#How to make teeth white

[turtleblogatlast]

Something I think is cute is that - y’know how Raph’s eyes are more on the yellow side?

Well, you know who also has slightly yellowed eyes? Donnie.

While Raph’s are more yellow, I think it’s cute that this is something that they share and I don’t see it pointed out too often?

It’s also something they both share with Draxum and Splinter’s current form (though again, these two have much more yellow sclera than the boys do.)

But yeah, I like that there’s this little detail that ties Raph and Donnie together, even if it’s small.

[eachuisge-cc]

in addition to the usual hair swatches that the DigiLegs get, I'm working on swatches that match the feline skins, so they'll blend in and can be used together.

Because of this, and because these paws have shorter fur than the wolf or goat overlays, I'm using the composition method I use for the feline skin marking tats instead of the one I normally use for the leg overlays, so I have to color match the hair swatches all over again on nightmare mode. So yeah that might take a minute but it's underway.

[chaylattes-art]

✨️THE CHAYNEMATIC GALA 2024✨️

PART III: EARTH

this past month i've been imagining what various OCs of mine-- some from a DECADE ago, some of which i've never talked about publicly-- would look like in MET gala style outfits! the theme was THE FOUR ELEMENTS and characters were sorted into whichever element i felt suited them best.

water | air | earth | fire

director's commentary below the cut!

Leo Callisto (The Gemini Heist). i just know Leo looked at the earth theme and went "florals? for earth? groundbreaking," and decided she was gonna be so original doing something she actually likes: gold. i mean, gold comes from the ground, right? ("shouldn't Leo be in fire?" you ask, for some reason. no. Leo is the most earth person ever. Leo is the epitome of a Capricorn, actually. she doesn't even have any major Leo placements in her chart.)

Gabi Franco (The Gemini Heist). idk i just can't see Gabi as anything other than a cute little mushroom gnome kjfsdkd. she's so cute i wanna squish her.

Lily Florès (Aurora Hearts: Mirage). Lily is a super old OC that i repurposed for a friend's universe, and has plant powers. she is... well. she is a lily. (AND YES HER NAME IS A PUN OKAY. 2014 ME THOUGHT I WAS SOOO COOL WITH MY THEMED NAMES. SHUT UP.)

Vanessa Villa-Cortez (Girls With White Teeth). Vanessa's look was inspired to be a bog body. this is because (and this is not a spoiler, this literally happens right at the beginning of the story) she is dead <3

Tabitha & Detroit Lewis (Alloy). these disaster vigilante superhero twins have metal-themed powers, so i had visions of metallic, futuristic outfits for them. and Tabitha doesn't go anywhere without her heelys.

Will Keagan (UnSuper Squad). Will is the kind of person who would show up to the met gala in a plain black suit, but i wouldn't allow him to. he COULD have also been a bog body bc even tho he doesn't die he does a lot of rotting in bed lol but Vanessa already took that theme. so. idk. bugs? i just didn't want to do another floral.

Petra Lacroye & Finneas Becker (Andromeda Rogue). do i even need to explain?

[jalo-parker]

I don't know what's got its teeth in me but I'm about to bite back in anger

Inspired by a part in the song Take Me Back to Eden by Sleep Token (the part of the song is the caption btw)

[altruistic-meme]

trying to discuss making a chuuya cosplay with my mother but she kept getting distracted by his bolero jacket and muttering "the kids jacket" and "it's so clearly a kids jacket" and "that is a child's jacket. you know that, right?" anyway i got the feeling she didn't like chuuya's bolero jacket

[moonlight-stalker]

# 93 Dcu x Dp

Nightingale industry is a big name like Wayne Enterprises, they are known to make clean energy and make all kinds of electronics that had a sci-fi look to them. All of it is run by a man named Daniels Nightingale from what the bats can find was that the Nightingale industry had started as a company known as Vladco that was combined with a small company known as Fenton Works. From what the bats can find Vladco mostly created weapons and Fenton works built all kinds of things that use some unknown power source but they also build the same kind of weapons that Vladco made. The problem was that the bats can not find what type of weapons they used to make, but they did find blueprints of a portal in both companies and a newer one that seem to belong to Nightingale.

They want to figure out what Daniel Nightingale is planning the problem is that Nightingale is known to never accepted an invitation to any gathering or event, and he has never been known to do business deals face to face.

[nyaskitten]

Am I the only one who finds the Dragons Rising dragons to look a bit... odd? Maybe I'm just being a hater, but I don't exactly like how all of the dragons went from having normal teeth, to their teeth just being part of their jaw (if I'm making any sense rn?)

