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kat-eats-dirt-blocks · 3 months ago

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The Pathologic Russian and English analysis: Clara Saburova the Changeling Part 2

I am finally free to have a single month of summer vacation, so I'm taking this opportunity to finish up the last of the healer to healer communication analysis. Are you excited? I sure am.

As the Haruspex: I uhhh… Don’t have much to say specifically about the differences between Clara in Russian and English that I haven’t already said. Like yeah, she acts differently with Artemy than she does with Daniil, but that is present in both of the versions - she is much more vulnerable and emotive with Burakh, while she is a lot more deceitful with Dankovsky (which is sorta muddled by the fact that he’s the only one of the two to meet her "twin"). She refers to Artemy using exclusively the informal “you” and has a very stubborn and argumentative way of speaking for most of it. The instances of the “biblical” way of speaking that I pointed out in the Bachelor route are less frequent here, and Clara comes across as, well, just a girl. I uh… Also think that the dialogue website I’m using might be missing the bit of dialogue on day 11 when Clara actually offers to help Artemy? It has the dialogue for when he’s already in the Kaiur, but not beforehand (and the wiki tells me that they do talk in person before that. Correct me if I’m wrong). Sooooo yeah, that’s about it. This analysis is a bit more… Explaining the references and intertextualities within the dialogue rather than discussing what translational differences imply, but I think it’d be a cool insight nonetheless. So let’s get started!

This is… Completely unrelated to any translation stuff, but I did want to provide a little bit of intertextual context for “Suok” to allow all the fans that don’t speak Russian to speculate about this on their own. I tried to look up and see if there were any other potential sources for this name, but haven’t been able to find any alternative ones. So here goes. Suok is a last name, which served as inspiration for a character name from the Russian story book “the Three Fat Men” by Yuri Olesha. Very briefly the story is about a town being held under the oppressive rule of the titular three fat men, who had each taken control of one of the town’s resources (that sure reminds me of someone). Suok in this story is a young circus performer, who pretends to be the previously broken doll of Tutti - the Fat Men’s heir. She does so to free one of the leaders of the revolution that has been captured and sentenced to execution. It is revealed in the story that Suok was actually the twin sister of Tutti, which is why the doll looked so like her - it was made to replace her. It’s not the most well known of Russian stories, but it’s recognizable enough for an expat like me to remember. Thematically I do think it’s funny that there’s a reference to a story where three powerful people attempt to squash a revolution (which is by the way led by two men), and a little girl with a twin ends up saving one of those revolutionaries from certain death. And the doll theming. However, if I’m just ignorant and there’s actually like… A Buryat or Mongolian name or entity that’s also called Suok and it’s actually a reference to that… I shall wear a dunce cap, or something, Idk.

I really wish that I could convey how… Story-like Clara’s way of speaking becomes here? Like, yeah, she does talk somewhat… “biblically” but this is not that. She’s not just reciting the events, the way the story is phrased and the language flows feels like she’s restating it word for word. Especially in the part where Clara talks about how Suok was unkillable by anything - it’s all one continuous sentence. It reminds me of, and this is truly truly obscure Russian stuff, that one cartoon about Kutkh the Raven and the four silly mice that kept annoying the life out of him (it’s on Youtube I believe, so go educate yourself on some fairytales from Kamchatka). Those stories have a way of being both lyrical and conversational at the same time - it uses improper grammar (like starting your sentence with “and”) and feels very casual in its sentence structure, but the words it chooses and the matter it discusses is grandiose and epic (in the literary sense). Also a fun little detail is that rather than saying that the abyss couldn’t claim Suok, Clara says that she “did not wish to return to the abyss.”

Adding to my collection of “Clara and Artemy are a comedic duo, actually” is this moment in which (while the English version makes it sounds a little ironic and cautious) Artemy just casually goes “wow, that’s just like us…” as Clara is telling him the Kin’s creation myth. Though you can’t tell me that he wouldn’t be the kind of person that looks at a Bosch painting and goes “that’s so me.”

