#I may have teared up a bit

[shortcakelils]

[eveh-koko]

[softestvirgil]

thanks for openly posting ts crit. i thought i was crazy for not lauding him as a saint like everyone else is, especially with everything he’s been doing lately. it’s good to know that my criticisms of him are valid and not just me overreacting. but yeah. thanks so much. what’s left of the fandom really needs you

For a while I had all of this bottled up because I too, felt like I was overreacting. It took a burst of other people posting ts crit to inspire me to finally do the same. There’s too many things that have happened that are just not okay. Your message means a lot to me, especially that last part— 💜💜

[wicked-italian]

Some of the sweetest words I've ever read that are meant for me. Thank you, Mog, my lovely friend.

Your art is amazing and I know you're going to make some fire DATV companion art, especially of Lucanis. ;)

Wicked, the wicked temptress who tempted me into drawing Lucanis and can probably sway me to attempt to draw anything XD

I know u already saw this murder bird sketch but it was for you. ILY 💜

[izzystizzys]

“ - but have you ever considered, I don’t know, not sucking all the time? Just a thought.”

It takes the combined grips of Nuisance and Hound to keep the wriggling, snarling body beneath Fox from throwing him off its back. With three years’ practice of having to fix his own rickety desk chair over and over again, the movement merely ruffles the proverbial fringe on his helmet.

“And I don’t mean that as an insult, necessarily. Well, I do a little bit. But also I have some amount of empathy for the no doubt immense amounts of trauma that had to go into the creation of something so dysfunctional as you, on a very personal level, so have you considered going to the root of that in a way that’s like… useful? Instead of wasting it all on kriffing Kenobi, I mean. Look at the guy. All he does all day is drink tea and commit warcrimes. I bet he knits for fun. Bit of an embarrassing nemesis, don’t you think?”

“I”, says Kenobi, then pauses. The space between his eyebrows is creased with uncertainty, and he looks deeply torn between continuing rocking the shaking Duchess of Mandalore against his chest from his corner of the throne room and re-activating his lightsaber to continue losing his fight against the Darksider Fox is currently sitting on. “I feel like I should object to some part of that, but I’m not entirely clear on what. Or how this happened, again. Isn’t Mandalore a few star systems from your purview, Commander?”

“Probably the warcrimes”, mutters Nuisance underneath his strained breath.

“About as far from my supposed assignment as yours, General”, says Fox a little louder.

Kenobi twitches. Fox cannot claim to know which of them does it. Both, maybe. Probably.

“I will - taste - your - flesh!”, heaves out Darth Maul, snarling and hissing.

“Oooh, kinky!”, calls Grids, from the corner where she’s got her stun-setting aimed at the other Zabrak, currently passed out cold. Fox sighs deeply. He knew he shouldn’t have taken those three - any combination of Grids, Hound and Nuisance in a room together usually spelled chaos.

Unfortunately, it also spelled competence. The Basic alphabet can be funny that way.

The point being: as of some months into the war, one of Fox’s assigned tasks is the surveillance of all GAR-wide communication. All command-class staff theoretically got that memo, but no one seems to have read the fine print where that includes both professional and personal communication, as well as any and all comm devices registered or suspected to be registered to that person. Especially not one Anakin Skywalker and Padmé Amidala.

The point further being, if that sounds both immensely impractical and sort of terrifying in a democratic supposedly non-surveillance state, you’d be bang on the credits, and to Fox’ eternal chagrin the singular person in this whole useless army who’s spent the second of thinking necessary for that conclusion.

The final point being, when one frantic General’s mad dash across the Galaxy to rescue his teenage sweetheart from the spectre of his supposedly dead nemesis crosses his desk on its way to the Chancellor’s inbox, it doesn’t take much time for him to block any and all trace of it across the digital space of the GAR commboard and take matters into his own hands.

