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apoloadonisandnarcissus · 4 months ago

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One user asked me if the reason for the “push back” against Robert Eggers intention in his 2024 “Nosferatu” adaptation (especially Ellen Hutter relationship with Count Orlok) is because 1922 Ellen Hutter is meant to be a pure-hearted and virtuous woman, like her book counterpart Mina Harker from “Dracula” (a model of purity and modesty of the Victorian woman), and I decided to write a post about this.

I think many are missing Eggers intention with this film for several reasons:

1) Going Mainstream

First, this film is being a success at the box office, and while that’s amazing because I want more films like this getting made, this also means many who aren’t the “target audience” are seeing it, and completely missing the mark because they aren’t familiar with the Gothic Horror or Gothic Romance genre. Nor with Robert Eggers work.

Not liking this film is completely valid, not every piece of media and art is meant for us. Great, move on.

And there’s nothing wrong with folks not being familiar with the Gothic genre if they are interested in learning and understanding it. The problem is when people are hellbent in misunderstanding it and stuck on their own narrow views to the point they sound brainwashed, without an ounce of critical thinking and behave like a hivemind: “if many are saying this is probably true” type of thinking. And we are in the “social media era” where everyone thinks their own opinions are valid, so there’s that too.

Also I would add many are probably used to the “Marvel formula” of “over exposition”: having the entire story spelled out on screen instead of classic storytelling with an actual build-up and narrative devices (foreshadowing, red herrings, Chekhov's Gun, etc.). This causes misunderstanding, as well, because folks used to this type of storytelling won’t understand what they are seeing because they are used to be fed everything (“exposition”) and taking everything literally. This is also a film that requires analysis; this is clearly for the “film buffs” because Eggers wants to become a “cult director” too.

Eggers probably knew this was going to happen and he probably doesn’t care either. As Von Franz so interestingly says in the film: “Neque mittatis margaritas vestra ante porcos!” And ancient Latin saying which means “Nor cast your pearls before swine!”

Directors with strict artistic views (like Eggers) rarely care if the audience understands it or not. “The VVitch” was a feminist success when it was released in 2015, apparently now some are saying it’s problematic, because “oh my God, the Devil is a deceiver! Who knew???”. “The VVitch” and this version of “Nosferatu” are also pretty much the same story with a different framing.

2) Lack of Knowledge concerning the story and the time period

Many don’t seem to know that “Nosferatu” and “Dracula” are the same thing. Count Orlok is Count Dracula.

This story takes places in the Victorian era, and Eggers transports his audience to the time period his films are set in. Which means, we can’t look at this story through contemporary lenses, nor with our current sensibilities because that’s missing the point of Eggers work.

This movie deals with female sexuality, especially its repression and containment, which was the case in the Victorian era. Women weren’t supposed to be sexual, at all. If women displayed sexuality they were considered “hysterics” and could be institutionalized by their fathers and husbands (which is what happened to 2024 Ellen, as she tells Von Franz). Really, women could be institutionalized just by talking back to her husbands in this time period. And even within marriage, female sexuality should be modest and restrained, women weren’t suppose to know sexual pleasure, and it’s the husband who took the lead, always.

Men could sleep with whoever they wanted and even go to brothels every night, but this wasn’t the case for “decent Christian women”, at all. Sex for women in the Victorian era was supposed to be a painful task they had to go through to have children. There was even the famous saying “think of England” when wives were having sex with their husbands (“think of England” as in “think of something nice” other than what’s happening).

Ellen having astral sex with Orlok and getting pleasure from it was highly scandalous for this time period. Of course this a freaking horror movie and he’s a demon, but if they were actual people, doing this, unmarried, in the Victorian era, this would be a scandal and she would be ruined socially. Which is kind of what happens, and why the whole thing causes her great shame and guilt. It has nothing to do with “abuse” or “grooming” or whatever.

And, I don’t know why many are saying this happened during Ellen’s childhood? Because what she had since childhood are her supernatural abilities, as she tells Von Franz: she knew what her Christmas presents were before opening them and had a premonition of her mother’s death. She wasn’t talking about getting that demonic D, that was during her teenage years as a metaphor for her sexual awakening/puberty. Obviously.

3) Confirmation Bias

While seeing this movie without any previous knowledge (like “Nosferatu” = “Dracula”; or the historical context where this story takes place) the opposite is also true.

I think this is more true for fans of the previous adaptations of “Nosferatu”. They are misunderstanding the story Eggers is telling in his own adaptation because their perception is shaped by the 1922 film (mostly) and the 1979. And so, they will interpret what they are seeing as a “rehash” of the previous story (which isn’t the case here, this is an entirely different story).

And so, they see 2024 Ellen as the pure-hearted and virginal 1922 Ellen who selflessly sacrifices herself to save everyone, even though that’s not the story Eggers is telling and the script contradicts this. Eggers added plots that aren’t a a part of previous adaptations (Orlok and Ellen psychosexual connection; their covenant; occult meaning) and Ellen character being completely different from the 1922 and 1979 films (she’s a antithesis to them).

And how on earth someone sees these three adaptations (1922, 1979 and 2024) and thinks they are equal and this “sacrifice” has the same meaning is beyond me, honestly.

4) The “Sexy Vampire” Trope

Last but not least, we have to talk about the “Twilight”, “Vampire Diaries”, “True Blood”, etc. generation. Some probably heard “vampire” and “Bill Skarsgård” alongside with “obsession” and a female character involved, and were probably expecting something like this:

(That’s 2024 Count Orlok beneath the prosthetics, when he played another vampire)

Eggers truly catfished his audience into watching this film by not revealing how is his Orlok truly looked like. They did warn us Bill was covered in prosthetics and completely unrecognizable, but that flew over some people’s heads?

Personally, I loved the historical and folklore accurate Orlok Eggers created, but, indeed, many didn’t felt the same. I’m still hearing folks complaining about the freaking mustache when Gary Oldman as Dracula, in “Bram Stoker’s Dracula” (1992) also had one, but yeah, he was hot when he was with Mina (not his usual monstrous self, we also see in that movie) so the problem isn’t the mustache is it?

Of course not, it’s because he’s a freaking rotten corpse and he won’t make the list of the “sexiest vampires ever” in cinematic history. Because that’s not what Eggers was going for. We are suppose to see Orlok was handsome in life, but he’s still a walking corpse, because, shocker, that’s what vampires are.

And Eggers is forcing the audience to confront their own bias with all the necrophilia going on in this film: “you like vampire love stories? This is what you actually like.” Many didn’t like to be confronted with that. Which probably has Eggers laughing diabolically because that was his intention, which is why he brings “Twilight” in his interviews.

And then we have the magnificent love triangle “Twilight” style, too; Ellen is Bella, Thomas is Jacob and Orlok is freaking Edward Cullen. Someone said Eggers has balls of steel, and he truly does. And it’s actually amazing he didn’t cast Robert Pattinson in Count Orlok role (they already worked together in “The Lighthouse“, 2019). But Bill Skarsgård’s imposing height and previous cinematic experience (Pennywise in “It”) was probably more in line with what he wanted, and he absolutely nailed this role.

Although we could still see Bill’s face as Pennywise in “It” (beneath all that make-up), which isn’t the case as his Count Orlok, as he’s in full prosthetics.

This also means many will latch on to the “hot guy” in this demonic love triangle: Thomas, played masterfully by Nicholas Hoult.

Many didn’t see any love story between Ellen and Orlok because they were also expecting a Disney fairytale in a freaking horror film about demons and walking corpses, but I would argue that’s not Eggers fault nor an execution flaw. Ellen and Orlok are a demonic love story, they aren’t suppose to be rainbows and unicorns. Duh? Although, yeah, if the audience could actually see Bill Skarsgård, I have no doubt more would recognize this wicked/evil love story going between these two characters.

#nosferatu 2024 #Ellen Hutter 2024 #Count Orlok 2024 #Robert Eggers #bill skargard #lily rose depp #nicholas hoult #Thomas Hutter 2024 #ellen x orlok #orlok x ellen

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kingofthewilderwest · 5 months ago

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We need to start questioning the conflation of "maturity" with "increased stakes."

It's not to say higher stakes is always a bad choice. The first half of the How to Train Your Dragon book series has an endearingly whimsical, child-like feel. Hiccup's issues in the first half of book one are an obnoxious, cat-sized Toothless pooping in his helmet. The movie adaptation might have made the book and its counterpart distant cousins, but it was a thoughtful move to alter concepts to the appropriately theatrical: books and movies aren't the same medium. Hiccup riding alone on Toothless, exchanging fire blasts with a mountain-sized dragon, and losing his leg came off as well-done storytelling.

Hiccup staring at a prosthetic never happened in the book. He didn't lose his leg in his encounter with the Green Death. It was, as the creative powers behind the movie said, a result of the increased stakes. They didn't do this just to be more dramatic; they did it because it seemed that, based on how their narrative was going, this made sense. And this was a soft, quiet, shocking, breath-taking scene that instilled how good the movie handled its stakes. It gave us a reflective reaction to consequences that audiences might not have expected. This movie understood timing, pauses, quietness, narrative arc, poignance, reflection, emotion, love, and heart.

