One year ago, the My Hero Academia manga officially confirmed what many fans had long suspected: Dabi is Touya Todoroki. This pivotal moment, rich with emotional depth and dramatic flair, is amplified even further when examined through the nuances of the original Japanese dialogue. Let’s revisit this iconic reveal, focusing on how Dabi’s words themselves perform a kind of “Dancing Japanese” – a deliberate and impactful linguistic performance crafted to maximize emotional impact.
A Casual Yet Calculated Opening
Dabi’s opening lines are a masterclass in “dancing japanese,” showcasing how casual language can be wielded for dramatic effect.
「おーういたいたこっから見るとどいつも小っさくてお！？焦凍もいンのかこりゃいいや！」
「おーう ; oooh 」-> Oooh
「いたいた ; ita ita 」-> there you are
「こっから ; kokkara 」-> from here
「見る ; miru 」-> to see; to look
「と ; to 」-> when
「どいつも ; doitsumo 」-> everybody (derogatory)
「小っさくて ; chiissakute 」-> small
「お ; o 」-> Oh
「焦凍 ; shouto 」-> Shouto
「も ; mo 」-> also; too
「いン ; in 」-> to be
「のか ; noka 」-> question marker
「こりゃ ; korya 」-> this
「いい ; ii 」-> good
「や ; ya 」-> sentence ending particle
=”Oooh, there you are. Looking down from here, everyone is s-maaall- Oh!? Shouto is here too, isn’t he? Whatever!”
The phrase “dancing japanese” here isn’t about literal dance, but the performance aspect of Dabi’s speech. He uses casual forms (“kokkara,” “in,” “korya”) throughout, creating a conversational tone. However, within this casual delivery, he injects dramatic pauses and emphasis.
“Doitsumo,” meaning “everybody,” carries a negative connotation, immediately setting a confrontational tone. The elongated “chiissakute” (s-maaall) with the added “っ” exemplifies Dabi’s dramatic “dance” with pronunciation, emphasizing the insignificance of everyone below him. He then abruptly shifts, noticing Shouto. The use of katakana for the “n” in “いン” further highlights his calculated emphasis.
The sentence-ending particle “ya” adds a layer of sarcastic indifference, a stark contrast to his dramatic presentation. This linguistic “dance” – shifting between casual and emphasized, indifferent and dramatic – keeps the audience on edge, a crucial element of his performance. It’s a “dancing japanese” that plays with expectations and emotions.
Endeavor’s Interruption and Dabi’s Hurt Performance
Endeavor’s single, desperate line, “荼毘！！！」 (“Dabi!!!”), is a raw, emotional outburst, a stark contrast to Dabi’s controlled performance. This interruption sets the stage for Dabi’s next act in his “dancing japanese.”
「酷えなア。。。そんな名前で呼ばないでよ。。。」
「酷え ; hidee 」-> cruel; heartless; harsh
「なア ; naa 」-> sentence ending particle
「そんな ; sonna 」-> such
「名前 ; namae 」-> name
「で ; de 」-> by; with
「呼ばないで ; yobanaide 」-> don’t call
「よ ; yo 」-> emphasis particle
= “Cruel, isn’t it… don’t call me by such a name…”
Dabi’s response is another step in his linguistic “dance.” He uses the casual “hidee” for “cruel,” but elongates the “e” sound for emphasis, mirroring his earlier technique. The “naa” particle is also elongated and written in katakana, amplifying the feeling of hurt and theatrical indignation. This isn’t just casual speech; it’s a carefully crafted performance of wounded feelings.
The request “yobanaide” (don’t call me) is polite in form, but the context makes it a demand, a manipulation. He’s performing hurt, drawing out the drama before the reveal. This calculated emotional manipulation is a key element of his “dancing japanese.” He is using language to control the emotional rhythm of the scene.
The Reveal: A Flourish in “Dancing Japanese”
The reveal itself is a dramatic flourish, a climactic movement in Dabi’s “dancing japanese.”
「燈矢って立派な名前があるんだから」
「燈矢 ; touya 」-> Touya
「って ; tte 」-> quotation particle
「立派な ; rippa na 」-> splendid
「名前 ; namae 」-> name
「が ; ga 」-> subject marker
「ある ; aru 」-> to be
「ん ; n 」-> explanatory particle
「だから ; dakara 」-> because; therefore
= “Because I have the splendid name ‘Touya’.”