“ - which is why I told Thorn to suck it up and be in charge for a few days, and also why you’re still alive, your Highness, very welcome, was no trouble at all”, he concludes, drily. The Duchess stares the wide-eyed look of someone attempting to reconcile clones with ‘sentience’ or perhaps ‘personality’ in her head, but won’t say it outright.

Or the look of someone who’s just been violently overthrown and nearly murdered, perhaps, Fox allows.

“Um -“, Kenobi hedges, blinking rapidly.

“And the reason you’re still alive, probably. You’re welcome for that too, by the way”, Grids calls from the back of the throne room, cheekily.

“Alright”, says Kenobi, loudly. There’s color back in his deathly-pale cheeks, Fox notes, even if that color is a lot of red. It doesn’t fade very gracefully into his beard. “Opinions on whether or not I had everything under control notwithstanding -“

“You really didn’t”, Hound supplies helpfully.

“ - opinions notwithstanding, I am admittedly still lost on why you’re now sitting on Darth Maul and attempting to, to - jeer at him, Marshall Commander!”

“We’re not jeering, we’re trying to create a safe space and lay the groundwork for more open communication”, Fox says, primly.

Maul screams into the ground, attempting for the umpteenth time to rear up and visit great violence upon Fox, which admittedly has him rattling in his crosslegged seat atop his back.

Kenobi raises a perfectly plucked eyebrow. “Safe space?”

“He’s restrained and not stabbing anyone, I personally feel much safer than before”, Grids muses. “Watch the teeth though, Hound. Little biter.”

Indeed. Fox’s right greave will have to be replaced posthaste.

“And anyways, the point isn’t to jeer at him, it’s to make clear that he’s focusing his energy in the wrong places and could be doing much better things with his admittedly not-great life”, Fox adds, shifting to cast a pointed look down at Maul. The Sith is panting open-mouthed into the durasteel floor, sharp teeth gnashing wildly as his piercing yellow eyes shine with barely restrained rage. “I’m just saying - aim higher. You aren’t seeing the forest for the Kenobis, Maul. Can I call you Maul?”

“I will feed you your own entrails”, yowls Maul.

“See, that’s exactly what I’m talking about. Right now, I’m an easy target to focus all that built-up rage on, but is killing me really going to help you achieve any of your goals? No! Think about it - when it all comes down to it, who sent you on that mission to Naboo in the first place? Who made sure the Jedi and, by extension, Kenobi would be there to kill you? Who used you as a dejarik piece and then cast you aside the second you outlived your usefulness?”

Beneath him, Maul slowly stills in his struggle, still panting heavily. Hound and Nuisance don’t let it deter them in their vigilance, because they’re damn good vod’e and possess an ounce of common sense.

“And, look, I get it. I could spend the rest of my life punching every civilian who spits on me in the streets and it would even be satisfying. I could hit back the Senators who think of clones as easy targets. Or - I can aim my sights at who’s on top. And I think you know who I mean, because you know as well as I do the same damn man has ruined both our lives.”

Kenobi makes an alarmed noise, and Maul an interested one - not that Fox is going to let him walk out of this place awake. Still, he tilts his head in a way he hopes conveys his helmeted grin successfully to non-vod, as well as the bloodlust behind it. “You’re also welcome for the fact that the Chancellor won’t have heard of your spontaneous resurrection yet, by the way. You’ll retain your element of surprise instead of gambling it away on petty revenge on Kenobi.”

“He cut me in half!”

“He killed my master!”

Fox waves their protests away.

“Also, that’s treason!”, Kenobi adds, sputtering. Fox grins. Kenobi purses his lips, and continues. petulantly, “…do you have any proof?”

“So. Much. Proof”, says Nuisance, dreamily. “Like, do you want it alphabetically or by date?”

Which is when the Duchess, of all people, bursts out into barking, crazed laughter.

“You - you’ve certainly given yourself an edge in that fight, Marshall Commander”, she wheezes, brushing tears from her eyes. Fox raises his eyebrows at her, which she somehow seems to be able to tell, because she gestures at the clunky handle dangling from his belt.

