My Hero Academia’ Mistakes You’ll Never Be Able to Unsee

Fans know every corner of ‘My Hero Academia’ by heart, which makes tiny slipups much easier to spot. The series moves fast and juggles huge set pieces, so every once in a while a frame or two can slip through with something off. These are the kinds of details that pop up on rewatches when you pause, go frame by frame, or compare scenes across arcs.

None of these goofs change the story, but they do make for fun eagle eyed finds. From flipped shots to props that hop across the screen, you can catch them in classroom scenes, tournament rounds, and city wide battles. If you enjoy the production side of anime, these are helpful examples of how continuity can wobble when multiple teams animate the same sequence on tight deadlines.

Todoroki’s scar flips sides in mirrored shots

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Shoto Todoroki’s burn scar sits on the left side of his face. In a handful of quick mirrored cuts, usually during fast tournament exchanges or rapid reaction inserts, the scar appears on the right. These moments are typically single shots placed between correct angles, which makes the swap stand out when you compare the frames back to back.

You can spot this most easily during U.A. event footage where the camera jumps around the arena. Editors sometimes use flipped frames to preserve screen direction in fast motion, which flips facial features with everything else. When the shot is reversed, the scar follows, creating a brief left to right swap before the next angle returns it to normal.

Bakugo’s gauntlets change size and straps between cuts

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Katsuki Bakugo’s grenade gauntlets have distinct strap positions and a bulky profile. In some fight scenes, the width of a gauntlet or the placement of a strap shifts between a close up and a wide shot. The change shows up when he raises both arms and then the camera cuts to a different angle where the proportions do not match the previous frame.

This happens most often in sequences with a lot of effects where the gauntlets are sketched on top of heavy explosion layers. Prop model sheets aim to keep the hardware consistent, but when separate teams handle effects and character layers, a strap or edge rim can drift, creating a noticeable mismatch within the same exchange.

Midoriya’s gloves and finger braces appear and disappear

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Izuku Midoriya’s hero gear includes gloves with clear seam lines and sometimes visible support braces on his fingers. In quick reaction shots, a seam can vanish or a brace that was present a moment earlier no longer appears. The difference becomes apparent when a punch setup shows the glove details and the immediate impact cut simplifies the hand.

Action highlights often simplify glove textures to keep motion clean, especially during smears and impact frames. When the cut returns to a calmer pose, the full detail set comes back. Lining up the sequence reveals the missing seams or braces for a few frames before the model resets to the standard design.

Class 1 A seating shifts between scenes

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Class 1 A has a consistent seating chart, but a few classroom cuts show a student occupying a different desk than usual. You may notice a character placed one column over in a wideshot, then back in the familiar spot in the next lecture scene. This is easiest to see when the teacher’s angle flips between front and back of the room.

Large background layouts are often reused across episodes, and overlaying the students on those layouts can introduce placement errors. When a layout from an earlier lesson is repurposed with different dialogue, a nameplate or a character layer can end up misaligned, which explains why a student briefly appears in the wrong seat before the next cut restores the standard arrangement.

Sports Festival audience signs change between cuts

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During the U.A. Sports Festival, audience signs with names and simple slogans appear in the stands. In some sequences the text on a sign changes wording or spacing from a wide shot to a closer angle. A banner that reads one supporter phrase can show a different arrangement when the camera cuts back after a reaction insert.

Crowd cycles and signage are produced in batches to fill out large stadiums. When the show splices shots from different passes of the same crowd section, the assigned sign textures can differ slightly. The result is a sign that seems to rewrite itself across two cuts in the same moment of the event.

License Exam arena props shift positions

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The Provisional Hero License Exam uses large arena props like barricades, foam obstacles, and mock walls. In a few rapid sequences an obstacle sits on one side of a lane in a wide shot, then appears angled differently when the angle changes. The discrepancy is clear when a character uses the object for cover and the next cut shows it at a new tilt.

These sets are assembled from modular background pieces. When animators switch to a different background file to stage a stunt, a piece can load with its default rotation rather than the orientation from the previous shot. That small change moves edges and corners enough to make the prop look like it jumped.

School uniform details switch sides in close ups

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U.A. uniforms have consistent features like pocket flaps, tie alignment, and sleeve creases. In a few dialogue scenes, a close up shows a pocket flap or tie keeper on the opposite side from the preceding medium shot. The change is most visible when the camera alternates over the shoulder angles and the detail flips sides between lines.

This usually traces to a reversed shot used to maintain screen direction. Reversing to keep eyelines consistent flips asymmetrical details on the jacket. When the next angle returns to the original orientation, the pocket or keeper swaps back, creating a short lived side switch that is easy to catch on a pause.

Aizawa’s capture weapon length varies within a scene

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Shota Aizawa’s cloth capture weapon has a set length that lets him bind opponents at mid range. In some scenes the cloth wraps a target at a distance that looks longer than the established reach, then in the next shot the remaining loops appear shorter than they should. Comparing the two frames shows the cloth extending farther and then retracting without a transitional motion.

Effects heavy shots often stretch or compress flexible props for clarity. When a cutaway focuses on a face or a reaction, the cloth may be redrawn at a simpler length to reduce clutter. Stitching the shots together reveals an inconsistent total length across the exchange even though the action is continuous.

Building damage resets between cuts in major battles

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Large battles often scar the environment with broken windows, cracked facades, and uprooted paving. In a few moments a destroyed wall or shattered window looks intact when the camera jumps to a different angle, then returns to a damaged state later in the same sequence. The reset stands out when light sources or reflections change with the restored glass.

Big location files include intact and damaged variants for the same block. When editors swap to an angle rendered before final damage was applied, the background can show the earlier clean state. A later shot that used the updated file brings the wreckage back, creating a brief continuity reset within the scene.

Lip sync slips between audio and mouth flaps in some versions

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Mouth flaps in the original broadcast are timed to the Japanese track. In a few busy cuts the mouth opens or closes slightly off the spoken syllable, most visible on close ups during heated dialogue. The mismatch shows as a syllable that lands a fraction before or after the mouth shape that should carry it.

In localized versions, retimed audio sometimes drifts a frame or two against the original mouth cycles. When a line is longer or shorter in another language, the flap pattern may not be rebuilt for that shot. This produces a small but noticeable sync slip that appears only in certain releases and not in others.

Share the tiny ‘My Hero Academia’ details you have caught in the comments so everyone can compare notes.