This sentence, seemingly incomplete in English, is strategically placed after “don’t call me Dabi.” The sentence structure is inverted from the typical Japanese cause-then-effect order, creating suspense. This manipulation of sentence structure is another form of “dancing japanese,” building anticipation.
The word “rippa na” (splendid) contrasts sharply with the preceding drama, adding a layer of irony and self-awareness to his performance. The pause as he reveals his true name and hair color is the crescendo of his linguistic dance, the moment where all the carefully constructed drama culminates. “Dancing japanese” here is about timing, delivery, and impactful phrasing.
Emotional Barbs and Lingering Resentment
Following the reveal, Dabi continues his “dancing japanese,” using language to inflict emotional wounds and express his deep-seated resentment.
「顔はこんななっちまったが。。。身内なら気付いてくれると思ったんだけどなぁ」
「顔 ; kao 」-> face
「は ; wa 」-> topic marker particle
「こんな ; konna 」-> like this
「なっちまった ; nacchimitta 」-> to have become fully/regrettably
「が ; ga 」-> but
「身内 ; miuchi 」-> relatives; one’s family
「なら ; nara 」-> if
「気付いてくれる ; kidzuitekureru 」-> to recognize for the speaker
「と思った ; to omotta 」-> thought
「んだ ; nda 」-> explanatory particle
「けど ; kedo 」-> however
「なぁ ; naa 」-> expresses emotion looking back
= “My face has regrettably become like this, but… I had thought if it’s my family, they would recognize me, however…”
“Nacchimatta,” implying regret, is likely sarcastic, adding to his dramatic performance. “Kidzuitekureru” (recognize me) emphasizes Endeavor’s failure as a father, highlighting the personal slight. The sentence ends on “kedo” (however), leaving a lingering sense of disappointment and frustration, a final, subtle movement in his “dancing japanese” of resentment.
「でも俺は忘れなかった言われなくてもずうっとおまえを見ていた」
「でも ; demo 」-> but
「俺 ; ore 」-> I
「は ; wa 」-> topic marker particle
「忘れなかった ; wasurenakatta 」-> didn’t forget
「言われなくても ; iwarenakute 」-> even if not told
「ずうっと ; zuutto」-> continuously; all along
「おまえ ; omae 」-> you
「を ; o 」-> direct object marker
「見ていた ; miteita 」-> have been watching
= “But I didn’t forget. Even though you weren’t told, I’ve been watching you continuously.”
The emphasized “zuutto” (continuously), elongated and pronounced with extra force, showcases the intensity of his long-held grudge. This repetition and emphasis are further examples of his “dancing japanese,” using rhythm and sound to convey the weight of his words.
Irony and Condemnation in Every Phrase
Dabi’s “dancing japanese” continues as he layers irony and condemnation into his speech, targeting Endeavor’s hypocrisy.
「皆が皆清廉潔白であれとは言わないおまえだけだ」
「皆が皆 ; minna ga minna 」-> every single one; everybody
「清廉潔白 ; seirenkeppaku 」-> selfless and pure, without greed
「であれ ; de are 」-> should
「とは ; to wa」-> adds emphasis
「言わない ; iwanai 」-> don’t say
「おまえ ; omae 」-> you
「だけ ; dake 」-> only
「だ ; da 」-> be
= “I’m not saying everybody should be selfless and pure. Only you.”
The term “seirenkeppaku” (selfless and pure) is used ironically, highlighting Endeavor’s glaring lack of these qualities. This sarcastic jab is delivered with precision, a sharp step in his “dancing japanese” aimed at dismantling Endeavor’s self-image.
The manga panel showing Shouto during this line is a visual counterpoint, emphasizing the impact of Dabi’s words on his younger brother. It’s a reminder that Dabi’s “dancing japanese” is not just for Endeavor, but for the entire family and the watching world.
「事前に録画しておいた俺の身の上話が今全国の電波とネットを走ってる！」
「事前 ; jizen 」-> prior; beforehand
「に ; ni 」-> at
「録画しておいた ; rokuba shiteoita 」-> prepared a video recording in advance
「俺 ; ore 」-> I
「の ; no 」-> possessive particle
「身の上話 ; mi no uebanashi 」-> life story
「が ; ga 」-> subject marker particle
「今 ; ima 」-> now
「全国 ; zenkoku 」-> the whole country
「の ; no 」-> possessive particle
「電波 ; denpa 」-> radio wave
「と ; to 」-> and
「ネット ; netto 」-> internet
「を ; o 」-> direct object marker
「走ってる ; hasshiteru 」-> spreading
= “I prepared a video recording of my life story in advance that is now spreading across the whole country’s radio waves and internet!”
