#I would love to see someone else's take

[abbulark]

Here's my quick sketch in Japanese:

奥様の家がチャチな物まみれで、彼と綺麗さっぱりの床でヤル

Oku-sama no ie ga chachi na mono mamire de, kare to kireisappari no yuka de yaru.

奥様 - oku-sama is a very polite but also very distant way of talking about someone else's wife. I called it HER house because I think a lot about the husbands I see letting their wives decorate the house. Sometimes it's freeing for them, but other times I hear a lot of frustration about where am I supposed to put my things.

Chachi is a word I searched hard for but it is a rude way to specifically refer to cheap shit, though it seems to be more often used to push back against accusations that something you use is cheap. This is common for very rude words in Japanese, they are only used in polite company in the negative.

Mamire is just my favorite word for shit being all over the place, it might not even fit correctly lmao.

綺麗さっぱり - kirei sappari is a phrase sometimes used to talk about oneself, about one's mood. When you get over something or someone you can say you're totally clean of them. I'm hoping the implication of the phrase is both that the floor is completely clean (The phrase is also used to talk about cleaning house at times)

ヤル is the Japanese equivalent of fuck, though they usually use fuck when they wanna say because it comes off as more hardcore. Yaru just means "do it" so it's just the equivalent of "doing it" but with the katakana it looks ragged and sharp. Using different alphabets is one way writers in Japan convey the tone of speech. Kanji is more formal and distant, hiragana is more calm and normal, and katakana is harsh or strange sounding on purpose. It's used for foreign words, so it can be considered a bit like italics.

Translating this back, a direct translation could be: His wife's house is covered in cheap things, so we do it on her freshly cleaned floor instead.

The important part for me as a person is that the narrator in this short poem doesn't have a gender flag in the English, so when I read it I pictured myself, a woman, as the speaker. Gender flagging is done actively in Japanese and often with a personal pronoun. (Female pronouns in order of politeness would be: watakushi, watashi, atashi, boku. Male pronouns in order of politeness: Watashi, boku, ore) Some are gender neutral, but I thought the mystique of this poem could only be replicated by not using a pronoun at all. The subject of the poem is still the main character, but in Japanese the subject can be dropped in many cases. Usually because the subject is explicitly written in a previous sentence and carries on. But not always. This is poetry, after all.

Translation thoughts on the greatest poem of our time, “His wife has filled his house with chintz. To keep it real I fuck him on the floor”

It’s actually quite tricky to translate. Because it’s so short, each word and grammatical construction is carrying a lot of weight. It also, as people have noted, plays with registers. “Chintz” is a word with its own set of associations. Chintz is a type of fabric with its origins in India. The disparaging connotation is from chintz’s eventual commonality. Chintz was actually banned from England and France because the local textile mills couldn’t compete.

Keep it real” is tremendously difficult to translate – it’s a bit difficult to even define. It means to be authentic and genuine, but it also has connotations of staying true to one’s roots. Like many English slang words, it comes first from AAVE. From this article on the phrase:

“[K]eeping it real meant performing an individual’s experience of being Black in the United States. As such, it became a form of resistance. Insisting on a different reality, one that wasn’t recognized by the dominant culture, empowered Black people to ‘forge a parallel system of meaning,’ according to cultural critic Mich Nyawalo…The phrase’s roots in racialized resistance, however, were erased when it was adopted by the mostly-White film world of the 1970s and ’80s….Keeping it real in this context indicated a performance done so well that audiences could forget it was a performance.This version of keeping it real wasn’t about testifying to personal experience; it was about inventing it.”

One has to imagine that jjbang8 did not have the origins of these phrases in mind when composing the poem, but even if by coincidence, the etymological and cultural journeys of these two central lexemes perfectly reflect the themes of the poem. The two words have themselves traveled away from the authenticity they once represented, and, in a new context, have taken on new meanings – the hero of our poem, the unnamed “him”, is, presumably, in quite a similar situation.

Setting aside the question of register, of the phonology, prosody, and meter of the original, of the information that is transmitted through bits of grammar that don’t necessarily exist in other languages – a gifted translator might be able to account for all of these – how do you translate the journey of the words themselves?

In my translations, I decided to go for the most evocative words, even if they don’t evoke the exact same things as in the original. The strength of these two lines is that they imply that there’s more than just what you see, whether that’s the details of the story – what’s happening in the marriage? how do the narrator and the husband know each other? – or the cultural background of the very words themselves. I wanted to try and replicate this effect.