[longagoitwastuesday]

So so indebted to u for posting those lovely illustrations from Cyrano <333 & even more so for yr tags!! I'm completely in love w yr analysis, please feel free to ramble as long as u wish! Browsing through yr Cyrano de Bergerac tag has given me glimpses of so many adaptations & translations I'd never heard of before! I'll be watching the Solès version next, which I have only discovered today through u ^_^ As for translations, have u read many/all of them? I've only encountered the Renauld & Burgess translations in the wild, & I was curious to hear yr translation thoughts that they might guide my decision on which one I buy first (not necessarily Renauld or Burgess ofc). Have a splendid day & sorry for the likespam! 💙

Sorry for the delay. Don't mind the likespam, I'm glad you enjoyed my tags about Cyrano, and that they could contribute a bit to a further appreciation of the play. I loved it a lot, I got obsessed with it for months. It's always nice to know other people deeply love too that which is loved haha I hope you enjoy the Solès version, it may well be my favourite one!

About translations, I'm touched you're asking me, but I don't really know whether mine is the best opinion to ask. I have read... four or five English translations iirc, the ones I could find online, and I do (and especially did, back when I was reading them) have a lot of opinions about them. However, nor English nor French are my first languages (they are third and fourth respectively, so not even close). I just read and compare translations because that's one of my favourite things to do.

The fact is that no translation is perfect, of course. I barely remember Renauld's, but I think it was quite literal; that's good for understanding the basics of the text, concepts and characters, but form is subject, and there's always something that escapes too literal translations. Thomas and Guillemard's if I recall correctly is similar to Hooker's in cadence. It had some beautiful fragments, some I preferred over Hooker's, but overall I think to recall I liked Hooker's more. If memory serves, Hooker's was the most traditionally poetic and beautiful in my opinion. Burgess' is a whole different thing, with its perks and drawbacks.

Something noticeable in the other translations is that they are too... "epic". They do well the poetic, sorrowful, grief stricken, crushed by regrets aspects of Cyrano and the play in general, but they fall quite short in the funny and even pathetic aspects, and that too is key in Cyrano, both character and play. Given the characteristics of both languages, following the cadence of the French too literally, with those long verses, makes an English version sound far too solemn at times when the French text isn't. Thus Burgess changes the very cadence of the text, adapting it more to the English language. This translation is the one that best sets the different moods in the play, and as I said before form is subject, and that too is key: after all, the poetic aspect of Cyrano is as much true as his angry facet and his goofy one. If Cyrano isn't funny he isn't Cyrano, just as he wouldn't be Cyrano without his devotion to Roxane or his insecurities; Cyrano is who he is precisely because he has all these facets, because one side covers the other, because one trait is born from another, because one facet is used as weapon to protect the others, like a game of mirrors and smoke. We see them at different points through the play, often converging. Burgess' enhances that. He plays with the language itself in form and musicality, with words and absences, with truths masking other truths, with things stated but untold, much like Cyrano does. And the stage directions, poetic and with literary value in their own right in a way that reminded me of Valle Inclán and Oscar Wilde, interact with the text at times in an almost metatextual dimension that enhances that bond Cyrano has with words, giving them a sort of liminal air and strengthening that constant in the play: that words both conceal and unveil Cyrano, that in words he hides and words give him away.

But not all is good, at all. Unlike Hooker, Burgess reads to me as not entirely understanding every facet of the characters, and as if he didn't even like the play all that much, as if he had a bit of a disdainful attitude towards it, and found it too mushy. Which I can understand, but then why do you translate it? In my opinion the Burgess' translation does well bending English to transmit the different moods the French text does, and does pretty well understanding the more solemn, cool, funny, angry, poetic aspects of Cyrano, but less so his devotion, vulnerability, insecurities and his pathetism. It doesn't seem to get Roxane at all, how similar she is to Cyrano, nor why she has so many admirers. It does a very poor job at understanding Christian and his value, and writes him off as stupid imo. While I enjoyed the language aspect of the Burgess translation, I remember being quite angry at certain points reading it because of what it did to the characters and some changes he introduces. I think he did something very questionable with Le Bret and Castel-Jaloux, and I remember being incensed because of Roxane at times (for instance, she doesn't go to Arras in his version, which is a key scene to show just how much fire Roxane has, and that establishes several parallels with Cyrano, in attitude and words, but even in act since she does a bit what Cyrano later does with the nuns in the last act), and being very angry at several choices about Christian too. While not explicitly stated, I think the McAvoy production and the musical both follow this translation, because they too introduce these changes, and they make Christian as a character, and to an extent the entire play, not make sense.

For instance, once such change is that Christian is afraid that Roxane will be cultured (McAvoy's version has that infamous "shit"/"fuck" that I detest), when in the original French it's literally the opposite. He is not afraid she will be cultured, he is afraid she won't, because he does love and appreciate and admires those aspects of her, as he appreciates and admires them in Cyrano. That's key! Just as Cyrano longs to have what Christian has, Christian wants the same! That words escape him doesn't mean he doesn't understand or appreciate them. The dynamics make no sense without this aspect, and Burgess (and the productions that directly or indirectly follow him) constantly erases this core trait of Christian.