This line reveals the scale of Dabi’s plan. His “dancing japanese” isn’t just a performance for Endeavor and his family; it’s a broadcast to the nation. The contrast between the carefully “prepared video recording” and the seemingly spontaneous speech adds another layer to his calculated performance.
「いけねえなんだか愉しくなってきた！！」
「いけねえ ; ikenee 」-> oops; no good; bad
「なんだか ; nandaka 」-> a little; somewhat
「愉しなくなってきた ; tanoshikunattekita 」-> have come to enjoy
= “Oopsie, I’ve come to somewhat enjoy it!!”
“Ikenee” (oopsie) and “nandaka tanoshikunattekita” (I’ve come to somewhat enjoy it) are understatements that highlight Dabi’s twisted pleasure in his revenge. The kanji for “tanoshii” (愉しい) is deliberately chosen to represent a joy derived from a clear, almost detached, state of mind, emphasizing the calculated nature of his enjoyment. This subtle choice in kanji is another example of the depth within his “dancing japanese.”
The Decade-Long Choreography of Revenge
Dabi reveals the meticulous planning behind his “dancing japanese” of revenge, emphasizing the years of thought and preparation.
「どうしたらおまえが苦しむか人生を踏み躙れるか。。。あの日以来ずうううううううっと考えた！」
「どうしたら ; doushitara 」-> how can one do something
「おまえ ; omae 」->you
「が ; ga 」-> subject marker particle
「苦しむ ; kurushimu 」-> to suffer
「か ; ka 」-> question marker particle
「人生 ; jinsei 」-> life
「を ; o 」-> direct object marker
「踏み躙れる ; fuminijireru 」-> can crush with a foot; can trample underfoot
「か ; ka 」-> question marker particle
「あの ; ano 」-> that
「日 ; hi 」-> day
「以来 ; irai 」-> since
「ずうううううううっと ; zuuuuuuuutto 」-> continuuuuuuuuously
「考えた ; kangaeta 」-> thought about
= “How can I make you suffer? How can I trample on your life? …I have been continuuuuuuuuously thinking about it since that day.”
The intensely elongated “zuuuuuuuutto” (continuuuuuuuuously) underscores the decade of planning. The direct and brutal questions – “How can I make you suffer? How can I trample on your life?” – are delivered with chilling precision. This is the culmination of his “dancing japanese” – years of planning distilled into a devastating verbal assault.
Vulnerability and Manipulation
Dabi’s “dancing japanese” takes another turn as he reveals a moment of vulnerability, quickly twisting it into further manipulation.
「自分が何故存在するのか分からなくて毎日夏くんに泣いて縋ってた事知らねぇだろ」
「自分 ; jibun 」-> myself; I
「が ; ga 」-> subject marker particle
「何故 ; naze 」-> why
「存在する sonzai suru 」-> to exist
「のか ; noka 」-> question marker
「分からなくて ; wakaranakute 」-> don’t understand
「毎日 ; mainichi 」-> every day
「夏くん ; natsukun 」-> Natsu-kun
「に ; ni 」-> to
「泣いて ; naite 」-> to cry
「縋ってた ; sugatteta 」-> was clinging to; was relying on
「事 ; koto 」-> nominalizes preceding sentence
「知らねぇ ; shiranee 」-> don’t know
「だろ ; daro 」-> probably
= “You probably don’t know that I was crying and clinging to Natsu-kun every day because I didn’t know why I existed.”
“Sugaru” (to cling) carries a negative connotation, highlighting his desperation and the inadequacy of relying on his younger brother. This vulnerability is quickly weaponized, used to further indict Endeavor’s neglect. His “dancing japanese” here is a calculated display of past pain used to maximize present impact.