Yiddish first:

זייַן ווייַב האָט אָנגעפֿילט זייַן הויז מיט הבלים

צו בלייַבן וויטיש, איך שטוף אים אופֿן דיל. zayn vayb hot ongefilt zayn hoyz mit havolim.

tsu blaybn vitish, ikh shtup im afn dil

This translation is pretty direct. There is a word for chintz in Yiddish – tsits – but, as far as I can tell, it refers only to the fabric; it doesn’t have the same derogatory connotation as in English. I chose, instead, havolim, a loshn-koydesh word that means “vanity, nothingness, nonsense, trifles”. In Hebrew, it can also mean breath or vapor. I chose this over the other competitors because it, too, is a word with a journey and with a secondary meaning. Rather than imagining the bright prints of chintz, we might imagine a more olfactory implication – his wife has filled his house with perfumes or cleaning fluids. It can carry the implication that something is being masked as well as the associations with vanity and gaudiness.

Vitish – Okay, this is a good one. Keep in mind, of course, that I’ve never heard or seen it used before today, so my understanding of its nuances is very limited, but I’ll explain to you exactly how I am sourcing its meaning. The Comprehensive Yiddish-English Dictionary (CYED) gives this as “gone astray (esp. woman); slang correct, honest”. I used the Yiddish Book Center’s optical character recognition software, which allows you to search for strings in their corpus, to confirm that both usages are, in fact, attested. It’s a pretty rare word in text, though, as the CYED implies, it might have been more common in spoken speech. It appears in a glossary in “Bay unds yuden” (Among Us Jews) as a thieves cant word, where it’s definted as נאַריש, שרעקעוודיק, אונבעהאלפ. אויך נישט גנביש. אין דער דייַטשער גאַונער-שפראַך –  witsch – נאַריש, or “foolish, terrible, clumsy/pathetic. not of the thieves world. in the German thieves cant witsch means foolish”. A vitishe nekeyve (vitishe woman) is either a slacker or a prostitute. I can’t prove this for sure, but my sense is that it might come from the same root as vitz, joke (it’s used a couple of times in the corpus to mention laughing at a vitish remark – which makes it seem kind of similar to witty). I assume the German thieve’s cant that’s being referred to is Rotwelsch, which has its own fascinating history and, in fact, incorporates a lot of Yiddish. In fact, for this reason, some of the first Yiddish linguists were actually criminologists! What an excellent set of associations, no? It has the slangy sense of straightforward of honest; it has a sense of sexual non-normativity (we might use it to read into the relationship between the narrator and the husband) – and a feminized one at that; it was used by an underground subculture, and, again, the meaning there was quite different – like the “real” in “keeping it real” it was used to indicate whether or not someone was “in” on the life (tho “real” is used to mean that the person is in, while “vitish” is used to mean they’re not). It’s variety of meanings are more ambiguous than “keep it real”, which can pretty much only be read positively, and it also brings in a tinge of criminality. Though it doesn’t have the same exact connotations as “keep it real”, I think it’s about as ideal of a fit as we’ll get because it’s equally evocative of more below the surface. I also chose “tsu blaybn vitish”, which is “to stay vitish”, as opposed to something like “to make it vitish” to keep the slight ambiguity of time that “keep it real” has – keeping it real does< I think, imply that there is a pre-existing “real” to which one can adhere, so I wanted to imply the same.

The rest is straight-forward. “Shtup” is one of a few words the Comprehensive English-Yiddish Dictionary (CEYD) gives for “fuck”, and I think it has a nice sound.

Ok, now Russian

женой твой дом наполнен финтифлюшками

чтоб не блудить с пути, ебемся на полу

zhenoy tvoy dom napolnin fintiflyushkami.

shtob ne bludit’ s puti’, yebyomsya na polu

In order to preserve, more or less, the iambic meter, I made a few more changes here – since Russian, unlike Yiddish, is not a Germanic language, it’s harder to keep the same structure + word order while also maintaining the rhythm. I would translate this back to English as:

“Your house is filled with trifles by your wife. To not stray off the path, we’re fucking on the floor”