We know about the conflation of live action as "more mature" than animation. But a medium doesn't change maturity levels. We all know that's bogus, and many analyses have been given on that. Disney live actions add extraneous gunk, down to Gaston having a past relationship with war (so I've heard, from the people who actually watched the movie), and Disney giving us the sad scoop on why Belle's mom isn't around. Furthermore, lots of times, when I see the conversion of animation to live action, I notice creators feel a need to "raise the stakes" -- in line with the erroneous view of "giving maturity."

But "higher stakes" often means inserting action in place of mindful interaction. I feel today's Hollywood movies, in their treatment of "action," don't let movies pause and breathe anymore - ergo, they don't let us think. Isn't it more juvenile to actively avoid thought in favor of "hey look I made the building go boom"? There may be less "stakes" in introspection and mindful dialogue, but that's what gives it its maturity. That's how we went from Iron Man 1, with its grounded treatment of war and abuse, to the mindless high spectacle MCU is today.

Snappy one-liners or moments that clap at contemporary issues don't substitute for maturity. What can make a story mature is characters grappling with issues in a natural narrative through-line. A snappy one-liner is its own form of speedy spectacle.

We know about the conflation of "gore and sex" with "mature audiences." I believe they're right that graphic sex and gore is designed for adults. But that doesn't make it mature, and that doesn't make it the only way to target a medium for adults.

"Realisticness" isn't maturity. Per above regarding animation: realistic visuals are nothing. And if you think that putting more Debbie Downer material into your adaptation makes it more adult, you have to ask yourself why the themes that spoke to people's souls got muddled in its midst. We weren't mature enough to interact with the most subtle, nuanced, and impacting voice of the story. But hey! Look! There's more corpses, I guess!

It's not the visuals, it's not the events. It's not the "things." It's not the basic insertion of the external. Get past the superficial, get past the top layer of presentation. It's the mind. It's the ability to think. It's the ability to be still. It's the ability to be interested and attentive when something is slow or quotidian, because we can understand why that is important for narrative growth or arcs or themes or commentary on the human condition. It's the ability to know when and when not to include something. It's the ability to make resonant impact. It's the ability to be deep with your emotions or your themes. It's the ability to take what you have and grow it in a way by which we can derive something deeper.

Maturity is critical thought and well-conducted, appropriate responses to content of any kind.

As DeBlois tells Empire, the move to live-action brings a different emphasis to How To Train Your Dragon; a new heft, both physically and emotionally. “It’s so dialed-up in terms of stakes — having a fully credible, photo-real dragon stomping around trying to kill him,” the director says.

And maybe that DeBlois quote is taken out of context. Maybe there's more going on than that one sentence conveys. Maybe Empire is making their own erroneous assumptions. But "so dialed-up in terms of stakes," isn't, on its own, a good appeal. The animated movie already dialed things up - and knew when to include or not include something. A live-action that imitates the visuals of the animated movie exactly, as if no independent thought has been done to its unique adaptation, to the pros and cons of the medium, to what a independently-presented story needs and doesn't need... It has to make you wonder: how many conflations of "maturity" are going on?

How long are we going to keep making our own conflations?

#long post #analysis #my analysis #httyd #How to Train Your Dragon #Dean DeBlois #why not tag him idk haha #MCU #Marvel #Marvel Cinematic Universe #tagging the shit I talk about for categorization purposes yeet #httyd books #Cressida Cowell

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csuitebitches · 1 year ago

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Things I Have to do for My Sanity

1. Wake up at the first alarm - no snoozing and no going lying around in bed. Getting up straight away and head to the bathroom. It’s going to suck initially but you’ll get used to it in a few days.

2. Mental self care: 30 minute meditation, brain games mental math, reading, news. Knowledge is sexy and don’t deny yourself sexiness.

3. Daily review in my diary at the beginning and end of my day: what went well, what didn’t, what I need to accomplish to achieve my goals. This has tremendously helped my goals and keeping my motivation more consistent, especially at work. Analysing and correcting incremental changes creates long term success.

4. Cleaning up before bed - clothes, shoes, organising my bag, etc. I set a timer for 5 minutes and try to get as much done as possible.

5. Pick out my clothes the night before and steam iron them for the next day.

6. Face masks twice a week, a hair mask once a week, I scrub the soles of my feet with that foot scrubbing thingy once a week. Manicures every month because my nail beds are too sensitive to do it biweekly, iron supplements so that I’m not a moody bitch. Matching underwear to feel good about myself. Lavender spray on my pillow before sleeping so that I don’t get weird dreams.

7. Reading biographies and autobiographies. My mentor had suggested this to me and it’s amazing how literally I don’t have a single original experience - everything I’ve felt or mistakes I’ve made have already been done by someone else.

I’m going to curate a list of business books that I feel that have helped me the most recently.

8. I write a short essay everyday in the language I’m currently learning. I also end my day by talking about my day for at least 2 minutes in that language and I record it in voice memos to keep a track of my progress. I want to be fluent to a level where I can think in this language.

✨

I don’t generally share a lot about my personal life - none of you know my name or where I’m based and I feel comfortable doing that. But I do want to start giving out more insights to what I’m doing personally in my career - the good, the bad, the ugly.

Being self aware and honest to myself has helped me improve a lot. I know that shame is my Achilles heel, so now I’m reading books to combat that. I’ve caved in and decided to try therapy for a bit to see if what I’m doing is useful or not. My first session is tomorrow. Staying disciplined was my initial hurdle but the systems I’ve set (waking up early + habit stacking) have helped me slowly overcome that.

Work side, I’ve started establishing myself publicly more. I don’t want to reveal too much about what I do exactly but the good news is that our biggest competitor has noticed my progress (a former employee of that company came to us for an interview and directly asked our top management about me). It’s been 4 months that I’ve been working here but I know that next year I really have to swing the bat and hit a home run. I’ve decided to work on the field more and less in the office to really understand people’s needs and create unique solutions.

The daily/weekly/quarterly diary is definitely credited to my recent wins. That’s the biggest change I’ve made in my routine and i can already see that it’s working well. I’m going to continue refining and implementing that method.

Recent work methods I’ve decided to start working on (I’m not required to do these but I do it for my growth):

1. I’ve started studying popular companies’ business and revenue models in detail. Everything is adoptable and adaptable, you just have to figure out how to tweak something for your company’s clients and needs. Now I’ve decided that I want to keep a track of our competitors, their business models, their owners names, pricing strategy, their target audience etc etc on an excel sheet so that I’m aware with what’s happening in the market.

2. I’ve started making client profiles. Every time I meet a client, I note down their name, the company name, what they were like, anything specific they seemed to like or want, how much they had paid us for a service, what their paying capacity could be, etc.

#c suite #powerful woman #strong women #ceo aesthetic #personal growth #that girl #productivity #getting your life together #balance #to do #to do list

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luna-azzurra · 2 years ago

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Some tips to help you improve your writing style:

1. Read widely: Reading a variety of genres and authors exposes you to different writing styles and helps you develop a broader vocabulary and an understanding of various sentence structures. For example, if you want to improve your descriptive writing, read books by authors known for their vivid imagery like J.R.R. Tolkien or Gabriel Garcia Marquez.

2. Write regularly: Like any skill, writing improves with practice. Set aside dedicated time for writing, whether it's a journal entry, a short story, or an essay. Consistency is key. By writing regularly, you'll become more comfortable expressing your ideas and develop your unique voice.

3. Be mindful of your audience: Tailor your writing style to suit your target audience. Consider their level of familiarity with the subject matter, their interests, and their expectations. For instance, if you're writing a scientific paper for experts in the field, use technical language and provide in-depth analysis. On the other hand, if you're writing a blog post for a general audience, use accessible language and relatable examples.

4. Use active voice and strong verbs: Active voice makes your writing more direct and engaging. It emphasizes the subject performing the action rather than the action itself. For example, instead of saying "The ball was thrown by John," use "John threw the ball." Strong verbs also add clarity and power to your writing. Compare "He walked slowly" with "He sauntered" or "He ambled."

5. Vary sentence structure: Experiment with different sentence lengths and structures to maintain reader interest. A mix of short, medium, and long sentences can create rhythm and flow. For example, a series of short, punchy sentences can build tension or convey urgency, while longer sentences can provide detailed explanations or set a contemplative tone.

6. Use precise and vivid language: Choose words that convey your meaning precisely and evoke vivid imagery. Instead of saying "The flower looked pretty," you could say "The delicate blossom bloomed in vibrant shades of crimson and gold." Specific and descriptive language brings your writing to life and engages the reader's senses.

7. Edit and revise: Good writing often requires multiple rounds of editing. After you finish a draft, take the time to review and revise your work. Look for clarity, coherence, and grammar errors. Consider whether each sentence contributes to the overall message and whether the organization of your ideas flows logically. Don't be afraid to make significant changes if they improve your writing.

