#and maybe some other countries?

[bet-on-me-13]

Vampire Misunderstanding

So! Danny got adopted by Bruce Wayne, but he doesn't know that Bruce is the Batman. He is just supernaturally oblivious to all things Batman related going on in the House.

But he does notice that Bruce leaves home a lot at night, that he doesn't like to go out in the day and often has his parties at night, and once or twice he's caught Bruce with a bit if blood still splattered on his cheek.

So he comes to the only plausible conclusion. Bruce is a Vampire.

He starts trying to hint at the fact that he knows, but doesn't want to just go out and say it. What if Bruce reacts negatively to him knowing? He's dealt with enough Supernatural Beings to know that they don't like other people (and especially other supernatural beings) intruding on their lives.

So Danny decided to subtly hint at it.

He started asking questions like "So hypothetically, how would you deal with having a Garlic Allergy in Gotham?" Or "So if you had very sensitive skin that could sunburn extremely easily, how much cloud cover would you need to go outside?" And "So what's your opinion on a High-Iron Diet?"

Basically just tossing out questions and trying to Guage Bruce's reaction.

He thinks he's doing a good job!

...

Bruce is certain that he has adopted a Vampire.

Danny is a good kid, but he has a few oddities that are hard to ignore.

For one, his skin is constantly Ice Cold, but he never seens to be bothered by it. As if he was an Undead that didn't require Body Heat anymore.

He also seems to like Hanging out in the Graveyard outside, and when asked about it he says that he is comforted by the place. Just like the Vampires he has met in the past, who feel comfortable when surrounded by Death.

And of course the biggest reason for suspicion is the fact that Danny seems to be hinting at it to him.

He keeps asking stuff like "How would you deal with a Garlic Allergy in Gotham?", probably trying to hint that he is a Vampire who can't eat Garlic, or asking about easy to sunburn skin, saying that he is probably not a Daywalker.

Bruce hopes Danny will just come clean about it soon, he doesn't want to intrude upon the kid when he is so obviously nervous about how he will react.

[softness-and-shattering]

Like ok lots of snacks (potato skins???) heaps of caffeine, some like basic electeonics and car repair stuff, fine, star spangled scoops, and them why does the fridge/freezer have a customer entrance? Are you supposed to reach everything in the whole wall via the one door?

What is 5+ hours energy from Reeses?

And is that a bar? In a convenience store?

while i have you all pissed off about how to pronounce capri sun, now seems like as good a time as any to make my Things In Gas Stations And Grocery Stores That Would Send Non Americans Into A Coma post

[chimaeraonwards]

no ai generated content will ever compare to the absolutely cartoonishly evil plot to cut down trees to prevent workers from striking to get livable wage.

[turnaboutstar]

autistic people when there's collectable things with tv shows with multiple generations of them:

[leroibobo]

pictures from the old city of jerusalem's "african quarter", which comprises of ribat al-mansuri and ribat al-basiri. mamluks built the compounds in the late 13th century to house muslim pilgrims and the poor. ottomans used them as prisons, and the british closed the prisons when they occupied jerusalem in 1917. the ribats then came under the ownership of the islamic waqf, and were leased to the local afro-palestinian community.

afro-palestinians have an array of origins. like some other diaspora communities in palestine, some came through pilgrimage - al-aqsa was on their hajj path, and while many would visit to pray there, some decided to settle in jerusalem. there are also some who came to palestine enslaved or conscripted, most recently to ottomans. some came during the time of the british mandate, many as conscripted laborers to the british. afro-palestinians who can trace their ancestry do so to nigeria, chad, senegal, or sudan.

jerusalemite afro-palestinians were employed to guard al-aqsa throughout the ottoman period. during the 1948 palestine war, some joined the arab liberation army and fought with fellow palestinians to defend al-aqsa and their presence in jerusalem. the position of guards has been taken by occupation soldiers since the 1967 war, after which a quarter of the afro-palestinian population became refugees in surrounding countries.

jerusalem's afro-palestinian community still live in the compounds today, which also house the local african community society. (the door in the last picture is theirs.) afro-palestinians as a whole face the same legal, social, and economic restrictions and maltreatment as other palestinians, compounded with the same anti-black racism from israeli government and police which ethiopian jews and eritrean asylum seekers face, which result in a form of "passport racism" unique to them.

