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Izuku later awakens a Quirk that belonged to one of All Might's predecessors, discovering that he can eventually obtain all the Quirks of the previous users of One For All as well. Meanwhile, the Heroes manage to capture a member of the League of Villains, Kurogiri. Examination reveals him to be a Nomu created from the corpse of a childhood friend of one of the teachers at UA. Meanwhile, the League of Villains grows stronger after Shigaraki gathers more followers and defeats another villain group, the Meta Liberation Army led by Re-Destro, leading to both organizations merging into the Paranormal Liberation Front under his leadership. To counter this new threat, the Pro and Training Heroes join together in a massive operation to arrest them, but despite severe casualties and destruction, they fail to capture most of the League, including Shigaraki, who inherits All For One's Quirk and is possessed by him. Meanwhile Dabi reveals himself as Endeavor's son Toya as well as the abuse that led him to villainy, shattering the public's trust in the #1 hero. In the following days, the Paranormal Liberation Front gains momentum by releasing thousands of imprisoned Villains, including the original All For One, which alongside Dabi's revelation cause Japan to descend into chaos and anarchy. Izuku, knowing that he is Shigaraki and All For One's primary target, decides that it's too dangerous for his friends and family to have him around and flees from U. A. , leaving behind some letters to the others revealing the truth of his power. Over the next month, Izuku joins forces with the top 3 Heroes and begins relentlessly hunting for All For One's location, to the detriment of his own health.

Retrieved July 24, 2018. ^ Blu-ray and DVD rankings: Loo, Egan (August 21, 2018). "Japan's Animation Blu-ray Disc Ranking, August 13–19". Anime News Network. Archived from the original on December 10, 2022. Retrieved August 21, 2018.

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" Mike Lazzo of the American Cartoon Network[209] One of the key points that differentiated anime from a handful of Western cartoons is the potential for visceral content. Once the expectation that the aspects of visual intrigue or animation are just for children is put aside, the audience can realize that themes involving violence, suffering, sexuality, pain, and death can all be storytelling elements utilized in anime just as much as other media. [210] However, as anime itself became increasingly popular, its styling has been inevitably the subject of both satire and serious creative productions. [12] South Park's "Chinpokomon" and "Good Times with Weapons" episodes, Adult Swim's Perfect Hair Forever, and Nickelodeon's Kappa Mikey are examples of Western satirical depictions of Japanese culture and anime, but anime tropes have also been satirized by some anime such as KonoSuba. Traditionally only Japanese works have been considered anime, but some works have sparked debate about blurring the lines between anime and cartoons, such as the American anime-style productions Avatar: The Last Airbender and Avatar: The Legend of Korra. [211] These anime-styled works have become defined as anime-influenced animation, in an attempt to classify all anime styled works of non-Japanese origin. [212] Some creators of these works cite anime as a source of inspiration, for example the French production team for Ōban Star-Racers that moved to Tokyo to collaborate with a Japanese production team. [213][214][215] When anime is defined as a "style" rather than as a national product, it leaves open the possibility of anime being produced in other countries,[211] but this has been contentious amongst fans, with John Oppliger stating, "The insistence on referring to original American art as Japanese "anime" or "manga" robs the work of its cultural identity. "[12][216] A large contingent of anime and manga is also notable for deliberately forgoing any identification of its characters with real-world ethnicities or nationalities, termed in criticism as mukokuseki (statelessness). Mukokuseki characters may be depicted with culturally neutral features and can significantly impact the reception of a property outside of Japan. [217][218] A U. With the help of a friendly local girl, Chika Amabe, they locate the worm again and close the door in the entry to an abandoned school. They stay at Chika's home for the night. The next day, after parting with Chika, they hitch a ride to Kobe with a kind woman named Rumi Ninomiya, who asks Suzume to babysit her twin children. In the evening, Suzume spots Daijin who leads her and Souta to an abandoned amusement park, where the worm is trying to emerge again from a ferris wheel. They manage to lock the door, and the worm disappears. Souta explains that the portal within the door leads to the Ever-After, a place where souls go after death. After tracking Daijin to Tokyo, Souta asks Suzume to take them to his apartment. There he explains the legend of the worm Namazu, and that he is the last descendant of a family that, for many generations, had been responsible for locking all the doors that lead to the Ever-After. He says that there are two keystones that seal the worm: the western keystone has become Daijin, while the location of the eastern keystone is unknown. He warns that if the worm tries to emerge in Tokyo, it could cause an earthquake of the same magnitude as the 1923 Great Kantō earthquake. Suzume notices the worm emerging again, and the two follow it.