8. Seek feedback: Share your work with trusted friends, colleagues, or writing groups. Constructive feedback can help you identify blind spots and areas for improvement. Consider their suggestions while maintaining your unique voice and style.

#writing style #writing #writing tips #writer on tumblr #writerscommunity #writer tumblr #writing advice #writblr #writing help #writing ideas #writing problems #writing block

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cygnahime · 6 months ago

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Chronological order (that is, the order in which events allegedly happen) is almost never the best order to start a new fan on a series, if it differs significantly from publication order.

It doesn't matter whether the series is overall good or bad - it doesn't even matter if the first published work is worse than the prequels. Because the difference between a first work and a prequel is not unlike the difference between original and fan work: the prequel, like the fan work, assumes you already know and care about something here.

Box sets of the Chronicles of Narnia that list The Magician's Nephew as book 1 are wrong: a key appeal of that book is finding out that this is how Narnia came to be, a thing that doesn't matter unless you know what Narnia is. The callbackfores like the lamppost growing don't make sense unless you know the lamppost. (Not to mention that reading Narnia in chronological order would involve stopping before the last chapter of LWW to read all of Horse and His Boy.)

Doomed prequels have the double-failure if read first that they are fundamentally classical tragedies: if you don't know the characters are doomed, everything hits differently than it was designed to. Which may still be a good experience! But admit to yourself that you want to study your friend's reactions for science, because you can never feel that way again.

There's also the high chance that the prequels spoil a significant plot twist from the original due to being the story of how that plot twist came about. The potential existence of Crisis Core is a major revelation of Final Fantasy VII (original flavor). (FFVII is a fascinating case study, because the Remake has to reckon with how much of their target audience knows the original.) (And reckon they do!)

Kingdom Hearts Chronological Order is a fun activity to play with your fellow fans, but unless you're filming reactions For The Bit, why would you do that to a friend? Trying to explain the KH series in chronological order is why it has the reputation for being super hard to understand. Do not do this.

#even if the prequels are really good and the base work isn't!#you need that grounding in what the fuck is going on around here #it's time for cygna's opinions

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writers-potion · 6 months ago

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this is a little hyper specific lmao but i was wondering if you have any advice on writing a pov character being mysterious? tyyy

Writing A Mysterious POV Character

Thanks for the question!

Here are some characteristics that I think makes a POV character "mysterious"

The reader is not meant to understand everything the POV character says, describes or alludes to.

The POV character actively holds off information from the readers either because (1) it's hard for them to talk about it or (2) they don't think it's important, somehow.

They reconstruct the narrative in the way they perceive it, not following the chronological order of events and often providing piecemeal information that only (if ever) comes together at the end.

The POV character simply has a wholly different perspective that a human reader will have difficulties understanding (i.e. story told from an animal or alien's POV)

I think the best way to portray this is to provide examples, which I think qualify as mysterious narrators. Note that not all mysterious narrators are unreliable narrators, although they could be. Here are the selected narrators and a few extracts for illustration purposes, divided by loosely defined subcategories (there can be overlaps!):

Incomprehensive Jargon & Allusions

Given that you can do this without boring or genuinely pissing off the reader, using lots of jargon, making allusions to things your target audience will probably not know to create atmosphere can be effective.

I recommend having a strong thematic core to justify all that jargon and reference, though.

Richard Papen from <The Secret History> by Donna Tartt

The characters talk and make references to Greek/the Classics. Arguably, it is not "incomprehensible", but the entire book is tirelessly full of them and unless you are a scholar in a related field, very unlikely to know all the Greek/ancient works being referenced all the time.

by M.L.Rio

Interesting style where the characters talk and even think in Shakespeare. They literally quote lines from Shakespeare to talk to each other. Not as difficult to follow as <The Secret History>, given that these are q famous plays (Hamlet, Macbeth, etc.) but it certainly adds well to the mystery at the heart of the book's plot.

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Witholding Information

Have your narrator subtely refer to a large event in their past (a murder, a traumatic memory, etc) but never telling the reader upfront, making them only make implied guesses.

The only reservation I would have for this option is to not annoy the reader by letting them know the narrator has information, but is somehow not telling them. It would help to have a clear reason for them to not talk about it: e.g. they haven't accepted the past themselves, they're too scared to talk about it, etc.

by Eliza Clark

In here, the narrator has killed someone in the past - a fact that only becomes kind of clear at the end. Even then, the murder is never referenced because this narrator has some serious mental issues, but when you look back with this knowledge at the end of the book, her behavior starts making more sense.

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Reconstructing the Narrative

Don't go in chronological order. Use time skips, or invent a new system for the narrator to arrange their memories and thus, retell the story. This gives the narrator power over the narrative because they've seen the whole thing play out, but the readers are getting bits and pieces, trying to get the puzzle pieces to fall together.

Other options:

POV character has amnesia

POV character has dementia

Using narrative interruptions that are in a completely different style (can work for 3rd person, look at Olivie Blake's work referenced below)

Olivie Black's <Alone With You in the Ether>

Using screenplay-like interruptions to the narrative that limits the reader's access to the characters' minds. Also creates interesting tone.

Kim Youngha's <Diary of the Murderer>

[I don't have pictures for this because I only have the Korean version....but really worth mentioning]

Here, the narrator has dementia and cannot fully remember the murders he has committed in the past. He is also an unreliable narrator who can only remember things in bits and pieces - thus the typical chronological order is interrupted.

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"Non-Human" Perspectives

Give yourself a narrator that is not human, or is "dehumanized" in some way (lack of emotion, inability to relate to others, etc.) to view the entire world from a perspective not often experienced by the average human.

Death as a narrator from <The Book Thief> by Marcus Zusak.

Zusak inserts these little "pronouncements" or "interruptions" to the narrative and the calm but transcending tone constantly raises questions.

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Do note that the overall tone of the novel contributes significantly to how the narrator comes across to the readers. Many of the works above also deal with "reality vs. unreality" as a theme, which is augmented by the use of a mysterious narrator that prompts the reader to challenge

Hope this helps, Happy writing :)

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stillness-in-green · 1 month ago

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On Child Abuse and Todoroki Touya

Being a response to this ask:

First, anon, I'd like to thank you for coming at the question of Touya's victimhood in such an honest, open spirit of curiosity. I've seen no shortage of people who, in not understanding why people call Touya a child abuse victim, flip over into belligerence and scorn, which is just no kind of tack to take about such a sensitive topic!

That said, child abuse is a broad, broad, broad topic, and not one I’m exceptionally well-read on, but I’ll try to hit the highlights as to why people—myself included—say Touya was a such a victim. Forgive me if anything I say sounds too basic and therefore condescending; that’s not my intention, I just don’t want to assume your knowledge on anything, as you say you haven’t personally encountered abuse before. If you’re very curious to learn more, there’s no shortage of resources out there, including just starting on Wikipedia’s articles on Child Abuse and Emotional Abuse and going from there.

(Sincerely, and speaking from my own experience, I would recommend everyone do at least some cursory reading on non-physical forms of abuse; it’s much better to know what the red flags are when you first start seeing them than have to enumerate them all only in retrospect. Like, if absolutely nothing else, take five minutes to do an image search for the Power and Control Wheel and look it over.[1])

1: Do note that the P&E wheel was developed in the 1980s, based off of a series of focus group discussions about the shared experiences between women being abused by their male partners. Because of that origin, in the original and still widely replicated version, there’s a segment about “abusing privilege” that doesn’t—because it was never designed to—take into account intersectionality, abuse between same-gendered partners, or women abusing men. More modern versions have attempted to modify the wheel for more general purpose, gender-neutral education about abuse. I find it to be a valuable introductory tool, but it's not a universal authority and shouldn't be treated as such.

Obviously, trigger warnings for discussion of child abuse generally and Touya and the rest of the kids’ situations specifically below the jump.

Introduction

So, the big big thing to keep in mind here is that abuse is not limited to physical violence or sexual abuse. Abuse can take all sorts of forms, even outside of intimate partner relationships: abuse of power, medical or professional abuse, spiritual abuse, financial abuse, and so on. Any list you care to look up of “types of abuse” can be quite long, depending on how granular the list-writers feel like being or who their target audience is. There’s also a great deal of overlap in types and terminology, so some sources will only include a few umbrella terms, whereas others will be much more extensive.

For example, a list identifying forms of abuse aimed at women is going to focus on different things than one about abuse aimed at the elderly, or children, or forms of institutionalized abuse (not to be confused with abuse taking place in institutional settings!). No one much talks about financial abuse when detailing different forms of child abuse, but it would be a major point of discussion for domestic or elder abuse. Comparatively, an exploration of domestic partner abuse may include neglect as a subtype of psychological/emotional abuse, whereas a similar explanation of child abuse will likely include it as a category unto itself.

Looking specifically at child abuse, Wikipedia explains that, depending on your sources, the term “child abuse” may or may not be used synonymously with “child maltreatment.” If they’re considered separate terms, then “child abuse” is considered one subtype, with the other subtype being “child neglect.” If abuse and maltreatment are used interchangeably, then neglect is a subtype of abuse.