[humming-fly]

This 4th of July I’m stealing the patriotism euphoria that’s usually associated with assholes idolizing the worst attributes of this country because fuck ‘em I live here too and remembering the things this country actually got Right is an important exercise when trying to rally anyone to want to defend it in November SO putting my money where my mouth is I’ll start easy and say I really like National Parks!! It’s rad how many of them there are and how they’re actual set up to preserve some of the most beautiful wild areas in our country while still letting people visit to enjoy and experience nature!! (Less important but I love how they put national parks on the quarters I think that’s real fun)

Feel free to add on if something speaks to ya!

[20001541]

I just realized that if All for one wouldn't have give Yoichi a quirk the whole OFA vs AFO thing wouldn't have happen.

So no Izuku become a hero and No happy ending. What do you think about it?

If he didn't give him a quirk wouldn't Yoichi still end up dying but this time with no hope of ever getting him back in any form? :(

That would mean we would be dealing with a severely depressed AFO who is only taking over the world because he might as well complete what he already had planned out. But he does it without any joy or enthusiasm. Bleak ending for him imo, ends up ruling the world but becomes extremely lonely because he killed the one person he wanted to be by his side as he rules.

Let's say somehow Yoichi didn't die and ended up joining AFO after having his spirit broken in the vault.

Well it would be completely terrible for everyone, but AFO would be having the time of his life which would be fun to see. So so so so much would change, the world and our characters would be so different they probably wouldn't feel the same. There are so many variables at play here that I can't confidently say how things would've turned out. But ultimately I think it would be interesting to see how AFO would handle being in charge of everything. I would love to see this concept in a fic or something.

I often wonder what a world ruled by AFO would look like since he's so vague about his plans. I mean yes we know he wants to destabilize the Japanese government and crash the economy. That way it can lead to a ripple effect and cause the rest of the world's governments governments to crash as well so he can swoop in and be the one to bring stability as long as they serve him. Blah blah blah typical evil plan. The thing is though... this will be nothing short of a political nightmare to sort out and I'm not sure if AFO has it in him to handle it. His own plan to have everyone rely on his quirks seems childish and improbable and is only done because he wants attention. Not because he cares about the everyday man's plight. Let's put it to a vote.

[hangryyeena]

SquidgeWorld refusing to even talk about Palestine and other genocides happening because "this a fandom space" is wild and severely disappointing

[2hoothoots]

Revisiting P2 since the docu epilogue dropped and your AMV (<3) popped up as a sign for me to ask something that hopefully you haven't already spoken about years ago: What did you think of the in-game psych explanation for Maligula, that she's the primitive savage part of the mind? P2 is a weird mix of sketchy Freud/Jung concepts that Tim likes meshed with modern psych, and Maligula's deal seems like something they probably wrote a lot of different versions of but never quite solved elegantly

yeah, i think you totally hit the nail on the head - it's always felt like one of the parts of the story that they couldn't quite give enough polish to before they had to finalize it and move on with development. like - i went to go get my artbook to see if it had any insight into the writing process, and did you know that Nona and Maligula being the same person was apparently added way later in development? that's wild! i didn't know that until literally right now! i may or may not have skipped straight to my favourite characters when my artbook arrived and then put it on my shelf without reading the whole thing

ANYWAY, retrospectively i think it being a twist that was added later actually makes a lot of sense in the context of everything you mentioned. the Maligula problem, to me, is the fact that they're trying to juggle a bunch of different things that she has to be in the story. there's Maligula, the ruthless big bad, and Nona, the beloved grandma, and if you suddenly have to also make them both the same person... well, it ends up being kind of a thorny writing problem to make that work, haha.

here's some art i made so this isn't just a wall of text, rest of the answer under the cut

i think one thing they could have done when they needed to rehabilitate a mass-murderer into a lovable old lady was pull back on either end of the spectrum. make your villain softer and more sympathetic, or give grandma a mean streak like she's one bad day away from a tragedy at the crochet club. and to give the story credit, i'm really glad they didn't. Nona is relentlessly sweet and endearing - and that's great! she needs to be in order to make the audience care about her, otherwise the emotional beats are never going to land. likewise, Maligula is a great villain, she's vicious and ruthless and at the culmination of her arc we see she simply does not give a shit about murdering hundreds of people. i love that for her, honestly, you go girl

but then, like - how do you connect the dots? how do you frame grandma having a violently murderous streak in a way that doesn't make the ending of "but she's over it now" feel kinda weird and hollow? and how do you do that while also being sympathetic to the game's themes around mental health? Maligula's informed by the traumatic things that happened to Lucrecia during the war, but she can't just be a manifestation of trauma, because the moral of the story being that trauma makes you a mass-murderer (until you beat up your trauma and shove it in a giant pit) would feel... really tonally dissonant!