“What, this old thing?” He unclasps the black rectangle from its hook, holding it up in the air. Maul stills strangely beneath him, and Kenobi goes ghostly pale again. Fox is starting to get a bad feeling.

“I took it off Viszla and beat him over the head with it. I figured he’d taken it off a Jedi cadet or something. What? Why are you looking at me like that?”

[art-is-kayos]

Sight of a Star - Blue-ish Star Ryōshū and Don Quixote

[gwenmontrose]

Hi everyone! I just wanted to share a little "Golden Love moment" that happened in real life.

Last night, Italy won the Olympic gold medal in the women's team épée. One of the athletes of the team, Rossella Fiamingo, is the girlfriend of an Italian swimmer, Gregorio Paltrinieri, who had his 800-meter freestyle final at the exact same time she was competing for the gold. He finished in third place, earning his fourth Olympic medal.

(By the way, fun fact: I was mainly inspired by him for my James in Golden Love. Ngl, he's a bit of a hero for me, one of my favourite swimmers ever, gold medallist in Rio 2016. Also: very, VERY good looking, lol)

Neither of them was able to watch the other's competition, but at the end of the day, they posted a photo together on Instagram with their medals.

That's it. I love them ❤

(Also, all this Olympic talking is making me think about Golden Love and maybe a sequel...? Idk, let's see if I can write down something quick!)

[thefrsers]

requested by @ashmarie1687: Broger visiting Lallybroch in 7.05 + flashback of Lallybroch in 1.12 with JamieClaire welcoming the tennants comparing the grounds from 1743 to 1980

[rabidline]

240909  ||  shoma_un0 Instagram Post (x) 様々な経験や出会いをさせてくれたワンピース・オン・アイスにいつまでも感謝しています！ 全員が最高の仲間だ！ Machine Translation: I am forever grateful to One Piece on Ice for the many experiences and encounters I have had! You are all the best friends I've ever had!

[koumeowkami]

PARADOX LIVE 3RD ALBUM "ANTHEM" TEAM VISUALS!

[sillylotrpolls]

I just wanted you to know that your polls bring such joy to me! Every time I see a new one on my dash, my day gets better. And your results breakdown at the end of the week is invariably fascinating and entertaining.

Thanks!

I don't even know what to say. I want to take your words and encase them in imperishable crystal to be an heirloom of my house, and a pledge of good will between voters and poll makers until the end of days.

[poorly-drawn-mdzs]

Congrats on your milestones and thank you for your hard work as always!! 🐎🐎🐎

PIO!!!!!! THIS IS AN ASSASINATION ATTEMPT!!!!! YOU ARE COMING FOR MY LIFE

[tiniinbookland]

i'm foaming at the mouth I MISSED HIS RAMBLING SO BAD

like. i'm always just so in awe how passionate, how determined, how excited Dream is, it's so damn admirable and i love that for him.

and it's so sweet (and relatable ngl) that he wants to share this excitement with us even if it's prematurely and oughhh :(((

[eclaire-went-bam]

low/no empathy is Minorly Othering in terms of interests (in my experience) because almost everyone i know prefers fiction over nonfiction, because it's more interesting and easier to digest,

but prefer the opposite for the same reasons. nonfiction is MUCH easier for me to parse through. i stress myself out a lot whenever i try to imagine a characters thoughts and feelings, and i end up usually just misunderstanding entirely. oftentimes it's so frustrating i just put a book down and never try reading it again. i understand rhetorical devices, messages, themes, symbolism,,, i understand the book on a technical level when it comes to the artistry of how it's written. but i, for the life of me, in the moment, simply cannot fathom a character's thoughts and feelings

comics are only a little easier bcs they have added help of drawn depictions of thoughts and feeling, but even then it can still be hard. i just can't enjoy the same literature many ppl are into just cus i find textbooks n stuff more easy to read

[tricksforclicks]

Updif 2024 criterion freestyle round with Hopper.

Wind was wicked but we did good.

[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.