More specific definitions and legislation about them vary hugely from place to place based on cultural standards, leeway given based on intentionality,[2] and how provable any given act might be based on clear evidence of harm.

2: As an example, a single parent whose child is suffering malnutrition because they’re living below the poverty line and can’t afford regular, nutritious meals is going to be regarded differently than a financially stable married couple who are actively choosing to spend their money on other things while letting their child go hungry.

Here are some definitions Wikipedia gives, as offered by various relevant organizations and laws:

The World Health Organization (WHO) defines child abuse and child maltreatment as "all forms of physical and/or emotional ill-treatment, sexual abuse, neglect or negligent treatment or commercial or other exploitation, resulting in actual or potential harm to the child's health, survival, development or dignity in the context of a relationship of responsibility, trust or power." In the United States, the Centers for Disease Control and Prevention (CDC) uses the term child maltreatment to refer to both acts of commission (abuse), which include "words or overt actions that cause harm, potential harm, or threat of harm to a child", and acts of omission (neglect), meaning "the failure to provide for a child's basic physical, emotional, or educational needs or to protect a child from harm or potential harm". The United States federal Child Abuse Prevention and Treatment Act defines child abuse and neglect as, at minimum, "any recent act or failure to act on the part of a parent or caretaker which results in death, serious physical or emotional harm, sexual abuse or exploitation" or "an act or failure to act which presents an imminent risk of serious harm".

(From Wikipedia's article on child abuse)

Note how many references there are in that chonky paragraph to neglect and emotional harm. That view of abuse is why pretty much everyone who calls Touya a victim of child abuse is using abuse as the umbrella term that includes neglect, so that’s the tack I’ll be taking here as well. Even if I were considering abuse and neglect separately, though, there are several things Touya is subjected to that should be considered abuse in that more active sense!

There are two big category terms that I’d say are relevant to Touya's experience, both of which are recognized forms of child maltreatment: child neglect and emotional/psychological abuse. You can make an argument for physical abuse as well, though it’s clearly not as extensive as what Shouto or Rei endured. I’ll touch on each of those, as well as point to some of the damage experts predict in victims of those forms of abuse that—intentionally or not on Horikoshi’s part—we do see in Touya/Dabi.

Child Neglect

The physical markers of child neglect are things like inadequate nutrition or shelter, but there are a number of other dimensions as well—some quite severe psychological damage can be done by e.g. a parent who regularly ignores their infant child crying. The same World Health Organization report Wikipedia quoted above noted that emotional neglect can be characterized by “a lack of nurturance, encouragement, and support.” A UK report from the same year included in its definition of neglect, “neglect of, or unresponsiveness to, a child’s basic emotional needs.”

The Wikipedia article itself includes a table listing types of child neglect with various (I assume hypothetical) example cases, among which is “emotional neglect,” described thusly: Guardian or parent give inadequate nurturing or affection. The parent or guardian fails to create an environment where the child feels secure, loved, wanted, worthy, etc.

So how does that all relate to Touya?

Touya seems at first glance to have been getting love and support aplenty in his youth—Enji supported him, was training him, raising him to be a Hero. The family was doing okay at that point. Rei had Fuyumi because she wanted another child,[3] and while Enji, too, still “yearned” for a child with his ideal quirk combination—which he already knew neither Touya nor Fuyumi possessed!—the two of them nonetheless stopped, for a time, with Fuyumi and Touya.

3: Because multiple children could encourage each other, per Endeavor’s characterization of Rei’s stated desires. I note that this is pretty much the same reasoning AFO gave Shimura Kotarou about having another child, just absent the calculated Hero bashing—children should have siblings so they can help each other out. With the way the endgame went, I confess myself shocked that neither Rei nor her parents turned out to be on AFO’s payroll.

The specifics of the timeline are illustrative here. Touya and Fuyumi are only eleven months apart in age, meaning Fuyumi was conceived only two months after Touya’s birth. Comparatively, Fuyumi was closing in on three years old by the time Natsuo was conceived! So, whatever his private desires, at that point in time, Enji was willing to abide, to trust his ambitions to Touya without continuing to try for a child closer to his ideal.

Crucially, at this juncture, Touya wanted exactly the situation he was in! He was thrilled to have this commonality with his father, whom he clearly adored, and unlike Shouto later on, didn’t find Enji’s expectations to be any sort of burden or source of stress. So while you could (and I will) still criticize the dynamic based on Enji’s ulterior motives, Touya’s lived experience was very happy.

Sidebar: Would that happiness have lasted? I don’t know. Enji’s support of Touya was so plainly conditional; there are so many things that could have disrupted it even if Touya’s health problems had never surfaced and Natsuo and Shouto were never born at all. What if Touya decided he wanted to pursue a different path when he got older? What if his youthful enthusiasm curdled into pridefulness and conceit in ways that made him fare poorly in the Hero Billboard charts? What if he struggled in school and couldn’t get into UA? Assuming that he couldn't surpass All Might within just a few short years of his debut, what would happen when All Might retired after Kamino with neither Endeavor nor [whatever Touya would have chosen for his Hero name] ever surpassing him? Myself, I tend to think that it’s unlikely that Enji and Rei would have stopped at two kids long-term anyway. Even if things had continued going well, Enji’s hope for his idealized quirk combined with Rei’s willingness to have more children in the hopes of having a happy, mutually supportive household would probably have led them to having more children eventually. Perhaps Touya wouldn’t have taken it so badly, if he weren’t already reeling from Enji’s rejection, but Shouto's existence would always have created complications in the dynamic because I don’t think Enji could have resisted starting to focus on what he would have seen as Shouto’s greater potential, and Touya surely would have noticed. In any case, something would always have happened because Enji’s ambitions, not any of his individual children’s responses to those ambitions, were the rot at the heart of the Todoroki family.

That happiness was based on a bad foundation, so it was always likely to crack. Touya’s health issues just revealed what was already there: that Enji saw his children as vessels for his ambition, and when they couldn’t fill that role, he functionally discarded them.

This was emotionally catastrophic for Touya because, again, he adored his father and desperately wanted a relationship with him, but Enji did not provide him with any kind of alternative framework for a relationship outside of “be a Hero that can fulfill my ambition.”

Now, did Enji just casually toss him aside without a second glance? No, of course not. He didn’t even immediately start trying to have kids again! He had enough invested in Touya that he did spend a while getting medical opinions and seeking out advice in hopes of “salvaging” Touya’s prospects; we see as much on the page.

(Honestly, the doc says this is unusual, but given the increasing diversity of quirks, how “unusual” could it possibly be? I would think issues like this would be quite common! What were the odds of Bakugou inheriting his father’s combustive sweat without also getting his father’s immunity to those combustions, for example?)

For Touya, though, the shift was obvious. Enji stopped spending time with him; they didn’t have anything to do together if it wasn’t training. Instead, his father started being harsher, raising his voice when he spoke to Touya, telling him that this was for his own good. All that affection and support, gone overnight.

(Note the jaggedness of Enji’s first talk bubble, and the lingering sharp corners to his second one, and compare them both to the smooth, rounded talk bubbles in the dojo scene or the doctor's analysis above.)

There did seem to be a period in which Enji tried to convince Touya to give up on the Hero goal, but Touya didn't care about being a Hero for its own sake; he cared about it because it was the only source of pride or connection Enji provided. He was asking Touya to give up the one thing Touya knew Enji valued, and that also meant giving up the thing that represented their bond. Touya loved him and didn’t want to give that bond up, so he kept stubbornly trying to push his way through, insisting he could handle it.

We have no evidence that Enji ever managed to get into words that he’d love Touya regardless of whether or not Touya could surpass All Might, but even if he did, Touya clearly didn’t believe him—and why would he, given that it’s obvious that was still Enji’s priority? If Touya was still loved either way, why did his bonding time with his dad dry up overnight? Why was his dad still obsessing over news reports about All Might? And, most importantly, why would his parents start trying to have children again?

Enji’s most important goal at the time was surpassing All Might; he consciously chose to keep pursuing that goal even though doing so made it crystal clear that anything he might have told Touya about how it was okay if Touya couldn’t is just a platitude.

Note how Rei explicitly said in the scene above that Touya knew very well what Enji was hoping for from his children, and them continuing to have more in light of that knowledge would be a horrible cruelty. Again, that’s apparent in the ages of the kids: as long as Touya’s fire was holding up, it was just him and Fuyumi, but practically as soon as his fire started hurting him, suddenly more siblings were being attempted?

That’s all to say, I don’t for a second believe that Enji only proposed having more kids in order to make Touya give up. The page above is Enji making a textually cruel decision which he justified using the well-being of his son but which in actuality revolved around letting him get back to pursuing his ambition, which having a relationship with his son no longer furthered.

Let me copy back in those definitions of emotional neglect:

A lack of nurturance, encouragement, and support; neglect of, or unresponsiveness to, a child’s basic emotional needs; inadequate nurturing or affection. The parent or guardian fails to create an environment where the child feels secure, loved, wanted, worthy, etc.