「最初はおまえの人形の焦凍が大成した頃に焦凍を殺そうと思ってた！でも期せずしておまえがNo.1に繰り上がって俺は！おまえを幸せにしてやりたくなった」
「最初 ; saisho 」-> at first; in the beginning
「は ; wa 」-> topic marker particle
「おまえ ; omae 」-> you
「の ; no 」-> possessive particle
「人形 ; ningyou 」-> doll; puppet
「の ; no 」-> possessive particle
「焦凍 ; shouto 」-> Shouto
「が ; ga 」-> subject marker particle
「大成した ; taisei shita 」-> completed; accomplished
「頃 ; koro 」-> time; around; when
「に ; ni 」-> at
「焦凍 ; shouto 」-> Shouto
「を ; o 」-> direct object marker
「殺そう ; korosou 」-> will kill
「と思ってた ; to omotteta 」-> was thinking
「でも ; demo 」-> but
「期せずして ; kisezushite 」-> unexpectedly; accidentally
「おまえ ; omae 」-> you
「が ; ga 」-> subject marker particle
「Ｎｏ１ ; nanbaa wan 」-> Number 1
「に ; ni 」-> to
「繰り上がって ; kuriagatte 」-> to move up in rank
「俺 ; ore 」-> I
「は ; wa 」->topic marker particle
「おまえ ; omae 」-> you
「を ; o 」-> direct object marker
「幸せにしてやりたくなった ; shiawase ni shiteyaritakunatta 」-> wanted to make you happy
= “At first when your doll Shouto was completed, I thought I’d kill Shouto! But, unexpectedly, you moved up to Number One, and I! Wanted to bring you happiness.”
“Korosou” (will kill) in the volitional form is a declaration of intent, emphasizing the dramatic nature of his initial plan. The phrase “shiawase ni shiteyaritakunatta” (wanted to bring you happiness) uses the rude “~teyaru” form, highlighting the sarcastic and disrespectful nature of his “happiness.” His “dancing japanese” here is a performance of twisted intentions, designed to shock and unsettle.
Mocking Endeavor’s Heroism
Dabi continues to mock Endeavor’s hero persona, further twisting the knife with his “dancing japanese.”
「九州では死んじまわねえか肝を冷やした！『星のしもべ』や『エンディング』を誘導して次々おまえにあてがった！！」
「九州 ; kyuushuu 」-> Kyushu
「では ; dewa 」-> in
「死んじまわねえ ; shinjimawanee 」-> don’t drop dead
「か ; ka 」-> question marker particle
「肝を冷やした ; kimo o hiyashita 」-> was scared to death; was terrified
「星のしもべ ; hoshi no shimobe 」-> Starservant
「や ; ya 」-> and
「エンディング ; endingu 」-> Ending
「を ; o 」-> direct object marker
「誘導して ; yuudou shite 」-> to guide; to lead
「次々; tsugitsugi 」-> in succession; one by one
「おまえ ; omae 」-> you
「に ; ni 」-> to
「あてがった ; ategatta 」-> allotted with; supplied with; applied to
= “Won’t he drop dead in Kyushu? I was scared to death! I had led Starservant and Ending and one by one gave them right to you.“
“Shinjimae” (drop dead) is an insult, but here it’s used sarcastically, highlighting his feigned concern for Endeavor’s well-being. “Ategatta” (assigned) implies a manipulative control over events, further undermining Endeavor’s agency. His “dancing japanese” here is a performance of mockery, stripping away Endeavor’s heroic facade.
「念願のNo.1はさぞや気分が重かったろ！？世間からの賞賛に心が洗われただろう！？」
「念願 ; nengan 」-> one’s heart’s desire; one’s dearest wish
「の ; no 」-> possessive particle
「Ｎｏ１ ; nanbaa wan 」-> number one
「は ; wa 」-> topic marker particle
「さぞや ; sazoya 」-> surely; certainly
「気分 ; kibun 」-> feeling; mood
「が ; ga 」-> subject marker particle
「重かったろ ; omokattaro 」-> was probably heavy
「世間 ; seken 」-> world
「から ; kara 」-> from
「の ; no 」-> possessive particle
「賞賛 ; shousan 」-> praise; admiration
「に ; ni 」-> by
「心が洗われた ; kokoro ga awareta 」-> to feel refreshed; to feel soothed
「だろう ; darou 」-> probably
= “Your biggest wish of Number One, it surely felt heavy, right?! You probably felt soothed by the admiration from the world!?”
The rhetorical questions ending in “darou” (probably) are designed to provoke and unsettle Endeavor. “Kokoro ga awareta” (felt soothed) is used sarcastically, questioning the genuine nature of Endeavor’s public redemption. His “dancing japanese” is a relentless interrogation, pushing Endeavor towards a breakdown.
「子どもたちに向き合う時間は“家族の絆”を感じさせただろう！！？」
「子どもたち ; kodomotachi 」-> children
「に ; ni 」-> to
「向き合う ; mukiau 」-> to face
「時間 ; jikan 」-> time
「は ; wa 」-> topic marker particle
「家族 ; kazoku 」-> family
「の ; no 」-> possessive particle
「絆 ; kizuna 」-> bond
「を ; o 」-> direct object marker
「感じさせた ; kanjisaseta 」-> made to feel
「だろう ; darou 」-> probably
= “The time you faced your kids made you feel the “bond of family”, right!!?”