so i think you're totally right that the sprinkling of pop-psych concepts we get ends up feeling a little bit like an awkward band-aid. Maligula's story is about how the horrors of war can shape you into a terrible person, who does terrible things - ...but there's also, like, special circumstances, so it doesn't feel weird that she goes back to being Raz's sweet grandma afterwards. special psychic circumstances! she's not just any war criminal, she's the fight or flight response gone out of control!

which - i dunno, i think that line in particular always stood out to me, because that's not really what the fight or flight (or freeze or fawn) response is, right? it's a temporary boost of adrenaline to the system to rev you up for getting out of a dangerous situation. an overactive fight or flight response is called chronic stress and anxiety. i know the games are pop-psych and not actual science, but it always stood out to me as a little awkward.

if it were me in the writer's seat - with the benefit of all the time in the world to workshop it, and no looming deadlines, and the hindsight of having a full completed game in front of me to think about - i might have tried to frame it around connection. i think you could swing the lens to instead focus on how violence, stress, trauma etc., make it harder to understand and empathise with the people around you. the tragedy of Lucrecia's story is that she came home to try and help her countrymen, the people she cared so dearly about. but the more time passed, the less she cared, the less she was able to see them as people. after Marona's death, the Maligula that remains is one who's unable to even care about killing her own sister. the alternative is too raw, too painful - instead, she sheds her last vestiges of remorse, and throws herself into the easy relief of violence. (we see this again, when Nona "awakens" as Maligula - when confronted with the baggage of her past, she chooses to wash it all away with force, unable and unwilling to care about the people she used to call friends.)

and i think shifting the focus like that ties it in thematically, too. a big theme (of both games, but especially the sequel) is how important connection is, how being able to understand and reach out to and rely on other people is a lifeline during hard times. PN2 touches on how there aren't really "good people" and "bad people" - everyone has the capacity to do wonderful or terrible things, and i think Raz's line to Maligula about how "everybody's got something like you" works. Lucrecia was never a monster, no matter how everyone tried to pretend she was. she was just a person, the same as everyone else - and just like everyone else, she could be pushed to extremes under the right circumstances. it just feels kind of odd when the implicit context is "everybody's got a mass-murderer hidden in the primal recesses of their brain", hahaha.

but like, again, that's the privilege of hindsight, right? i've definitely also been on the other side of the creative process, stuck with something i suddenly need to make work in a story and having to come up with a solution that feels like a band-aid. sometimes you just gotta call it good enough, and move on. and i think the game is overall much stronger for having Nona and Maligula be the same person - it plays into the wider themes, it sets up some great emotional beats, and i think it's overall well-executed, even if there are one or two hiccups in the writing.

anyway, great ask! thank you for the invitation to ramble, this is something that stuck out to me on my first playthrough of the game and it was fun to sit down and get my thoughts in order

[backpackingspace]

Young odysseus convincing everyone Ithaca is nothing but a poor island with rocks and goats to avoid any raids/conquerors/so he doesn't get murdered for talking to Helen bc "it's not like he's a real choice"

Young odysseus falling in love with Penelope at the same event: wait. Wait shit I fucked up hold on just hear me out

[lattedusks-mochadawns]

It’s amusing to see on the WK 9 Story YT channel when the title and thumbnail don’t exactly match up.

[sciderman]

I’m sorry you’ve had to deal with so much Iranian hate and drama <:[

oh anon. hate to break it to you (a lot of people make this mistake) but iran and iraq are two entirely separate nations.

and also i think reducing it to the words "hate and drama" kind of doesn't cover it, anon.

[veerbles]

always fascinated by people's different takes on the language barrier between kaz and the ghafas.