More from the “fun Russian idioms” world…While we do have a translation of “a little bird told me” in Russian - it is exactly that - a translation. From English actually. The idiom used here is, as far as I know, an originally Russian one. Namely “a dog barks, the wind carries it” which is essentially just “yeah it’s gossip I heard on the street.” Nothing particularly significant about this difference, just thought y’all would appreciate it.

At this point I’m becoming painfully aware of the fact that calling these an analysis of a specific character is silly, because there’s always two people involved in the conversation, but the format has been set already sooo… I could wax poetic about how much more laconic Russian is in terms of threats (partially due to the fact that we don’t use articles and stuff) but also I can’t help but feel like this was much easily translatable? Like, the line is, essentially “let’s hope you don’t regret this!” which is very much a threat already. But I guess the translating team decided to take the road less travelled.

I think I may have peaked. It doesn’t get better from here, this is the ultimate achievement of this analysis. In the last instalment of the madness project I spent a whole paragraph trying to explain why the Bachelor calling Clara “trash” was actually a scathing, humiliating insult that was translated as “little tramp” for no apparent reason, which made it seem (at least to me) a lot less cutting. I’d ask you to look at that screenshot in the previous analysis to see if you spot anything familiar, but I don’t even have an exclusive tag for this madness project (I totally should tho) and I won’t subject you to the other stuff I’ve written in my ramblings. I’ll just cut the suspense here: In this dialogue Artemy uses the exact same word that was translated as “tramp” for Daniil. The word “дрянь” (dryan’), meaning trash or something too worn out and torn to be useful. I understand this must’ve been done because the Bachelor and the Haruspex are supposed to have very different vibes about them and because, as previously stated, the Bachelor doesn’t get to be nearly as aggressive as he is in Russian but like… Wow. I think I need this in a meme format or something, because it’s just so funny to me. To clarify, too: “дрянь” isn’t an explicit swear word. It’s an insult, but it doesn’t need to be censored or anything. Neither “tramp” nor “bitch” fits the translation more or less. And I think that’s hilarious that they translated it so differently for the two characters.

And we’re back in the realm of “interesting” instead of “baffling” and “confusing”. Instead of “dying” or “letting people die” the two of them specifically talk about “killing”. Artemy asks if Clara wants to kill Taya, making the situation a lot more malicious from Clara’s perspective (this is the whole quest with figuring out how the story that Clara started telling Taya ends). Pretty short for a note, but it’s also just interesting in terms of like… How malice is attributed to Clara in the Russian version, but seems impersonal in the English version.

Just as fascinating (and probably just as short of a note) is this line, where in Russian Artemy calls Clara “daughter” with a diminutive. A lot of Russian words have diminutives, but it doesn’t necessarily make them appear kinder. Actually with words like “daughter”, the non-diminutive version – “дочь” (doch’) – is used a lot less and usually feels colder and more distant. The version with the diminutive – “дочка” (doch’ka) is the one used in everyday conversations. If you want to add endearment to the word, you’d have to put in another diminutive, making the word “доченька” (dochen’ka). That being said, I guess calling someone who isn’t related to you “son” or “daughter” isn’t too uncommon (though I usually picture it being said by like… grandmas on a bench, or helpful fairytale entities), though your everyday person is much more likely to just say “girl”, “boy”, or “kid”.

Not a translation difference, but I’ve already included a bunch of intertextual references in this particular analysis, so why not one more, huh? The story that Clara tells about the crystal flower, while obviously being an allusion to the town and the polyhedron, specifically referring to the utopian ending (cutting down the living flowers instead of the crystal flower -> razing the town and leaving the tower to stand) also reminds me of a specific story within the “Malachite Box” collection of the fairytales by Pavel Bazhov (check them out if you can, it’s a bunch of folk tales from the Ural mountains and they’re fascinating and incredibly dark). Specifically “the Stone Flower” - a story following Danila - an orphan boy that becomes a master-stone carver, but struggles to finish an order that doesn’t fit his own particular standards. He is told of the Stone Flower in the lair of the Mistress of the Copper Mountain (a force of nature entity that’s recurring in the “malachite box”) and how seeing it will allow someone to understand the stone and how to carve it. However he is warned that all who’ve seen it have always remained in the mountain, working for the Mistress of the Copper Mountain. Danila does, indeed, manage to see the stone flower and return to his bride, but what only manages to stay for so long before he destroys almost every single one of his creations and disappears without a trace. It’s left up for debate whether he simply went mad and perished in the woods, or if he returned to the Copper Mountain. I do think there are some parallels to be drawn between this story and Pathologic’s polyhedron – specifically in how it relates to Peter Stamatin. Not a one to one comparison, of course, but there’s something to be said there about the madness that comes with creating or trying to create something bigger than yourself, to the point where it’s less of the human world and more of the world of miracles and myth.