Enji’s support was conditional. His nurturing revolved 100% around nurturing the growth of a future Hero, and that nurturing itself was pretty flawed, given Endeavor’s ideas about what being a Hero means. When Touya tried to demand support, wanting to get back what he had before, Enji just shut him down. It’s patently obvious that, at the age of three and a half years old, Touya did not feel secure, loved, wanted, or worthy in that home environment. Over the next ten years, it would get progressively worse.

Before I move on to the more active abuse that Enji would come to perpetuate, I want to move away from definitions and briefly talk about some other recognized acts and consequences of child neglect. All per Wikipedia:

• Act: Allowing the child to witness violence or severe abuse between parents or adults.

We don’t see Touya here directly, but this happened immediately after Touya invited Enji to come up to Sekoto Peak, so he presumably did at least see his father storming off bellowing Rei’s name at the top of his lungs. Also, absolutely nothing about this scene suggests to me that it was the first time something like this had happened—Shoto calling it “bullying” suggests it’s a regular occurrence and Fuyumi hiding and covering both her own and Natsuo’s ears also reads as something she learned how to do, not something she was doing for the very first time in this scene. I don’t feel it’s a stretch, then, to chalk it up as part of the form “child neglect” took for Touya as well.

• Act: Not getting the child adequate medical care.

Too many panels to choose from here! From the evidence of the flashbacks, Touya’s fire started burning him when he was three and a half; he was then intentionally and regularly doing training that resulted him getting burned for ten more years. Even if you argue that he started hiding that training after his attack on Shouto led to Endeavor getting more distant from him than ever, he would still have been doing that training more openly for something like four solid years. In their argument just before that attack, Enji even described him as “covered in burns.”

So, if he was covered in burns, was consistently burning himself for years, was he getting professional medical treatment? (God knows he wasn’t getting psychological help.) Or would that have raised too many uncomfortable questions that could have led to Social Services showing up at the Number 2 Hero’s house in broad daylight right when the neighbors could see it?

That question doesn’t just indict Enji, by the way; it goes for Rei, too. It’s telling that Rei’s response to having a traumatic break and burning Shouto was to embrace him, weeping and apologizing, and try to apply ice to the burn, while the only response we ever see to Touya’s burns, following that early medical consultation, is him getting manhandled and shouted at.

• Consequences: Children from neglectful homes are unlikely to view alternative caregivers as being a source of safety, and instead typically show an increase in aggressive and hyperactive behaviors which may disrupt healthy or secure attachment; they’re often described as glib, manipulative and disingenuous in their interactions with others as they move through childhood.

o Don’t regard other caretakers as being a source of safety:

(I’m aware I’m cheating a little here in that Rei was not an alternative caretaker, she was his literal mother, while AFO and the Evil Orphanage staff were transparently Sus As Hell. Still, I think the shoe fits.)

o Aggressive behavior:

(See also him burning down the Evil Orphanage on his way out. Also see Wikipedia’s list of symptoms for “Psychomotor agitation” and marvel at how many of those behaviors you could connect to Touya and/or Dabi if you wanted to evaluate him on “hyperactive behaviors” as well.)

o Manipulative and disingenuous:

(I don’t necessarily think Touya was consciously being an emotionally manipulative shithead here, but this is emotionally manipulative shithead behavior all the same.)

Moving on now to the other major relevant topic...

Emotional/Psychological Abuse

In the context of discussions of abuse, these two terms are generally used interchangeably. Due to that, and the fuzziness of terminology that I mentioned at the outset, there’s a lot of overlap between definitions/examples of this sort of abuse and child neglect—sometimes neglect is considered a subtype, for example. The Wikipedia articles here are a bit vague and all over the place, so for this section I sought out sites more specifically tailored to the topic of child emotional abuse. (Here, here and here.)

Consistent patterns are immediately visible in what sort of treatment is generally considered to constitute emotional abuse in the context of a parent/child relationship. Several would apply to all the Todoroki children, some exclusively to Shouto, but I’ll go through the ones that seem relevant to Touya.

Rejection/Ignoring: Communicating to a child through words and conduct that he or she is unwanted and/or worthless. Being consistently absent or emotionally unavailable. Continually ignoring or rejecting them. Never expressing positive emotions, showing kindness or congratulating the child on their successes.

A lot of overlap with neglect here that I’ve already covered, but note how, once Touya’s health problems kicked in, we only ever see Touya and Enji interactions come in the form of Touya begging for his father’s attention; Rei likewise said that all Touya wanted was for his father to look at him, which Enji refused to do.

This refusal is most literal in the volume version of Chapter 302, where the added pages really amp up that watching/seeing theme of Enji’s I talked about in my reply to your previous ask. After Touya attacked Shouto, Enji ordered Rei to keep her eyes on Touya; in their later confrontation in the lead-up to Sekoto Peak, Enji brought this up again, demanding to know why she didn’t stop him when watching him was all he asked her to do. When she tearfully said that she couldn’t stop Touya, Enji defensively, furiously shouted that she had to, because he (Enji) wouldn’t “watch.”

(With thanks to @codenamesazanka, here's the Viz digital release version, rather more colloquial than the Japanese, as is often the case with Caleb Cook's localizations for Enji.)

Contextually, I’m sure he was saying he wasn’t going to be the one to look after the kid, but the words also play off his arc theme by showing what Enji not only neglected but explicitly refused to look at/see/watch/pay attention to.

Verbal Abuse: Threatening, cursing, or yelling at children. Consistently humiliating or criticizing them, especially in front of others. Blaming or scapegoating them for the parent’s own abuse.

At the same time that Touya was now having to beg for any attention, the only attention he did get became negative. I don’t think Enji literally cursed at him in any of the scenes we see, but his language became noticeably rougher and sharper in ways that the Viz official release localizes as including cursing, even though he wasn’t e.g. directly calling Touya swears. (That is, the English translation has Enji saying, “Dammit!” in amidst his rants, but no directly addressed profanity like “bastard” or “asshole.”)

I leave an extended discussion of that localization choice to those with a greater understanding of the Japanese context, but Enji did unequivocally yell, both at Touya and at everyone else, in front of other family members and at volumes other family members couldn’t help but overhear.

He also consistently treated Touya as if Touya’s pleas for attention or secret training were the problem when the problem was very obviously Enji’s own neglect. “Why won’t you stop?” “Why don’t you get it?” It’s not as direct as, say, beating Touya and then saying the beating was his own fault, but he blamed Touya for hurting himself, blamed Rei for not intervening, when Touya’s injuries were a direct result of Enji refusing to acknowledge that his responsibility for his child’s emotional well-being should take precedence over his desperately shallow desire to stand on top of an awards podium.

As to threats, intimidation in all forms is another one of those things that crops up all over abuse lists. While Enji didn’t overtly threaten Touya, lord knows his body language was scary as hell—all that looming and glaring and grimacing! We know he would destroy things when he got angry enough—as seen in his trashed dojo after All Might announced his retirement—and destruction of property[4] is a frequent example of psychological abuse via intimidation.

4: As of e.g. throwing household items during fights, slamming doors or on walls, or especially breaking the victim’s personal belongings.

We do also see one instance of him manhandling Touya in a way that would quite clearly qualify as outright physically abusive in a domestic partner relationship.

In the context of urgently checking one’s child for injuries, this is slightly more forgivable, but the urgency here wasn’t really about Touya’s health; it was about how he was continuing to disobey Enji’s wishes, and the indication that Rei wasn’t doing what Enji wanted her to, either. Note Touya’s wide-eyed, rigid expression at the rough handling.

I don’t think there’s enough of an established pattern to conclusively ding Enji as physically abusive towards Touya, but on the other hand, the general consensus of experts (as I understand it) is that labeling a relationship emotionally abusive requires a consistent, persistent pattern of abusive behavior (because it’s easy to handwave off individual uses of ugly language as just the unintended result of speaking in anger or a making a joke that didn’t land), whereas a physically abusive relationship can be judged as such based on a single violent incident (because it’s harder to make convincing excuses for hitting someone).

In that sense, and based on how he treated Rei and Shouto, I would not be hard-pressed to believe that Enji was all too ready to use physical force dragging Touya around against his will (out of the dojo, back to his room, to Rei so she could administer first aid for his burns, etc.). That would, again, easily qualify as abuse in the sense of domestic partner violence; while I can see the argument that it’s different with kids, even the one instance of it we see already raises my eyebrows, and my likelihood of calling it child abuse would increase the more frequently it was happening.

Manipulation/Exploitation: Manipulating a child, forcing a responsibility on them without regard to their development, not recognizing their individuality, having unreasonable expectations/unreasonable demands, comparing them to others/their siblings.

This is all most applicable to Shouto, obviously, but it’s also where you can clearly see Enji’s treatment of Touya as abusive even when he and Touya were both very happy. Remember, Touya wasn’t even four yet when his ice nature started asserting itself, so all that stuff about surpassing All Might was a responsibility/expectation Enji was pushing on a three-year old—a literal toddler!—absolutely without regard to anything Touya might have wanted or chosen if left to his own devices. He didn’t keep pushing once it became clear Touya wouldn’t be able to meet those expectations, of course, but he also didn’t demonstrate for Touya any other ways to be close to him/earn his approval.

