My Hero Academia vol.5(ver.A) Himiko Toga

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The prototype sketches of Himiko state that she is possibly bisexual or pansexual, meaning she may be attracted to both males and females. It is unconfirmed whether this character trait has been kept in the main series. However, it is likely, as Himiko has expressed her "love" towards both Izuku and Ochaco. [23] [24]

To Ochaco) "Exactly, I've also held it in for so long! When I was little, I was told to stop being me! But that doesn't work! When you shut your feeling away, it only grows inside!" [35] Himiko is quite courageous, or at least very confident when using her Quirk, even impersonating an aspiring Hero and taking part in an exam that gathered thousands of hero students and multiple Pro Heroes. She also has shown a comedic and childlike demeanor when faced with different situations, such as when she was with Twice or when she attempted to insult Mimic. The book offers a valid synthesis of a large quantity of recent research that has focused on questions of dress and the ways it communicated gender, ethnicity, and class. It also provides the reader with novel viewpoints more sensible to the lived and tactile aspects of the toga, focusing on how the toga, an everyday material object, was used to negotiate social relations and identity.During her fight with Curious and her soldiers, Himiko's Quirk underwent an Awakening, giving her the ability to use the Quirks of the people into whom she's transformed, something that she was previously incapable of doing. [16] Although, Himiko can only use another person's Quirk if she is fascinated by that person and holds that person close to her heart, and she must have sufficient information on their power. Himiko's surname contains the kanji for "migrate" ( 渡 , to ?) and "self" ( 我 , ga ?), and her first name contains "wear, put on" ( 被 , hi ?), "somebody" ( 身 , mi ?), and "child," which is also a feminine name suffix ( 子 , ko ?). [25]

To Mr. Compress) "Where do they draw the line? If Heroes are supposed to save people, then was Jin not considered a person? Will they kill me too? That's what I want to ask Izuku and Ochaco. Depending on their answer I'll be fine." [33] Upon deactivating her Quirk or switching to another disguise, Himiko's disguise melts into a gray viscous liquid. Notably, Himiko's ability to use the Quirks of people she transforms into was first mentioned alongside those sketches, before the story confirmed it properly in Chapter 266. Himiko is the first character in the series to have her name revealed in katakana rather than kanji. This was likely done to avoid hinting at her Quirk. The volume is divided into six main, thematically organized chapters, with an introduction and an epilogue. The Introduction presents to the reader the most central questions of the study starting from why the toga came to be such a quintessential symbol of being Roman, and the Romans the gens togata sung by Virgil. Rothe explains this, firstly, with the particular interest of Roman culture in visual spectacle, which made dress a vital tool for the expression of status in public. Secondly, dress was all the more important, as inner morals were believed to be directly expressed on the outer habitus of the person—a Roman was what he wore. This is why changing clothes meant changing one’s identity, as is shown with choice examples, like Mark Antony’s fatal shift from the toga to oriental dress. Rothe acutely observes that other Mediterranean nations, in particular the Greeks, never fostered a similar need to distinguish themselves by a particular ‘national costume’. The Introduction comprises a thorough overview of previous scholarship dedicated to the subject, starting from Launitz’s 1865 study and Wilson’s 1924 monography, up to Goette’s 1990 book, all with an art-historical emphasis. [2] The 1990s were a watershed in Roman dress studies, marked, in particular, by the publication of Sebesta and Bonfante’s 1994 compilation of articles dedicated to the subject, shifting the focus of the research towards social significances. However, Rothe notes that in this volume, Stone’s chapter on the toga, together with Vout’s contemporary article, reinforced the idea of the toga as a mere symbol, hardly ever worn in real life. [3] In more contemporary research, the book most closely in dialogue with Rothe’s is certainly Olson’s 2017 study dedicated to Roman male dress in general. [4]All For One • Cider House • Dictator • Ending • Gashly • Giran • Habit Headgear • Hanzo Suiden • Hawks • Kunieda • Kyudai Garaki • Lady Nagant • Mihaera • Moonfish • Muscular • Overhaul • Sludge Villain • Starservant • Steel Bulwark • Tajima • Yuga Aoyama During the the Final War after drinking a portion of Twice's blood, she was able to completely turn the tables by utilizing his Double Quirk to make hundreds of copies of herself to overwhelm the Heroes. To Ochaco) "Listen Ochaco, when I think about the people I love it makes me wanna become them. This desire to take all their blood for myself gushes up till I just can't stand it. I get all emotional just thinking about it. That's how I am, but other people aren't like that. It's so hard for me to live like this." [34]

Skill Release ( 解除 , Kaijo ?): Himiko uses Ochaco's Zero Gravity to negate the gravitational pull of objects, then release the effect on them, causing them to barrel toward the ground. [16]

GOOD SMILE RACING

Sad Man's Legion ( 我々は大勢で ( サッドマンズ ) あるがゆえに ( レギオン ) , Saddo Manzu Region ?): By using her Transform Quirk to duplicate Twice's Double Quirk, Himiko is able to create a legion of clones that take the appearance of several Heroes and Villains, whose blood was taken from the battlefield of the Gunga Mountain Villa Ruins. [22] According to Kohei Horikoshi, Himiko is the hardest to illustrate of all the female characters he has created so far, her eyes and hair being particularly difficult. Chapter 6 examines how the toga, a core symbol of Romanness, was used in complex ways in identity construction in the provinces. Starting from the idea that ‘Romanness’ was something that could be acquired and ‘put on’ and ‘taken off’ just, like the toga, the chapter discusses a series of case studies that draw on Rothe’s expertise on the dress of the northwestern provinces. In Gaul, in the 2nd-3rd centuries, only the largest grave monuments show wearers of toga, clearly men of elite status or international ‘businessmen’, while most men are depicted in the local style, wearing hooded capes. Sometimes the toga is worn over the Gallic long-sleeed tunic, showing a delicate mix of ethnic elements. In Noricum, the grave stele of Licovia Ingenua shows how the Roman wife is dressed in local style, while her non-Roman husband is depicted wearing a toga; here, according to Rothe, gender plays a more important role than nationality. These and other examples show how difficult it is to assign univocal cultural meanings to the garment. While at first, Himiko expresses some regret that she couldn't talk to Ochaco about love, she soon discards any sentiment she had towards Izuku, Tsuyu, and Ochaco, believing that they are just like her parents who rejected her, while lamenting that their society's rules pity her but don't care. As the battle rages on and Himiko's past memories begin to resurface, she becomes more determined on killing the Heroes in her way, becoming even more unstable as a result. The specific goal set for the book by Rothe is to explore the toga both as a material garment and as an identity-building symbol, combining literary, iconographic and archaeological sources. The author notes that previous studies on the toga all focus on one type of material, mostly sculptural depictions. The present book also aims to widen the outlook outside the elite circles and provincials beyond Italy. It builds on Rothe’s earlier work on Roman provincial dress, with an especially good discussion of the ethnic and non-Roman aspects throughout the book. [1] Rothe’s most central aim here is to counter the scholarly tendency to the see the toga as a symbol rather than a garment and to demonstrate that it was, instead, very much present in everyday life.