Another key moment of Christian Burgess butchers is the scene in Arras in which Christian discovers the truth. Burgess writes their discussion masterfully in form, it's both funny and poignant, but it falls short in concept: when Cyrano tells him the whole discussion about who does Roxane love and what will happen, what they'll do, is academic because they're both going to die, Christian states that dying is his role now. This destroys entirely the thing with Christian wanting Roxane to have the right to know, and the freedom to choose, or to refuse them both. As much as Cyrano proclaims his love for truth and not mincing words even in the face of authority, Cyrano is constantly drunk on lies and mirages, masks and metaphors. It's Christian who wants it all to end, the one who wants real things, the one who wants to risk his own happiness for the chance of his friend's, as well as for the woman he loves to stop living in a lie. That is a very interesting aspect of Christian, and another aspect in which he is written as both paralleling and contrasting Cyrano. It's interesting from a moral perspective and how that works with the characters, but it's also interesting from a conceptual point of view, both in text and metatextually: what they hold most dear, what they most want, what most fulfills them, what they most fear, their different approaches to life, but also metatextually another instance of that tears/blood motif and its ramifications constant through the whole text. Erasing that climatic decision and making him just simply suicidal erases those aspects of Christian and his place in the Christian/Cyrano/Roxane dynamic, all for plain superficial angst, that perhaps hits more in the moment, but holds less meaning.

Being more literal, and more solemn, Hooker's translation (or any of the others, but Hooker's seems to love the characters and understand them) doesn't make these conceptual mistakes. Now, would I not recommend reading Burgess' translation? I can't also say that. I had a lot of fun reading it, despite the occasional anger and indignation haha Would I recommend buying it? I recommend you give an eye to it first, if you're tempted and can initially only buy one.

You can read Burgess' translation entirely in archive.com. You can also find online the complete translations of Renauld, Hooker and Thomas and Guillemard. I also found a fifth one, iirc, but I can't recall it right now (I could give a look). You could read them before choosing, or read your favourite scenes and fragments in the different translations, and choose the one in which you like them better. That's often what I do.

Edit: I've checked to make sure and Roxane does appear in Arras in the translation. It's in the introduction in which it is stated that she doesn't appear in the production for which the translation was made. The conceptualisation of Roxane I criticise and that in my opinion is constant through the text does stay, though.

[assmundr]

"Because we all know that a woman is not a woman until pregnancy/childbirth/motherhood/rape/infertility/other uterus related topics, is an integral part of her story" lol preach

If I had a penny for every time I encountered this in a story, I would have enough money to be able to quit my job and fully focus on the second part of the Asmundr/Home review lmao

Little tangent under the cut

I am honestly so tired of this still being an issue in the year of our Lord, 2025. It's even worse then the writer/artist are attempting to portray something "progressive" through their writing, but still somehow end up doing this.

Like, Andy Weird for an example. I loved The Martian and Project Hail Mary is honestly one of my the most favourite books I have ever read (read Project Hail Mary PLEASE I'm begging you I AM BEGGING ON MY KNEES-) but his second released book, Artemis? Atrocious. I have no idea what possessed him after he wrote the deliciousness that is The Martian to then spit out the kind of lukewarm mess Artemis was. I couldn't get past 60 pages, and I only got that far because I loved his two other books and wanted to push through. But I couldn't.

It absolutely is because of the main character, who is a woman (unlike the main characters in The Martian and PHM) and just kinda written as if an alien once did a Google search on what a woman was, spent 20 minutes reading about them on Reddit, then wrote a book about one. Nearly on every page, the reader gets reminded that the main character has boobs and has sex, because it's the most progressive thing ever to say women fuck!!! The MC has "not like other girls" vibe that obnoxiously overtakes over everything else happening in the book itself.

One of the worst books I have ever read, The Spectres, has many issues, but the biggest one gotta be how Every. Single. Female. Character. in it's story is defined by what male character they're currently attracted to. Every. Single. One. No matter who's POV it is, if it's a woman, her internal monologue and their actions will always circle back to the man she's into, completely defining her by her attraction to them instead of, you know, defining her by her personality like a regular person should be. And yes, this book was written by a man, if you were wondering.

It's even funnier when other people call this shit out, but then write it into their stories themselves, either being completely oblivious to it or bending back over backwards to excuse why it's okay if they do it. I once knew a person who heavilly criticised the badly handled sexual assault/rape in Home but then they had their own character raped/taken advantage of MULTIPLE TIMES for the sake of cheaply written drama and also have them have like seventeen miscarriages, too, because we all know the story of a person with a uterus isn't compelling until something like that happens to them. They also had a character they used as a clown and a comic relief in their writing that they were weirdly attracted to, while they were also a rapist (who assaulted several characters. Yes, it includes the previously mentioned one as well) All of this while they called out Home and Kique for misusing these topics for cheap drama/trauma/shock value.