Not a particularly drastic difference here, but just wanted to point out that the whole “your lies are so crafty…” bit of this dialogue isn’t… actually present in the Russian version? I think the translating team kinda got used to the fact that this dialogue is almost the same as when Daniil talks to Clara, so they’ve added in this line even though Artemy just says “I’m fed up with you”.

To sum it up: yeah, I don’t have much. Clara is a fascinating character to me, but I do think that she is fascinating in both English and Russian. She’s a multitude of contradictory things, and she is condemned by those around her for either not fitting into the category they believe her to belong to, or being exactly what they believe her to be. She doesn’t get a break. Most of the differences between English and Russian have been just slightly “vibe altering” ones, and it’s a bit difficult to place a finger on the reasons why those changes I made. Like, with Daniil I could generalise that in an attempt to make him seem cold and detached, he accidentally lost a lot of his emotiveness. I have made the argument that Clara’s Russian dialogue makes her come across as more meta-aware (and there’s something to be said about how I argued that Clara and Aglaya are very idealistically opposed about the exact same belief and how that notion is echoed in Clara’s dialogue with Artemy) but at the end of the day… Yeah, the translators did a pretty good job with this one. I’ve said before that it’s not really a good idea to have every piece of dialogue include a footnote explaining what every word means (at least in a game like Pathologic. A game focused on education would be soooo fun with those. Like Martial Law, for example) but to add to that: I think it’s pretty cool that Ice Pick Lodge managed to create a game that is so distinctly Russian, that even a city boy like me can understand, despite taking place in the steppe. And at the same time, you don’t have to be Russian to understand it. I’ve provided a bit of intertextual context here, but you don’t actually need it to feel and understand what makes it so compelling, as seen by the fact that this game is beloved both in and outside of Russia. And I love that for all of us.

And that is it, folks, at least for the three healers and how they interact with each other. Up next (and hopefully not several months later) I'm gonna examine the shared dialogue that the healers have with the townsfolk. I guess that one will be both comparing the similarities and differences between the languages and between the three of them. Yippeee.

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kat-eats-dirt-blocks · 3 months ago

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The Pathologic Russian and English analysis: Clara Saburova the Changeling.

Time is a flat circle, similar to a frisbee, and the world is using it to wack me repeatedly on the head with it. So anyway, I finally got my shit together and made another addition to this madness project. This time including images of both English and Russian text. Let us begin

It’s a bit… difficult to pin down what kind of person Clara is in the English translation - partially because you don’t always know for sure which Clara you’re talking to, as well as the fact that she is, most of the time, an obstacle. She seems to shift between “mean child who’s acting like she hasn’t learned about empathy yet”, “kind earnest and trying her best”, and “ominously inhuman and deceiving”. This is, obviously, because of Clara’s main schtick - the fact that there’s two of them (and also because she knows a lot more than the two other healers). Most of the time, however, she comes across as someone with either good or dubious intentions. It’s like she’s trying to help (or acting like she’s trying to help), but things keep going horribly wrong. Since we’re not playing as her, we don’t get nearly as much insight into how frightened she is and how shaky and unstable her current situation is, so she is judged by both of the healers in a very harsh way. She seems a bit verbose for a kid/teenager, however that is nothing out of the ordinary in the town on Gorkhon. Her lines, a lot of the time are either indirect or very direct jabs, so there is an impression that she thinks she is smarter than the other two and is quite fed up with them. It’s difficult to say much else about it without getting into specifics, so here we go.