Also, while I still think him wanting to push ahead with having more children is more about fulfilling his own ambitions than genuinely helping Touya, he did still frame the decision as being about Touya. Specifically, he wanted to do it to “make” Touya give up; it was a manipulative tactic chosen specifically in hopes of breaking Touya’s stubbornness because Enji couldn’t find a more appropriate method of convincing Touya to give up on pursuing Heroism.

Closing out this section, here are some Dabi-relevant consequences I found noted for emotional/psychological abuse, per Wikipedia:

• Poor self-esteem:

(I know this is from a scene where he was proclaiming his own capability, but what strikes me as indicative is the way he unironically referred to himself as Endeavor’s “creation.” Not the wording of someone with a good strong sense of independent self! Refer back also to his calling himself and Natsuo “failed creations.”)

• Destructive behavior, angry acts such as fire setting: (Waves at all of Dabi)

• Withdrawal, difficulty forming relationships, isolated from their parents, have few (if any) friends:

(If you don’t think this qualifies, see also Dabi’s stand-offish relationship with the League. I think he did have a measure of care for them, but it was pretty stunted, as well as filtered through several layers of variably plausible belief that they only mattered to him insomuch as they were relevant to his goals.)

• Difficulty controlling strong emotions:

(See also Dabi’s swings into grinning, off-balance mania.)

• Suicide.

(To my eyes, this desire to commit a murder-suicide with his father goes back at least at far as the first war—because I’m not confident in Dabi’s ability or desire to survive that blue-flame Prominence Burn Best Jeanist interrupted—and maybe even all the way back to Dabi’s “birth” praying at his own memorial photo at the family shrine, what with Dabi’s very name meaning “cremation” and all.)

Child Abuse in Japanese Resources

One of the things I made sure to do over the course of writing this piece was look up resources actually from Japan on the topic of child abuse, just to be sure that their conception of what constitutes abuse didn’t diverge in some unexpected way from my English-language resources. They did not—everything I covered above can also be found on Japanese web resources on child abuse—but they did, interestingly, include some things not covered by my English resources, things I take to be more specific to Japanese law and/or culture. I want to touch on those briefly before I wrap this up.

(The specific phrasing I use below is taken from the English-language version of the website Lights On Children, a Tokyo-based NPO focused on raising awareness and resources for children living in alternative care situations like children’s homes or foster families, but similar points were found on other websites as well.)

Inflicting burns as a form of physical abuse.

I didn’t discuss it specifically above because most of what I was working from was specific lists/infographics about signs of non-physical abuse, but I noticed on this site—and it’s true for English sites as well!—that burns on a child are a well-recognized sign of child abuse, ubiquitous on any list of tells for physical abuse. I wouldn’t suspect Horikoshi had that in mind specifically when brainstorming Shouto and the rest of his family situation, but it is notable that Shouto's most obvious injury, the one that gets his mother institutionalized, is a facial burn.

Touya hid his injuries, nominally so Enji didn’t realize he was still training and shout at him all the time or take more drastic measures to make him stop, but I gotta say, a school nurse doing a routine health check-up would not know the difference between burns Touya got from self-taught training and burns Touya got from his famous flame-wielding Hero father. The fact that they were hidden, and especially that they were on his torso rather than his limbs, should be screamingly suspicious to any semi-trained professional, and I truly wonder what the in-universe explanation is for how Touya got through 7+ years of regular school health screenings without Endeavor getting into serious trouble.

Not taking the child to a medical institution/hospital if they are in serious need of care.

This is another one that was ubiquitous under acts that constitute neglect. Japan has universal health care, you see, so there’s even less excuse for not getting your kids medical help if they need it than there would be in the U.S.[5] This goes back to my questions about whether Touya was ever taken to see a doctor/the emergency room to address his burns. Small ones I could see Enji and Rei plausibly justifying taking care of at the house, which, given the nature of Enji’s job and training regimen, was presumably well-stocked to handle such first aid. That huge band across Touya’s entire abdomen in Chapter 302, not so much.

5: My research suggests that all children under a certain age are eligible for Medicaid in the U.S. regardless of whether or not their parents qualify, so denying your child needed care is still heckin’ illegal here, too! However, health insurance in the U.S. is such a horrible morass that it wouldn’t surprise me if plenty of parents don’t know—or at least could plausibly claim that they don’t—about hospital requirements to provide care for kids regardless of their parents’ ability to pay.

Discriminatory treatment among siblings.

This one barely came up at all in English-language resources but was super common on the Japanese sites, I assume because the country’s deeply engrained problems with patriarchal attitudes is more likely to result in that kind of disparity between the treatment given to sons and daughters, or the oldest son compared to basically everyone else. I’ve also seen enough examples in anime of wildly differing treatment of adopted children—or step-children!—versus blood-related children that I assume it’s a reflection of some real-life precedent!

The relevance for the Todoroki children is, I trust, obvious.

Abusive actions to siblings.

I discussed above how allowing children to witness domestic partner violence is itself an act of child abuse, even if the abuser never lays a finger on the child themselves, and the same goes here. If anything, it’s even more stringent: the stuff about partner violence tends to specify letting a child witness it, while that qualifier of a child's perception is not present for sibling abuse. Abusing one child in any way—physically, sexually, psychologically, or via neglect—constitutes psychological abuse for all children in the home.

For the Todorokis, then, what Enji (or Rei!) did to any individual one of the children—be it the isolation and abusive training Shouto underwent, the rejection and verbal abuse Touya endured, or even the disregard and parentification Fuyumi and Natsuo had to deal with[6]—qualifies as abuse of all of them.

6: More prominent for Fuyumi, but Natsuo talked about the meals he cooked as well. I don’t think we know what-all the housekeeper did, how much she was around, or how old the kids were when she retired (at least old enough that Enji didn’t bother replacing her) but Fuyumi’d been trying to protect Natsuo from their family’s damage since she was seven years old.

Wrap-Up

So, I hope this has all clarified for you, anon, why people so readily call Touya an abuse victim. He was—they all were! I should also note, before I let readers go, that there’s not really a question of severity here, either: numerous studies have shown that the impact of psychological abuse and/or child neglect is no less damaging—and may even be more damaging—than the harm done by physical or sexual abuse in isolation. So it’s not like Touya’s just wildly overreacting or some kind of Bad Egg—while obviously not all abuse victims grow up into violent criminals, a certain percentage of them do, and Touya falls into that category.

It’s one of the things I always liked about the Todoroki plot, really. Four children, all of whom had wildly different responses to the abuse they suffered, allows room for one of them to be completely (and entertainingly!) unhinged about it without consequently implying that abuse will inevitably turn victims into violent monsters.

Thanks for the ask!

#bnha #todoroki touya #todoroki enji #bnha dabi #bnha endeavor #todoroki rei #todoroki family #tw: child abuse #tw: child neglect #moderately image heavy #my writing #todotalk #stillness answers

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Writing Notes: On Food

A compilation of notes on how to describe food in writing.

How to Describe Food: Flavour & Texture

1. Write about the flavour.

Rich -> full, heavier foods. Often used to describe foods containing cream (e.g., potatoes & garlic, soup, and chocolate cake).

Bland -> has little or no flavour.

Bitter -> a tart, sharp, and sometimes harsh flavour (e.g., coffee).

Citrusy -> a bright flavour (e.g., lemons, limes, oranges, and other citrus fruits).

Fresh -> a light and crisp taste. Often used to describe produce or herbs. (e.g., apples, lettuce, cucumbers, carrots, etc. Or bakery items like breads, muffins, etc.)

Fruity -> any taste reminiscent of sweet fruit flavours (e.g., grapes, blueberries, peaches, etc.).

Smoky -> a taste reminiscent of the smell of smoke (e.g., BBQ).

Sour -> a biting, tangy, tart flavour (e.g., lemons, Sour Patch Kids, and other sour candies).

Sweet -> a sugary flavour (e.g., candies, ice creams, desserts, etc.).

Zesty -> a fresh, vivid, or invigorating flavour (e.g., tacos, Italian pasta salad, etc.).

2. Write about the texture:

Mushy -> soft, but in an unpleasant way (e.g., if you cook vegetables too long, they’ll get mushy).

Tough and chewy -> are similar. Both describe foods which are difficult to eat because you have to chew them for a long time (e.g., meat can be tough or chewy, especially if it’s cooked too long and it gets dry).

Tender -> similar to ‘soft’, but it’s mostly used to describe meat which is cooked well, so it’s soft and juicy.

Crunchy -> food that makes a lot of noise when you’re eating them (e.g., dry food – like potato chips, or hard cookies – can be crunchy).

Words to Describe Different Flavours

For rich, spicy, or savoury flavours. The following words represent complex, spicy, or flavourful seasonings and dishes: buttery, caramelized, peppery, piquant, salty, sapid, saporous, savoury, smoky, spicy.