I'm just. I'm so tired of this. I'm tired of seeing women and female presenting characters in media that's not even of this niche be written this way. Have rape, assault, pregnancy/birth related trauma thrown in left and right as if those are the traits that define women. I am tired of having to research the media I wanna engage with, whether it's a movie, a game or a book, to figure out if something like this will be a part of it's story. I don't mind at all reading about this, mind you. What I do mind, however, is when it's cheaply used as a sterotypical "female" trauma authors throw into stories so they can then label them as dark or provoking or some other shit. A woman is more than her uterus, a woman is more than a vessle for some cheap drama, and I am getting really tired of seeing this writing so often.

[goofyguppy]

.

[strawberrymothteeth]

i kinda feel bad that chapter 2 of forget me nots is taking such a long time and art in general. but working a full time job versus just doing art all day to make ends meat is kinda draining. i am finding myself more tired and also just cranky all the time now. going outside my house is becoming more and more of a chore. i just want to go back to where i was just working on forget me nots all the time. i guess i am just saying please bear with me while art is just being drip fed to all of y'all.

[coridallasmultipass]

.

[moinsbienquekaworu]

Calling it a night and I'm going to try and fall asleep before 2 in the morning

[soupis4ever]

the ending of totk makes me want to ugly sob btw. not just because of the actual ending cutscenes but because of that final final boss. it's so swag it makes me want to scream and cry and break things

[foldingfittedsheets]

Mattresses, unbeknownst to many, are a lot like cars. Every year new ones roll out, they’re always tweaking and innovating and you’ll never find the same one you loved decades ago when buying a new one.

Where I sold mattresses had a three month return or exchange program for this reason. New beds take a while to break in, and they’re a big expense. Your body is used to the old one. So we made sure people were loving it. If a bed got returned we’d take it back, sanitize and clean it, then sell it again on clearance.

To sell these we always had to disclose what clearance meant to customers, and they had to sign that they knew what they were getting. (FYI, not every company is as… forthright about the used bed situation)

In clearance we had beds that were floor models, we had returns, and more rarely we had old models whose line had been discontinued. These clearance beds were always final sale, so a bed could only be sold twice.

Now, the manager at the store I was working at had realized a vital fact. Clearance beds in the warehouse didn’t sell, especially old models that salespeople weren’t familiar with. And even more especially in odd sizes, like twin extra longs. So he set up a split king on the showroom floor to exhibit clearance beds, pulling all those forgotten twin extra longs out onto the showroom.

Almost all of these were brand new discontinued models. Beds I’d never learned in training were exhumed to be displayed. The manufacturers had moved on to new lines and they’d been left behind. Why would he take such in interest in selling old stock, you might wonder? Because we made double commission on the sales margin of clearance beds, and if we’d had a bed long enough they dropped the cost in the system so it was a fucking cash cow to sell these. Even with huge discounts the commissions were wonderful so it was a win win.

When I got started I was jazzed about this program, I was so on board to sell weird old brand new beds and make a ton of money. I had a wonderful older couple come in, looking for a split king adjustable set. This was a white whale sale.

The current clearance models on the floor were a latex mattress that was brand new despite being of an age to start first grade, and a tempurpedic floor model. The couple laid down and it was like magic. They each loved the bed they’d laid down on. They wanted to buy the whole shebang.

I. Was. Thrilled. I told them about the clearance program and what that meant, and they weren’t bothered in the least. I wrote up the sale then dashed into the back, fizzing with excitement to tell my manager what I’d done.

“You sold the death bed?!” He asked in delight.

I pulled up short, my smile freezing in place. “What…?”

“Didn’t you check the notes?”

I hesitated for a long beat then slowly shook my head. You see, dear reader, all beds had a personal history. Every clearance bed had logs written up by the person who took the return, as well as warehouse crew after sanitizing. It helped us know what to expect when selling them. “Wasn’t it just a floor model? You said it was a floor model…”

He slowly shook his head. I checked the notes.

It turned out, it had been sold as a floor model. The first time. But the company had made an exception and taken it back as a return two months later. Why? Because it’s owner had passed away.

I stared at the computer in horror and my manager shrugged. “They signed the clearance form. Technically it was a floor model.”

“We know for a fact that a man died in that bed!”

“What they don’t know can’t haunt them,” he said philosophically.

The man came back a week later for more sheets, utterly delighted to tell me how well they were sleeping. I clamped my teeth down around the secret of the deathbed, choosing to let them love their new bed without the stigma. Only one person would be haunted by that deathbed, and it was me.