The phrase “kazoku no kizuna” (bond of family) is placed in quotation marks, highlighting the artificiality and emptiness of Endeavor’s attempts at family reconciliation. Dabi’s “dancing japanese” continues to dismantle Endeavor’s carefully constructed narratives.
「未来に目を向けていれば正しくあれると思っただろう！！？知らねエようだから教えてやるよ！！！」
「未来 ; mirai 」-> future
「に ; ni 」-> to
「目を向けていれば ; me o muketeireba 」-> if you shift your attention
「正しくあれる ; tadashikuareru 」-> to be able to exist correctly/proper
「と思った ; to omotta 」-> thought
「だろう ; darou 」-> probably
「知らねエ ; shiranee 」-> don’t comprehend
「ようだ ; you da 」-> seeming/appearing to be
「から ; kara 」-> therefore
「教えてやる ; oshieteyaru 」-> I will teach you
「よ ; yo 」-> emphasis particle
= “You probably thought ‘if I shift my attention to the future, I’m able to exist correctly’!!? I will tell you, since you seem to not comprehend!!!”
“Tadashikuareru” (to be able to exist correctly/proper) questions the very foundation of Endeavor’s attempts at redemption. “Shiranee” (don’t comprehend), emphasized with katakana, is dismissive and condescending. “Oshieteyaru” (I will teach you) uses the rude “~teyaru” form, solidifying Dabi’s superior and vengeful position. His “dancing japanese” culminates in a declaration of dominance and a promise of further torment.
The Climactic Dance of Destruction
The final lines are the dramatic finale of Dabi’s “dancing japanese,” a chilling invitation to mutual destruction.
「過去は消えないザ！！自業自得だぜさァ一緒に堕ちよう轟炎司！！地獄(こっち)で息子(おれ)と踊ろうぜ！！！」
「過去 ; kako 」-> history
「は ; wa 」-> topic marker particle
「消えない ; kienai 」-> doesn’t disappear; doesn’t go away
「ザ ; za 」-> emphasis particle
「自業自得 ; jigoujitoku」-> paying for one’s mistakes; reap what you sow
「だ ; da 」-> be
「ぜ ; ze 」-> emphasis particle
「さァ ; saa 」-> emphasis particle
「一緒に ; issho ni 」-> together
「堕ちよう ; ochiyou 」-> let’s fall down; let’s descend
「地獄 ; jigoku 」-> hell
「こっち ; kocchi 」-> here
「で ; de 」-> in
「息子 ; musuko 」-> son
「おれ ; ore 」-> I
「と ; to 」-> with
「踊ろう ; odorou 」-> let’s dance
「ぜ ; ze 」-> emphasis particle
= “The past doesn’t go away!! You reap what you sow. Well, let’s fall together, Enji Todoroki!! You shall dance with me here!!!”
The emphatic particles “za,” “ze,” and “saa,” all written in katakana, amplify the finality and emotional intensity of his words. “Ochiyou” (let’s fall together) uses kanji suggesting a moral and spiritual fall, not just physical death.
The iconic line “地獄(こっち)で息子(おれ)と踊ろうぜ！！!” (You shall dance with me here in hell!!!) is a masterpiece of “dancing japanese.” The furigana reveals the hidden meanings: “地獄” (hell) is read as “kocchi” (here), and “息子” (son) is read as “ore” (I). He says “here,” meaning the battlefield, but implies “hell,” representing his life and the world he intends to drag Endeavor into. He says “I,” but means “son,” emphasizing the personal, familial nature of his revenge.
The final “odorou ze!!!” (let’s dance!!!) is a chilling invitation to a dance of destruction, a final, devastating movement in his “dancing japanese” performance.
Conclusion: The Art of Linguistic Performance
Dabi’s reveal is not just a plot twist; it’s a carefully orchestrated performance, and his Japanese dialogue is central to its impact. His “dancing japanese” – the strategic use of casual language, dramatic emphasis, manipulated sentence structure, and emotionally charged phrasing – creates a linguistic performance that is as devastating as his flames. It’s a testament to the power of language to shape emotion, manipulate perception, and deliver a truly unforgettable dramatic reveal. Even a year later, the depth and artistry of Dabi’s linguistic performance continue to resonate, proving that his words are as potent a weapon as his quirk.