For sweet or fresh flavours. These descriptors characterize fresh or sugary dishes: ambrosial, bittersweet, bright, fruity, honeyed, minty, nectarous, saccharine, sharp-tasting, sweet, syrupy, treacly, zesty.

For subtle flavours. Some dishes are on the milder side. You can use one of these words to describe the taste: bland, mellow, tasteless.

For sour flavours. A sour or complex taste can be challenging to articulate. Here are some descriptive words to help: astringent, briny, citrusy, fermented, sour, tart, vinegary.

For hard or crunchy textures. Use these words to describe a crispy or chewy texture: broiled, caramelized, crusty, flaky, leathery, sizzling, thick, thin, toasted, toothsome.

For soft or fluid textures. These words can help you describe drinks, desserts, or other soft items: crumbly, doughy, fizzy, gooey, juicy, luscious, mashed, mushy, rubbery, runny, simmered, smothered, spongy, sticky, tender, velvety, waxy.

For the smell of food. Here are common food adjectives you can use to describe smells: acrid, astringent, bright, citrusy, fermented, heady, honeyed, minty, nutty, peppery, pungent, rancid, rotten, smoky, sour, vinegary.

Tips for Describing Food in Writing

Be specific. There are a lot of food words that are vague or general, like “delicious,” “yummy,” “succulent,” “delectable,” “mouth-watering,” or “finger-licking.” Avoid these overused phrases. Focus on the food's particular flavour, texture, or smell to make your writing more evocative and precise. Rather than describing a soup as “tasty” or “scrumptious,” try more specific words like “buttery,” “chunky,” or “minty.”

Consider your purpose. Decide if your goal is to explain a culinary experience or make the food sound appetizing. A clear understanding of your intention and target audience can help you shape your writing to be the most compelling.

Evoke all the senses. While you lean heavily on taste to describe food, remember to explore the texture, smell, sight, and sound of a dining experience as well. Including sensory language that incorporates the other senses creates a more robust experience for readers.

Sometimes less is more. Food writing is most effective when it’s focused, allowing readers to zero in on the essential details of the dish. If you include too many descriptors or attach multiple adjectives to each noun, you can overwhelm or confuse readers.

Sources: 1 2 3 ⚜ More: Writing Notes & References ⚜ 100 Sensory Words

If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them! Writing Resources PDFs

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queer-ragnelle · 5 months ago

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Understand is is a very weird question to get out the blue so no offence taken if this gets left in the inbox, but I was wondering how (if at all) to integrate transgender knights into arthurian retellings/adaptations ect while trying to keep it vaguely true to the medievalisms of the whole thing? I know its easy and liberating to just go 'fuck it everything queer' and its a totally valid way to go about it, but (as a trans person) I like having a narrative examine queerphobia and other structual issues with the setting - gives the whole thing a bit of meat (in my personal tastes). That being said, it feels like its a nightmare to try and have a transmasc knight stay stealth in this place! Everyone feels like theyre getting stipped and tended to after breaking a rib in a joust or merlin shows up and is a dick about pronouns and outs you to get you married to a Roman king. Stuff like that - things that feel a little easier to dodge when its a civillian character, not an ruling class.

Is this a 'kill the cop in your brain' kinda deal? As a queer storyteller yourself do you have any tips or strategies or tools you use to crowbar this kinda stuff a little easier together? Or do you know any stories/retellings/academic texts ect that cover these kinda things (even if its in a 'for the love of god, don't do that' way). Love the work you do for this fandom a lot, regardless of your answer! Hope you have a good day.

Hello anon! This is a great question.

Now let me preface this by saying I’m not transgender and I’m not a medievalist. There are plenty of trans medievalists on tumblr, but I’m not one of ‘em. So my answer is coming from a queer but cis author and enthusiast perspective. I'm going to provide lots of links to read things as well so everyone can draw their own conclusions from the material.

I think a large part of this does come down to “kill the cop in your head.” But at the same time, I’ve been exactly where you are wondering, “How can I make this story feel authentic to its era without torturing the trans characters?” Because you’re right, there’s a lot of nudity and close proximity interaction between knights in the medieval stories and Merlin is totally the type to be a dick about pronouns. I've also searched and struggled to find a medieval-set story that manages to incorporate queerness in a period-appropriate way (so far as we can guess) while balancing the narrative as to not tip into something deeply unpleasant for the target audience to read. (See: the series by Lavinia Collins, which has great queer rep, yay! But tons of horrors previously unseen and still unnecessary, boo!) So where does that leave us?

Well first I’m going to give you an example of how not to handle transness in an Arthurian story....

The book Once & Future and its sequel Sword in the Stars by Amy Rose Capetta and Cory McCarthy went with the phenomenon you already described as, “fuck it, everything queer.” It doesn't take place in the past, but does use the medieval stories as more than reference, it's not as divergent as something like Port Eternity by C. J. Cherryh, the reincarnated characters do interact with the past directly at times, so I'm using it as an example.

Anyway most characters are either gay (umbrella term) or trans. Except the way trans characters are treated sucks majorly (in my opinion). I completely lost faith in book 1 after the introduction of Lamorak, a gender fluid knight who uses they/them pronouns. Merlin misgenders them and gets corrected by Kay, to which Merlin does this whole self flagellation routine about. Lamorak is also disabled, missing their left hand. (Why isn't it Bedwyr? Anyway not the point...) Lamorak gets no dialogue here whatsoever, all agency is completely stripped from them regarding their disability and their gender identity. Double whammy.

This is worsened when Percival gets introduced, as Merlin then makes a point of asking for pronoun clarification in the most obnoxious way possible. To which Percival takes no offense at the weird slight against his sibling and tells Merlin his pronouns.

But what about the sequel? Surely these two queer authors improved with time.....

Is this a joke? Is this the best way they could indicate the inclusive realm of Avalon? Why not just describe the women as they are, all shapes and sizes, and let the reader figure it out? The authorial intent would be so obvious by this point. Instead they say it… like that. Gag.

It only gets worse when Mordred is born. Then they're weird about a literal infant.

What in the bio essentialism? If the characters have been living in a future that’s broken out of the gender binary, the baby’s genitals should be irrelevant. Gwen’s literally saying Mordred is going to fulfill the evil prophecy because he was born with a penis. Even if this is intended to be a teaching moment, I hate how it’s handled. These quotes are in order of appearance in the books, so after the subtextual implications of all that came before, this last part really doesn’t sit right with me. Sorry I find these books completely abhorrent. They've won awards, they’re beloved by many. Maybe it's me. But no thanks.

Honestly, so long as you're not blatantly offensive with your handling of such things, I think you'll be fine. It's important to remember that even if one is part of a demographic they're depicting, it's always a good idea to hire sensitivity readers and take that feedback seriously. Not everyone will love your work, there will be advice you don't utilize, with time you'll be able to weed out the bad faith feedback, (the "all depiction is glorification" crowd) and ignore it. But it's so important to open oneself up to constructive criticism so you can learn and your work can develop into the best possible version of itself.

Now let's get to some ways you can go about researching a way to do this that fits in your story. It’s important to remember that throughout human history, many people lived stealth their whole lives and we don’t know about them for that reason, not because no transgender folks ever lived authentically and happily in medieval times. So it’s never impossible to incorporate a trans character into a story who experiences no direct violence, even if the world they live in isn’t presented as a queer utopia. The other thing is that public opinion regarding queerness, cross dressing, etc have varied a lot over the centuries and were vastly different depending on location. Not every “woman” found in armor would have been treated as poorly as Joan of Arc. So there’s lots of wiggle room for interpretation when you go about writing these narratives. The majority of my examples deal with the ruling class so they address the concerns you mentioned with added scrutiny a noble would face if they were to experiment with gender presentation compared to a commoner. I’ll be spoiling the plots of everything on the list to make clear why I’m suggesting them.

My initial advice would be to read medieval literature with queer themes followed by essays on the subject. The best examples I know of are:

Yde et Olive

Transmasc knight (good ending). 12th century French romance. Yde’s mother Clarisse died giving birth to her & later when Yde reaches maturity, her father makes advances, so she disguises herself as a man & flees. Yde becomes a successful knight & is married to the king’s only daughter, Olive. When it comes time to consummate the marriage, Yde must confess the truth of his identity to Olive, who vows to keep it secret. This is overheard by the king who then attempts to uncover Yde’s identity but is stopped by an angel who chastises the king for harassing such a good vassal. Then Yde is transformed into a man, the king dies, & Yde is able to have a child with Olive. They name him Croissant as if it couldn’t get any more French than it already was. Anyway the story alternates pronouns for Yde given the situation which is pretty neat & in the end he gets to live his best life! Yay!

Le Roman de Silence

Transmasc knight (bad ending). A 13th century French romance about a baby girl named Silence. Silence is raised as a boy because King Eban won’t allow women to inherit property. Like many medieval romances, the hero's adventure is often punctuated with personified emotions (Dame Fortune, Lady Love, etc) but Silence is tormented by Nature & Nurture as he comes into adulthood. He becomes a knight & eventually takes on an "impossible" quest, to capture Merlin, which supposedly can only be done by a woman. Content warning for the ending, it does not go well for Silence. Merlin reveals his backstory, & he’s forced to take a feminized version of his name, live as a woman, & marry the king to keep his lands.