So a few notes before we get into the choice of words for “chintz” and “keep it real”. To preserve the iamb, I changed “his” to “your”. This changes the lines from a narration of events to some outside party to a conversation between the two men at the center. Russian also has both formal and informal you (formal you is also the plural form, as is the case in a number of other languages). I went with informal you because I wanted to preserve the fact that his wife has filled his house not their house, as someone pointed out in the original chain (though I don’t think that differentiation is nearly as striking in the 2nd person) and because it’s unlikely you’d be on formal you with someone you’re fucking (unless it’s, like, a kink thing). I honestly didn’t even consider making it formal, but that would actually raise a lot of interesting implications about the relationship between the speaker and the husband, as well as with what that means about the “realness” of the situation. Is, in fact, the narrator only creating a mirage of a more real, more meaningful encounter, while the actual truth – that there is a woman the husband has made promises to that he’s betraying – is obscured? that this intimacy is just a facade? Is there perhaps some sort of power differential that the narrator wishes to point out? Or perhaps is the way that the narrator is keeping it real by pointing out the distance between the two of them? there is no pretense of intimacy, the narrator is calling this what it is – an encounter without deeper significance?

Much to think about, but I actually think the two men do have history –  i think the narrator remembers the house back when it was actually only “his house” and was as yet unfilled with chintz. We also don’t know what they were calling each other prior to this moment. This could be the first time they switched to the informal you. 

Ok moving on, I originally translated it as “твой дом наполнен финтифлюшками жены”. Honestly, this sounds more elegant than what I have now, but I ultimately though removing the wife from either a subject or agent position (grammatically, I mean) was too big a betrayal of the original. The original judges the wife. She took an active role in filling the house. If she were made passive, that read is certainly a possible one – perhaps even the dominant one – but it could also read more like “we are doing this in a space filled with reminders of his wife and the life they share” – the action of filling is no longer what’s being focused on. Why do I say the current translation is inelegant? I feel you stumble over it a little, because it’s almost a garden path sentence. This is also an assset though. “Zhenoy tvoy dom napolnen” is a fully grammatical sentence on its own, and it means “Your house is filled by your wife” – as in English, the primary read is that the wife is what the house is full of. If the sentence makes you stumble, perhaps that’s even good – we focus, for good reason, on the relationship between the two men, but in a translation, the wife is able to draw more attention to herself.

Ok, chintz: I chose the word “финтифлюшки” (fintiflyushki), meaning trifle/bobble/tchotchke, because it, allegedly, comes from the german phrase finten und flausen, meaning illusions and vanity/nonsense. Once again, I like that the word has a journey, specifically a cross-linguistic one.

Keep it real: this one, frankly, fails to capture the impact of the original, in my opinion, but allow me to explain the reasoning. “Stray off the path” implies, again, that there is some sort of path that both the narrator and the husband were on before the wife and the chintz – and one they intend to continue taking, one that this act is a maintenance of. It brings in a little irony, since the husband very much is straying from the path of his marriage. “Bludit’“ can also mean to be unfaithful in a marriage (as, in fact, can “stray”). The proto-slavic word it comes from can mean to delude or debauch – they want to do the latter but not the former.

As for register – “shtob” is a bit informal. I would write the full version (shto by) in an email, for example. The word for fuck, yebyomsa, is from one of the “mat” words, the extra special top tier of russian swears, definitely not to be said in polite company (and, if you are a man of a certain generation or background, not in front of women; it’s not that the use of mat automatically invokes a male-only environment, but if we’re already thinking that deeply about it. But while we’re on the topic, i will say that in my circles in the US, women use mat much more actively than men (at least in front of me, who was, up until recently, a woman and also a child).)

Ok i think that’s all the comments i have!

[rosefires20]

My brainrot today is thinking about just how incredible for a character Eowyn is.

Genuinely. The series might not have many female characters but the ones we do get go so fucking hard.

To me, Eowyn is literally the definition of defining being a woman for oneself. She rejects the roles she is given despite acknlowdging the importance and its mostly because she knows part of the reason is that she is a woman.

The reason why she is obsessed with Aragorn isn't because she loves him but because she wants what he has. She wants the freedom and courage and bravery that Aragorn has at every turn. She literally has multiple conversations during the Two Towers about how what she fears most is a cage. All this girl wants is the freedom to be and not be forced into a role. The best thing is that she literally gets that.