As the bachelor: Clara only gets interactions on days 3, 6, 11, and 12. You might think that that would make it difficult to write about her, but wow did they put so much stuff in the very few conversations she gets to have with Daniil. There is a level of consistency between how she speaks in English and Russian here, though she seems a bit more earnest in this campaign. Like she’s trying to help, but she also thinks that Dankovsky is unable to receive the help she’s trying to give. Or unwilling. Mainly, however, in Russian there is a very weird quality to her way of speaking that I’m not quite sure carries over well to English. See, (and this is where it gets the tiniest bit anecdotal) I’ve had my fair share of hearing religious talk in Russian (but not in English, which is why I’m not sure if this is even a valid point) - I’ve been to orthodox churches, and in general Christianity is very largely propagated in the part of Russia I grew up in. So I, like presumably many others, am familiar with the very distinct way that religious figures speak. It sounds ancient, but not the same “fairy tale” ancient that I talked about before. Instead of changing the sentence structure, they utilise more biblical words in places where any other person would use regular modern words. Best way I can explain it is how someone might say “t’is” instead of “it is” but like… Religious? “For” instead of “because.” And that is the tone that Clara takes on sometimes. It meshes really well with her “divine messenger” persona, even though she still acts like a child every now and then. It’s a very unique combination that gives her way of speaking a distinct sound that exists outside of time. Overall, however, the translation was pretty close to the original Russian version, so let’s look at where these two diverge.

What’s a little weird to me here is that umm… This is the conversation Daniil has with Clara on day 3 about the Taglur and when I read this in English I was a little confused, because it sounds like the Bachelor is asking a question about Clara’s plans for making a new world or whatevsies, but… This dialogue option is one of those that immediately ends the conversation, which didn’t make sense to me at all. In Russian it’s a bit more akin to “And who’s bright idea was it to place this miracle here?” (or literally “to whose head did the idea to place this miracle here come?” A bit more confusing, but yeah) See, the word here for “miracle” is “чудо” (pronounced smth like “choodo”), which can mean miracle or wonder, but can also be a shorthand for “чудище” or “чудовище” which is a word used to describe monsters. You know. Wonder-creatures. In this context, the word “чудо” when aimed towards a person (Clara) is meant to signify someone either ugly, eccentric or nonsensical. So to sum up, the best way to understand this line is “Who’s bright idea was it to bring this weirdo here?” in which case… Yeah, I can definitely see why that would end the dialogue.

Here’s a fun little thing: I’ve mentioned before how the Haruspex defines Clara in very vague terms. Here, when the Changeling (the real one, guys, trust me) is asking the Bachelor to deal with the Changeling pretending to be her(yeah, go figure), in English she calls her a “loathsome creature”. However, in Russian she calls her (according to Google translate) an “abomination”, “filth” or (in my own translation) “grossness”, which - you guessed it - is indeed a very vague term. Regardless of who you think is talking to the Bachelor at the moment, it’s still very interesting to see, for various reasons. She also does this later in the dialogue (and the English translation ignores it again)

More out of the same dialogue tree where the Bachelor is trying to get Clara’s blood. I’ve made a point in the analysis of the Bachelor from the Changeling’s perspective, where he calls her “darling” where the original was something like “sweet/dear creature” and almost had a sombre mood to it. In this one, however, it is the complete opposite. Not only does the word he uses here actually translate the best to “darling” (or dove), but it also has the same kind of ironic connotation to it as I mentioned. In this particular scenario he almost sounds… Thuggish? The words he uses, as well as the use of the “-ка” sounds similar to the snarky, confrontational way that thugs and bandits speak in cartoons. Something like “c’mere, dear” that makes it clear you’re about to get beaten up.

Two things here: firstly, in this dialogue line Clara refers to Daniil using the informal version of “you”, while the lines said by the Changeling whose blood he doesn’t get uses the formal version. In the interaction on day 3 Clara doesn’t address him directly at all, but I think in other dialogues she also addresses him informally (It isn’t surprising to see Clara address Daniil of all people informally, because not only does she see herself as, at least in part, a tool of divine whatevertheheck, she also rightfully believes that he is an idiot. She does not need to be polite to the stupidest man this side of the Gorkhon (I say this lovingly, of course).

