My Hero Academia

The story repeatedly asks how society treats people whose powers, bodies, or feelings seem abnormal. Deku starts as a powerless child who is told he cannot be a hero, while Toga, Shigaraki, and Spinner receive backstories about rejection and neglect. Uraraka tries to understand Toga, and Shoji challenges hatred of heteromorphs, people whose powers change their bodies. The final season makes empathy, shared responsibility, and rebuilding after social failure part of the ending.

Endeavor’s drive to become No. 1 causes him to abuse his wife and children, and the story condemns that control. The hero rankings and the Public Safety Commission show how fame and official power can harm people. These criticisms target the fictional Japanese hero system, not Christianity, Western culture, or conservative politics.

Small posts call the show woke because it includes transgender or LGBT characters such as Magne and Tiger. Tiny accounts also call Horikoshi or the later arc “Western catered.” No named boycott, review bomb, or broad news cycle formed around those claims. Praise that the show is not woke is approval, so it does not raise this score.

Horikoshi’s work repeatedly centers rejected people, social exclusion, trauma, and institutional failure, and his available creator profile rates him 50/100. Kuroda’s available profile rates him 0/100, and the other named directors and producers are mostly rated from 0 to 22/100. Horikoshi’s interviews describe heroism as helping others and making room for ordinary people, but they do not present a party or DEI campaign. The team therefore supports the show’s social themes more than it shows a strong activist record.