The segment of Return of the King about Eowyn and Faramir is literally about her piecing together what she truly wants. She doesn't want Aragorn. She wants freedom and the ability to choose. Faramir does nothing but encourage that in her. Their love story is literally one of the healthiest love stories I've seen in a long time because at the heart of it, their love is a place to return home to for both parties. Both go off to lead and help their people for a considerable amount of time before returning to each other but that does not diminish their bond. Even Faramir, I believe, falls in love with her bravery and dedication to her loved ones. The reason she went to Pelenor Fields and Gondor with the troops of Rohan was because she had things she wanted to fight for. She wanted to fight for herself, her people, and her loved ones. She is the one who protects Theoden after he is killed so that his body gets the treatment it deserves. She encourages Merry and helps him go to the battle because she sees her struggle in Merry. They feel helpless standing around when there are things to be doing.

Let's also not forget the fact that she was around Grima Wormtounge just as much as the King was. She was exposed to the same poison and awful words that eroded the king. It's even implied that her care for him is part of the reason why Theoden was savable when Gandalf showed up. She had the same power and bravery as everyone else even if she didn't see it in herself.

Then at the end of the day, SHE decides where she wants to go and what path she wants to walk. She walked the path of a warrior. The path of a princess/ruler. The path of a caretaker. But in the end she decides which elements truly mean something to her outside of gender definitions. That is what makes her character so incredible to me. In this she literally kills one of the biggest enemies in that battle with such a badass line.

[moeblob]

So does he, Gallagher.

[deoidesign]

Time and Time Again comes back tonight!

Thank you all for being so patient with me, I know it was a long hiatus.

My health was struggling, my arm was (is) hurting, and I decided it wasn't worth it. I'd rather be slow!

So thank you for giving me that grace, and I hope you'll be there with me for the rest of the series.

[idontmindifuforgetme]

Male patients who will literally call their wives to verify things like their med list grate on my nerves SO much……. Are we 12

[dustykneed]

(tsfs feels anyone? fanart below.)

You've been in his head.

But he says, never faltering, the words,

"I choose the danger."

It is in that moment that you understand:

He could never, would never,

Has never hated you.

Now you realize:

this is what humans refer to as love.

[lorephobic]

literally nobody asked for it, but here's my list of saltburn essays that i've slowly been drafting over the course of the last week which WILL be required reading for anybody trying to engage with me about this movie. my very personal saltburn 101 syllabus just dropped

A Wolf in Deer's Clothing: Saltburn's Attempt at Innocence

an examination of party costumes and our character's last attempts to masquerade as something they're not: felix—an angel, all-forgiving and all-knowing, something to be worshiped; and oliver—a prey animal, prey to class-divide, prey to saltburn, prey to felix.

thoughts about oliver specifically are loosely organized in my #bambi tag

A Midsummer Night's Mare: Farleigh Start as the Ultimate Victim of Saltburn

a farleigh character study, about the ways he was mistreated and manipulated at saltburn, about fighting to stay alive and the scars left behind by knowing when to give in

alternatively titled "QuickStart", may be adapted into a conclusive essay specifically focusing on oliver and farleigh's relationship

The Eye of the Beholder: On Saltburn's Voyeurism & Violence [working title]

how wealth and class pushes the catton's toward the volatile reality of being able to look, but not touch. on desire and the lack thereof, and portraying yourself as an object to be desired

may end up as two separate essays on wealth and aestheticism but i'm pushing toward a conclusive essay about the intersection of the two, which i feel is at the heart of saltburn

alternatively titled "Poor Man's Pudding: A Melvillian Approach to Saltburn's Class", again, may be adapted into it's own essay

Gender-Fluid: A Study in Sexuality and Saltburn's Desire to be Dry

a deep dive into the bodily fluids of saltburn and how oliver upsets the standard of men who are just so lovely and dry. on the creative choice to lean into the messy wetness of sex and desire and the audience's instinct toward repulsion

a celebration of the grotesque and an examination of why we would label it as such

least developed of the four, heavily inspired by @charnelpit's lovely post about the fluids in saltburn

if anybody is actually interested in any of these, i can work toward something closer to a finished piece instead of just bullet points and quotes in a google doc, but mostly this is so i can share my very brief takes on a multitude of themes in saltburn that have been haunting me

edit for people seeing this in the future: all posts about my essays are being organized into my #saltburn 101 tag if you’re interested in following these through to development!