Secondly though, I’d like to point out the way Daniil talks to her in here, because when I did my analysis of his lines I talked about how the English translation dials down the intensity of the stuff he says. This here is a prime example, as the Russian version is not only more curt, but also uses a much more cutting insult. Of course, people are well aware of the Russian language’s rich curse word vocabulary, but it also has the wonderful capability of making non-curse words sound like the most humiliating thing ever. I think maybe it’s the way Russian combines rolled “r”s and multiple consonants (which is less prominent in English) that allows its words to have that added weight to it. Here he calls her essentially “trash”, specifically - something that’s been so torn up and worn out that it's become useless. The way the word rolls off the tongue when you say it out loud is almost like a spit in the face, and it’s not softened by calling her “little” or anything. He calls her trash. How dare.

I’m bringing this up because it has me genuinely confused? The English version makes sense, or so I thought until I read the Russian version? Because the Russian version kinda states the opposite. It says “You can’t come up with a better knife for this than a conversation - of course, only if you’re in a hurry.” Which is very different from “unless you’re in a hurry” because those meanings are like… The opposite? The English implying that a conversation is a good way to see what’s going on in her soul, but the Russian one alluding to the fact that it’s only good if you’re in a hurry? Or is she agreeing to give her blood because they don’t have time for a conversation? I don’t know. I’m confused. Help.

I think the metanarratives of pathologic are very cool, so when I read this line in English I got really excited, because I thought it might be implying that Clara is aware of the fact that the player may have died a few times during the bachelor route alone (similar to how she calls the other healers her past or future). Then I realised that it simply could’ve meant “dying” as in being close to death. Then I got excited again, because I thought the Russian version might elucidate the issue for me. And… I think I was right? I think she implies here that Daniil has died several times, although it was probably just left vague for this specific purpose. Either way, the fact that it can be read this way and was probably worded like this just to confuse the players (and reward those who may have been on the lookout for it) is really cool to me. Also in response to that (where in English Daniil says Clara has “a shrewd eye for human condition”) he calls her a psychologist, and then brushes her off as trying to charm him, which means we don’t get to gauge the meaning of what she was saying through his response either.

This one has a couple of fun differences. Firstly, instead of referring to the town in its “true form” Clara refers to saving it “the way that the town turned out.” This, to me, is a slight difference that paints the contradictory nature of the town in a different light. The English version claiming that it’s the town’s “true” form almost makes it seem like a design from an outside force, both bringing up vibes of intelligent design and the fact that the town was made this exact way by the children. The Russian version’s implication that the town “turned out” this way has a more “nature is a chaotic force with no purpose” vibe to it, that would more suit a person unaware of the whole “we’re dolls for a children’s game inside of a video game” thing. Maybe I’ve just gotten used to being picky about the tiniest word choices because of my studies, but I feel like this difference changes the overall vibe. Like painting with the same colour but using a different brush.

Secondly, in Russian Clara calls Aglaya’s mission “simply a performance for fools” which to me is a wonderful choice of words, given all the theatre themes included in the gameplay.

I’ve kind of set a precedent where I make all of these “translation differences” have some sort of significant meaning for the narrative, but I just think this one is genuinely cool? It’s a bit of a “same colour, different brush” situation, where the sentiment is the same, but the word choice carries a different vibe. Focusing on the last sentence here, the Changeling specifically says “You were supposed to bribe him with your honesty” instead of “get at him”. And I just think that’s neat, because like. I always thought of “getting at someone” as like… An attack or provocation? But “bribing” someone has a bit more of that slimy vibe, which clashes with “honesty” so well, and… I guess it’d technically be an oxymoron.