Wigalois by Wirnt von Grafenberg

A 13th century German romance that follows Gawain’s son, Wigalois [Gingalain], but this ain’t about him. There’s a character Marine who fights as a knight. She’s consistently referred to with she/her pronouns, but she’s renowned for her knightly virtues & fights alongside the men in the war. She’s treated very well narratively & dies in battle after apprehending a high-value hostage. Everyone mourns her & there’s a big funeral held in her honor. So even if Marine never presented herself as a man the way Yde or Silence do, she provides an example of a female thriving in a male role. Food for thought.

Parzival by Wolfram von Eschenbach

Another German banger from the 13th century. This one’s about a cis male knight but Parzival has transmasc vibes. Trust me. Here’s my favorite article about it called The Clothes Make The Man - Parzival Dressed & Undressed by Michael D. Amey that really illustrates what I mean.

After that, you can check out these retellings:

The Story of Silence by Alex Myers

I bought this but haven't read it yet. It’s a retelling about the aforementioned Le Roman de Silence. This book uses neutral they/them pronouns to refer to Silence, which I can say from experience sometimes causes confusion with readers, so it's good to study how this author did it & determine if that method feels right for you. (If you ever decide to do something like that with a character.)

Spear by Nicola Griffith + Spear's Author's Note

I enjoyed this one, beautiful prose. It didn’t feel like the most comprehensive Grail Quest retelling, but Peretur can be interpreted as a butch lesbian or transmasc, it’s ambiguous. She only uses masculine pronouns when stealth, otherwise using she/her, but it has a happy ending! It’s firmly set in the era & felt authentic on that front while letting the queer characters relax. Peretur isn’t alone. (A/G/L enjoyers keep winning + sapphic lady of the lake ftw + the other hotties Peretur pulled.) Definitely worth checking out.

The Bright Sword by Lev Grossman

This book just came out in 2024. Including it here is already a spoiler given the topic but I’m going to spoil fully from this point on so ignore this if that’s a problem. This is the best example I can give for your reading/writing tastes based on the ask; Dinadan is a trans man. His transness isn’t revealed in the main character Collum’s pov, but in Dinadan’s backstory pov, opening in his childhood. He & his twin brother were sent to different schools but young Dinadan would leave the girl’s school to practice knightly skills with the fay, which retroactively explains why he has a fairy sword that Collum was admiring. In exchange for this training, the fay ask that Dinadan slay Merlin. Which he agrees to while never believing he actually can, but the wrath of the fay in the afterlife is worth his ability to live as a knight. I love how it was all handled firstly because Dinadan has a fighting style that works for his smaller frame & because every knight has a different fighting style (Dagonet’s is “If it sucks hit da bricks.”) Dinadan doesn’t stick out like a sore thumb yet his physicality is accounted for. Secondly Dinadan explains the lengths he goes to in order to stay stealth from obvious ones like binding his breasts to pretending to shave his face every couple days & wearing a packer. Later on, Dinadan’s secrets are revealed when he goes swimming in the ocean with Palomides (who evidentially already knew) & Collum joins them. Collum had no idea, which I think brings up an interesting point about all of this which also reminds me of Gawain not recognizing that Beaumains was Gareth—the power of expectation. Just as Gawain expected to find a kitchen boy & would have no reason to assume his brother (who hit puberty since they last saw each other) would be stealth in the kitchens so therefore didn’t recognize him, Collum expects to find men as knights of the Round Table, so when Sir Dinadan is introduced, & Collum had heard of him before, Dinadan’s stature & high voice don’t register to Collum as anything but traits that this guy Dinadan happens to have. Learning Dinadan’s secret in the presence of another knight who already knows & is chill about it also encourages Collum to be accepting too. So giving Dinadan at least one ally in his corner throughout the story went a long way. In the end Merlin, who can only be killed by a man (which is why Nimue had to settle for sealing him away) is stabbed by Dinadan. So it’s like a reverse Silence/Éowyn situation that Dinadan’s gender is affirmed in his ability to kill Merlin. This book also includes the part from Le Morte d’Arthur where Dinadan’s forced to wear a dress, which in this context is very transphobic, but that’s the point. It’s made better when Dinadan gets to go insano style on Merlin so he gets payback. Just a heads up about that.

Some fantasy/scifi that’s not Arthurian but may help, as Arthuriana is largely fantasy to begin with, this may help you determine where on the spectrum your taste/writing falls regarding the bending of reality/history to fit your narrative.

Orlando: A Biography by Virginia Woolf

1928 novel about a character named Orlando living during the reign of Elizabeth I. Orlando is born male, then at some point in his early adulthood, falls into a deep sleep from which he awakens the exact same person, now metamorphosed to be female. Orlando, for her part, adopts this new role immediately & keeps on moving. She lives for 300 years as such & has many adventures, including an instance where she then presents as a man to elude marriage. Transitioned so she could cross dress in the other direction. She would’ve done numbers on tumblr. Ultimately, Orlando does marry… a gnc sea captain! The success of their marriage is attributed to their similarities in gender non-conformity. Even though this book only remains in the late medieval era for the opening, I think it’s a poignant example of a transgender individual living their life in their time & still getting to enjoy themselves without excessive suffering that may provide lots of inspiration.

The Left Hand of Darkness by Ursula K Le Guin

1970 Hugo & Nebula award winning novel. A fascinating examination of gender from the point of view of a cis man named Genly Ai having to reconcile his interpretation of the gender binary when confronted with a society who operates outside that. His travels with ambisexual Estravan challenges what Ai understands about the universe. His ignorance forms the backbone of the narrative as he grows close to a person from this other society. Even if it’s not a medieval setting, it may help you develop a narrative voice regarding this subject you’re able to bring to your work. Also it’s just really good.

The Privilege of the Sword by Ellen Kushner

2007 Locus award winner, Nebula & Gaylactic Spectrum nominee. High fantasy medieval setting. Katherine is a country girl brought to the big city Riverside by her uncle the Duke where she’s offered the opportunity to train as swordsman (ie cross dress) instead of political marriage. She’s unsure of the reasoning behind her uncle’s motivations for doing this, but goes along with it & kicks ass. A preview is available on Google books (linked).

The Realm of the Elderlings by Robin Hobb

This is my favorite series ever. It spans 16 books published between 1995-2017. The fandom on tumblr & ao3 is hugely active. (Avoid tags to dodge major spoilers or check it out for amazing art & many quotes!) The series has many gnc characters in a fantasy medieval setting. First & foremost, The Fool, who’s in all the books & whose gender ambiguity is mentioned book 1, to which he says, “None of your business.” The character ever. Without getting too specific, there are several trans characters including gender fluid characters who will alternate between masc/fem presentation & pronouns. This is my favorite example of gender fluid characters in any fantasy I’ve read, especially since there are several & each feels unique. In The Liveship Traders trilogy, Amber coaches another woman how to hide her period while pretending to be a ship’s boy by using a sock, so if anyone finds the blood on it, she can say she cut her foot. Little things like that really deepened the realism in an otherwise fantastical story for me, because addressing those details answers questions my overly analytical mind would ask & wonder about if unacknowledged.

Lastly I'd like to suggest the article Armour of an Alienating Identity by Jeffrey Jerome Cohen. While it doesn't mention Parzival (the text), it does mention Perceval (the character), as well as Gareth Beaumains, Lancelot, Gawain, Yvain, and even Arthur himself. It goes on to reference endless examples to support its thesis including Greek heroes such as Achilles and Odysseus with references to many different medieval stories from Old English Beowulf to the Irish Ulster cycle to the works of Geoffrey Chaucer. Most (if not all) of the texts mentioned in this essay can be found on my blog for cross reference if you desire, although the article already contains many quotes.

Okay I think that’s all I got. I’ve given you a ton to think about and read. Ultimately I don’t think there’s a clean cut answer for this. Nuance, you know? Having hired an editor and many sensitivity readers myself, it really is just a professional a vibe check sometimes. You write what you want to the best of your ability, then other people weigh in, and you keep tweaking it until it’s as good as you can possibly make it. During development, and even in its final form, there will be people who don’t enjoy your story and that’s fine. It isn’t for everyone, it’s for you and your audience. No single experience in this life is the same so each fictional depiction emulating life will also be unique, there’s no “right” answer on how to write this or anything else, only the way you want to.

Hopefully now you have some tools to help you learn how best to express your vision. I know they gave me a lot of insight and ideas I lacked before when writing trans characters in my books. Thank you for trusting me with this question and good luck with your project! Take care! :^)

#arthuriana #arthurian legend #arthurian mythology #arthurian literature #queer #lgbtqia #lgbtq community #trans #transgender #transmasc #transfem #nonbinary #genderfluid #genderqueer #writing #ask #anonymous

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