[millidew]

sometimes a family is you, your girlfriend, her husband who's also your boyfriend, your mutual son and his electric rat, a mr. mime, and a baby

[hasbledtodeathunderourknife]

Really tempted to make some fanart of John using sign language..

He has a hand, and it would be a way to communicate without it having to go through Arthur.

Also, Arthur wouldn’t be able to see what he was signing which would let him talk without Arthur listening in. (Opportunity for more lying and secrets)

[punchouthottakes]

FLAMING HOT TAKE INCOMING, DISCLAIMER FIRST: punch out is a game with no lore and little to no characterization so it’s natural that different people have different takes on a character and I 10000% respect that and I love seeing how people interpret stuff differently from me!!!!! this is not a dig or a diss this is just personal observation!!!!!!!!!!

i don’t get why the overall fandom consensus is that don flamenco is head over heels in love with the blonde lady [that the fandom calls Carmen (this I do understand why)] in his cinematic trailer. it’s always been apparent to me that this guy is supposed to be like a casanova/serial womanizer/harem enthusiast douchebag kinda guy.

1. country of origin and profession: every enemy character in this game is supposed to be an exaggerated cultural stereotype/caricature, so it’s natural to assume that most of their character traits are not meant to subvert audience expectations, and flamenco is no exception! Spaniards are stereotyped as carelessly romantic, and toreadors seem to be associated with more socially conservative or dare I say, sexist/woman objectifying behavior. it would be logical to presume that flamenco also embodies these traits

2. contender intro slideshow: most people (and I as well) like to use the final slide of his contender intro as evidence of his romantic status. however, I fail to see how it shows him as faithful; on the contrary, the fact that the girls around “Carmen” are a. (for one of them) also wearing roses - the same color as the one he’s giving her, in fact - and b. clearly looking shocked and disgusted seems to show me that those girls were also the object of flamenco’s short-lived affection and that the blonde girl is just his next “target” so to speak.

now how to justify his in-battle voice lines referring to his affection for carmen? well look no further than Carmen, the opera by Bizet, where the titular Carmen ends up being with a toreador (like don flamenco). it could be possible that he uses “Carmen” as a pet name for all of his flings rather than the actual name of his one true love

please feel free to prove me wrong bc I see nobody else with this interpretation and I wanna know why everyone agrees that he’s a faithful boyfriend/malewife lmao

[altschmerzes]

omgggg shipping is not arophobic in the LEAST but keep making us look like whiners with no real problems by continuing to complain about it I guess

yeah that's definitely what i said in any post ever man great job

average person who has made shipping their entire identity will see a post where someone says 'hey please don't say these specific types of things that are degrading and cruel about nonromantic relationships while enjoying your ships and maybe examine the thought processes and beliefs and prejudices that led to saying them' and be like 'oh so you're a whiner with no real problems who thinks shipping is arophobic?'

telling on yourself there bud

[necrotic-nephilim]

in lieu of having posted any writing/headcanons/asks in the past few days because i have been *so* busy and unable to do anything fandom-related which is terrible and evil, i have a poll out of morbid curiosity and self-indulgence. i've been meaning to ramble here about how i feel about DC's lack fo Deaf representation and which Batfam members i would personally make Deaf, but i am mildly curious about the larger opinion and now i will subject you all to the question, i would love to hear thoughts/opinions/headcanons on any specific choices. (would love d/Deaf/HoH opinions esp but i'm mostly expecting this to reach the hearing crowd, so opinions from hearing ppl are ones i'm very curious about. if you've never given it thought before you are going to now or else /lh)

[feroluce]

So we were talking about Dan Heng reincarnating in the boothenghill server recently. I think there's a lot of wiggle room in there for how it would go, given

a) we know very little about the transmutation arcanum and how All That works and

b) Dan Feng fucked around hard and found out even harder, so anything we would have known anyway is kaput.

This is something that, apparently, has never occurred before. There's no precedent. There should never be two Vidyadhara with draconic features at the same time, but even so, we have Dan Heng and Bailu both displaying tails and horns.

tl;dr I have a permit that says I can do whatever I want!

In the case that they find out Dan Heng will no longer reincarnate the same way- with Dan Feng having successfully broken the line of the Imbibitor Lunae- I think Dan Heng would be happy about it, in a way. He'll reincarnate the same as any other Vidyadhara now, where he will be a completely different person with no memories every time. There's no more pain or expectations to inherit. Whoever comes after him will have the clean slate he'd always wanted.