During the conversation in regards to Clara acknowledging Maria as a mistress, in the Russian version she frequently switches between formal and informal “yous” when talking to the Bachelor. However, as it becomes clear here, this is an instance in which instead of a sign of respect, it seems that she is referring to several people at the same time. Namely, that she is directing her words both at Daniil and Artemy. During the Bachelor’s campaign she seems to think that the Haruspex is a lost cause and they seemingly don’t interact (and she even believes that he is dead during this day), so I doubt she actually ever spoke to him about this. It’s interesting then that she still tries to convince the Bachelor, even though she often calls him a fool. Makes you wonder what the differences are between this scenario and the Changeling campaign (in which she can invite Artemy to the Cathedral on the final day fully knowing that he chooses to stay oblivious).

Here’s some silly Clara on day 12 (right after giving a whole speech about the Polyhedron) and I just wanted to point out this very fun change. Instead of saying “pretty face” she instead says “мордашка” (pronounced “mordashka”) which is a diminutive of “морда” (“morda) which is usually the word people use to refer to an animal’s face. Except it can also be used to refer to a person’s face if you’re calling them ugly. The addition of the diminutive adds a little mischievous tone to it, which turns it from ugly into a “cute” kind of thing. Like… Derpy, I guess. Anyways, I think it’s absolutely hilarious that Clara says that while also talking about the eldritch concept of being a multitude of people, or perhaps just one person controlled by the will of different people at different times (which they all are, by the way).

Big difference here that I found absolutely odd as in why they cut it out of the English version? This is from the “did you know we are toys?” dialogue tree and if you look carefully, you’ll see that there’s a bit here in Russian that for some reason wasn’t included in the English version. The last sentence after Clara says that she has an advantage. She adds “and I intend to use it.” Which like… I feel to someone who hasn’t played patho before would sound antagonistic, but to those who know - this is a direct indication to how it feels like playing as Clara in the campaign. You know a lot more about the game and the characters from other campaigns. And you already know that the kids are there and that they are toys. While playing you use all this knowledge to your advantage to play the game better. So yeah, don’t know why they cut that out of the translation.

Alright, I think that’s about all I’ve got for Clara’s role in the Bachelor’s campaign. I’d say the biggest differences that I notice is, of course, the biblical language (which I didn’t get good examples of unfortunately, but the whole “your eyes are white for you are blind” is a good example) and the subtle ways in which the words Clara uses hint to her knowledge of what is going on. As always, it’s something that’s also present in the English version, but there are also things that are characteristic to the Russian language that allow her to break the fourth wall. Like, with the change to a formal “you” we can get a bit more clarity on whether the Clara we’re talking to is real or not. With the specific verbs she uses we can almost see the outline of a false bottom to everything she says and I think that’s really cool. Outside of the translations, I think it is genuinely fascinating to get a better glimpse into Clara’s story during the Bachelor campaign - I feel like if we got more of her, it would give the whole game away. In what she says already, talking about the wills behind her, behind the Bachelor (although she does count Artemy as part of the “special toys” camp, she always says it with such disappointment. Cuz she compares herself to him, but is also frustrated that he refuses to get it) she alludes to being aware of not only the stagehands, but also the player and the power that they have. It’s also really cool because you can almost compare her to Aglaya, what with all the knowledge, sacrifice, and being doomed by the narrative. Except Clara’s approach is entirely different, although it’s difficult to glimpse through her frequently changing attitude. They both know “the Law”, both talk about how miracles should not be captured - except Aglaya seeks to undo what has been done, while Clara wants to forge ahead, accept the changes as part of the world. They both seek to fix what’s wrong, but what to them is considered “fixing” is so directly opposed that they have to destroy each other. I don’t know. I just think that both of them are really cool characters that totally don’t make me wanna scream, cry, and throw up, and you know… They deserve just as much love and obsessive analysis as the men in the story (speaking of which, in one of the dialogue trees where Clara talks about Block essentially becoming a crusader she can also admit that she knows it’s not true and that he’s also doomed, but she feels so bad about it that she pretends that he isn’t. And who knows, with a miracle worker like her it might just become the truth).

Also I'm thinking of maybe at one point or another making a name pronunciation, meaning, nickname, and literary references guide? Idk, sounds like it'd be fun.

I feel like a weird little bog creature whenever I emerge with one of these. Have fun and remember to engage your critical thinking skills, fact check, and let the media you encounter change you (be it through vulnerability or empowerment) instead of just being fodder for your consumption.

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