Stain in season 2, there’s no going around the fact that many of the more imperative segments of My Hero Academia never make you feel as though you’re going to witness something consequential. Whether you think something bad may happen, the result of most of the characters go through end rather positively and don’t ever have any serious ramifications to the proceedings. This latest season however fixes this grievance with consequences that boldly affects the central characters in more ways than one. In many respects, it’s because of these sour outcomes – mainly in the Shie Hassaikai – which profoundly grounds the characters of Deku, Kirishima, Uraraka and Tsuyu and show’s the willing resolve of Mirio who arguably suffers the most. To spoil the specifics of this first arcs outcome would be unjust from my part, but it’s equally as imperative to state that the consequences that lay bare to our loveable protagonists feels necessary. It’s from that catalytical conclusion of the first arc where more of this personal growth of specific characters is seen throughout. Whether it’s the inclusion of Endeavour who, now being the number one hero, feels he must occupy the top-spot in a different tone to how he’s usually depicted by everyone or even Bakugou who, despite taking a reserved position throughout season 4’s entirety, certainly matures in realising his own mistakes and doesn’t shout and rage at a particular situation. As much as Season 3 was elevated by the severity of All Might’s retirement and continuous action that made addicting to perceive, what’s certainly appreciative to take note of in this latest season as well, is the narrative balance between action and exposition. There’s even a better end-point this time around, where we see Deku in the midst of an eerie vision of past One For All user’s…

Alongside this ever noticeable tendency that Academia carries out in seamlessly balancing familiar Shōnen tropes with complex and relatable themes that are imperative to the advancements of character and story progression, is the gloriously feasible characterisation of the aforesaid anime which naturally gleams in allowing it’s side characters and large ensemble cast to be developed. From an initial close focus on Deku and All Might, subsequent arcs have expanded the scope of Academia’s central narrative-point, meaning that audiences will have naturally been invested in the majority of the rest of the characters; since they come to fester in-and-out of each arc. This is forever noticeable in the preceding season, when the likes of Tetsutetsu, Yoarsahi Inasa and Bakugou where given depth that only added to the value of Deku’s rise in recognising a different facet of his power, and his emotional bonding with Bakugou, but also supplemented towards relationships that meant a lot of characters grow in the subsequent season. This is certainly true when we find Bakugou, a somewhat reserved and limited character in this latest season, who instead of belittling Deku and slamming everyone around him, manages to accept his downfalls and realises his many discrepancies that will make him a better hero. Unlike the previous two seasons, there aren’t specific arcs this time round which purposefully bides its time in developing characters to the point where they feel imperative to the story, which is a good thing. Being that this is the 4th season of a show that’s seen a variety of characters being involved in vital circumstances that affect the central protagonists story, it’s arguable to say that focusing on character development of those who we’ve seen countless times can rather stagnate the progression that the aforesaid show, at times, desperately needs. However, what season 4 proceeds to do from the norm of the show so far, is to spotlight certain characters and interweave them with the series’ overall progression. This can be seen from all of the present arcs – whether we’re seeing Kirishima’s backstory during the Shie Hassaikai raid, Endeavour in the Remedial Course arc where he comes to terms with his status in finally becoming the number one hero and the U.A School Festival Arc where we’re introduced to the antagonists of Gentle Criminal and La Brava and how their backstories involve them scuppering the said hero’s schools festival.

Where My Hero Academia consistently succeeds throughout its many episodes, and especially in its one-off theatrical features, is the manner in which it presents a clean and eye-popping animation style that wonderfully bursts into life at the right moments. At this current moment instant, the presentation in which My Hero Academia presents is in a class of its own as it can bestow fluency and detail of characters and their actions in the most expressive fashion. Whereas the misgivings of the animation style come when gazing within the background of many different locations, where landscapes, buildings and trees are displayed in a way that appear unfinished, it makes-up for that particular inconsistency in applying vivid and expressive detail within its imperative fight sequences. As much as the infamous fight between All Might and All For One was a display of the production soaring to new heights – since the animation style crescendos the subtle narrative nuances of the two fighters’ relationship with eloquent drawn marks of character motions that provide the necessary impact – it’s equally apparent to see in season 4 that the same is applied when see either Deku facing a deformed Overhaul or when Endeavour is tasked in defeating High-End. It’s the animators versatility in providing different action scenes that make these scenarios so memorable, as seen in the concluding fight of this latest season when Endevaour meets his match with High-End which demonstrates the kinetic and fluidity of distinctive movements Yutaka Nakamura and Studio BONES breathlessly offer and the explosive and vivid impact that’s provided from a satisfying final blow. The fluency in which characters leap onto buildings or subtly move their hands or legs in an act of desperation is expressionate yet natural all at once and inherently adds verisimilitude to a show that wants to break its ‘realism’ through elaborate moments.

With the latest and rewarding animated feature of My Hero Academia: Heroes Rising, there’s no going around the notion that the aforesaid series that we see here is very much at the pinnacle of anime popularity, and rightly so. It’s hard to find many similar shows which proudly adopts Shōnen action tropes in way that feels fresh and redefined and consistently providing character development and story progression that both never feel out of touch or stale. What was imperative for this latest and 4th season of My Hero Academia to get across, more than its central story-line which has arguably lagged behind recently, was this idea of growth instilled in already-established characters and the said series exemplifies this in a manner which feels natural and not dramatically forced. In some regards, it learns from its discrepancies from the preceding season and establishes something that doesn’t take itself too seriously. Yes, there are serious story-lines that unravel for our likeable and ever-relatable protagonists, but its equally a season that makes time for fun and intrigue as epitomised in the U.A. School Festival arc. The fact that I still found myself addicted to watch the next episode just after one ended, shows its staying power and it manages to consistently make characters and stories still seem engaging. Deku and all his friends and teachers still feel incredibly charming in their own way and it’ll be interesting to see how future events unfold in season four now that a lot of things have changed for a lot of individuals…

On that note, it’s time for me to end this week’s anime review. As always’s everyone, thank you for reading my latest anime review of My Hero Academia’s fourth season and I hope you’ve all enjoyed the read! 😊 If anyone has an opinion on either my review or the animated series itself, you’re more than welcome to share your thoughts down below. For next week, I’ll be starting to write reviews on films that I grew-up with and how much or little these features may have changed since my own viewing of them in the 1990’s. Thank you once again for reading my latest Blog Post and I hope you all have a nice weekend! Adieu! 😁✌💪👊💥

★★★★ – Alex Rabbitte