The only bitterness he holds about the whole ordeal is that it means he'll be leaving Boothill alone.

And so Dan Heng holds out as long as he can, to the point that even Bailu goes before him ("Now next time you'll have to call me jiejie haha!") but eventually the time comes for a hatching rebirth, and he and Boothill make their way back to the Luofu, to Scalegorge Waterscape.

(As he gets older, as he pushes the limit of the Vidyadhara lifespan, Dan Heng gets slightly more delirious, more forgetful. One morning, Boothill wakes up to Dan Heng trying to crawl out of bed half-asleep, asking what time it is. He was supposed to get up early to help Himeko make breakfast, so he can try to save everyone's stomachs.

Himeko has been long gone for centuries.

Boothill coaxes Dan Heng back into bed with him, tells him it's alright, someone else took over breakfast duty this morning. He forgot to tell him last night. Sorry. Dan Heng settles back in, right up against a warm metal chest plate, goes back to sleep.

If he remembers any of this later when he wakes up again, he doesn't say anything. Neither does Boothill.)

Boothill knows the water isn't good for him. He stubbornly wades out as far as he can anyway.

Dan Heng kisses him goodbye, pinches his cheek, tells him to behave himself through the crack in his voice. There's not much left to say at this point, they've been saying their goodbyes for days now. Boothill cheekily makes no promises, even as he slides his own hand over Dan Heng's, cradles the flat of his palm against his face and holds it there as long as he can. Dan Heng finally disappears under the waves.

Boothill still can't cry.

One of the Pearlkeepers has to come up and chase Boothill out, how long he stands there rusting in the water.

He wouldn't tell Dan Heng about it, of course, but as the 700 year mark approached them, Boothill starting having Ideas. And he decides, as he stands there alone in the sand feeling horribly hollow like he hasn't in a long, long time, fine! Fuck it! Fine!!

Execute Operation Last Hurrah!!

Because I think Boothill should get to go out in a petty, spiteful blaze of glory! Let the man die like how he lived!!

Boothill had simmered down a bit after he killed Oswaldo Schneider, and then even moreso when he and Dan Heng got hitched. But now Dan Heng is gone. There's no one left to stick around for, or to keep him together. So Boothill just goes on an absolute bender.

He leaves everything he and Dan Heng had to charities and rebel organizations. He steals whatever he wants from the IPC and then some. He fucks over as many of their plans as he can, and as horribly as he can. He hijacks himself an entire spaceship to hide away whatever it is he's pilfered and made off with- just the things that are no use to anyone else or that he can't give away without causing too much trouble for the receiver, but he can destroy them and make sure they don't fall into the wrong hands ever again.

And then Boothill finds himself a nice cozy little spot in the captain's room, kicks back with his feet up as he sets course for the nearest sun.

He makes himself a sad little one-sided toast, with the godawful sake Dan Heng would always insist was good after you got used to it. Boothill already figures he's not gonna make it to wherever it is Dan Heng ended up. If he does, it's a sign somethin' ain't workin' right.

But oh, Hell is about to become so, so much worse for all them IPC folks down there.

See ya soon, Oswaldo! ☆

[moeblob]

Right and his work menaces (Brent and Karen).

I don't remember last I mentioned it but apart from crude nicknames to people (except Chris), he also just puts them in his phone really weird (except Chris, who is literally in his phone as Chris). And I bring this up because in Right's phone, Karen is saved as "Lawful Obligation".

[whisperingn1ghts]

Remus with longer hair would be pretty <33

Another version of the picture thingy!!! Cause I'm indecisive lmfao

[vangbelsing]

One last thing about the Keep spoilers below the cut

I am more worried about the inquisitors portrayal than the lack of options. Like I wanted reactivity, but I get why it's not there, and while the absence of reactivity to my choices is regrettable, that absence doesn't contradict my world state, so to me that's livable. But the Inquisitor not having any options to tweak their personality at all?? Not even a general "were they more humorous or kind or violent" section??? That seems... Very much not promising. They seem so excited for people to see how they've portrayed the Inquisitor but... Y'all know people only care because it's their Inquisitor, right? Like there isn't some universal Inquisitor we all agree we love, we like ours. So the fact that there's absolutely no control over them? I. Am more than a little anxious over how they're gonna get handled.