I think my personal opinion is that kerch, being the language of the center of commerce and an overall neutral party in the war, is kind of like english - in that it's an internationally spoken language, but certainly not by everyone. considering jesper spoke it well enough to go to university in ketterdam, even though he was a farm boy, it must be pretty widespread. matthias didn't speak it until hellsgate, but he also grew up very sheltered.

inej didn't speak kerch when she was taken, so it's reasonable to assume her parents didn't either. but maybe they spoke a little of it, like in some countryside places in europe? or maybe they learnt in their efforts to find her? or perhaps they focused their efforts inside ravka, and never learnt a word of it.

it's always suspicious to me that kaz never bothered picking up ravkan, being the strategic businessman that he is. I think he wouldn't hide that ability during the ice court/van eck mission if he had it, so either he can speak very little, or not at all; if not at all, it supports the assumption that kerch is the international business language, which is why he never bothered picking up a second language.

so would the ghafas learn enough kerch to communicate? I don't doubt that using inej as a translator would frustrate kaz to no end; words are his strongest weapon, so he'd definitely put effort into being able to communicate with them. but would he learn suli? or ravkan? suli would be a more personal gesture, which he'd see as a leverage to get the ghafas to like him. ravkan would be more useful in other ways, and we know how much kaz likes having more than one reason to do something.

[plushri]

250,000 people turned up in London for Palestine yesterday! Make the next demonstration on Saturday 9th March even bigger, please show up if you can.

If you're in the UK, email your MPs and urge them to support the potential motion for ceasefire in Gaza tabled for 21st February.

All you have to do is enter your postcode at the site will generate an email to your MP for you! Then autofill your information and it will send the email. It takes a few seconds. No ceasefire, no vote!

From the river to the sea 🇵🇸❤️

[nevermoorsource]

Silverborn has been delayed again...

But only a month this time! According to Hachette, it will now be released on in Australia on September 25th, 2024. I don't know yet if the release dates for the US and UK will change as well, but I will keep an eye out for any updates.

[hedgehog-moss]

[1] `there are often translations available in other languages long before English ones` This is really interesting! I'm familiar with translation in games, where english is often a very early target (a small game might get 0-5 translations, depending on amount of text) because the size of the market is larger.

[2] Do you happen to know why this is different for books? Is it faster to come to a deal about publication rights for some other languages to get started on the translation? Is translation to english harder (at least from French) than to say, Spanish?

The literary translation situation has long been very dismal in the English-speaking world! I don’t know a lot about video games, but are localisations provided by the company that makes the game? Because if that's the case it makes sense that games would get translated into English as a priority. For literary translations which are imported rather than exported, other countries have to decide to translate a foreign author and anglo countries (US, UK and Canada at least) are not very interested in foreign literature. There's something known as the "3% rule" in translation—i.e. about 3% of all published books in the US in any given year are translations. Some recent sources say this figure is outdated and it’s now something like 5% (... god) but note that it encompasses all translations, and most of it is technical translation (instruction manuals, etc). The percentage of novels in translation published in the UK is 5-6% from what I’ve read and it’s lower in the US. In France it's 33%, and that’s not unusually high compared to other European countries.

I don't think it's only because of the global influence of English* and the higher proportion of English speakers in other countries than [insert language] speakers in the US, or poor language education in schools etc, because just consider how many people in the US speak Spanish—I just looked it up and native Spanish speakers in the US represent nearly 2/3rds of the population of France, and yet in 2014 (most recent solid stat I could find) the US published only 67 books translated from Spanish. France with a much smaller % of native Spanish speakers (and literary market) published ~370 translations from Spanish that same year. All languages combined, the total number of new translations published in France in 2014 was 11,859; in Spain it was 19,865; the same year the US published 618 new translations. France translated more books from German alone (754) than the US did from all languages combined, and German is only our 3rd most translated language (and a distant third at that!). The number of new translations I found in the US in 2018 was 632 so the 3% figure is probably still accurate enough.

* When I say it’s not just about the global influence of English—obviously that plays a huge role but I mean there’s also a factor of cultural isolationism at play. If you take English out of the equation there’s still a lot more cultural exchange (in terms of literature) between other countries. Take Olga Tokarczuk’s Drive Your Plow Over the Bones of the Dead; it was published in 2009, and (to give a few examples) translated in Swedish 1 year later, in Russian & German 2 years later, in French, Danish & Italian 3 years later, in English 10 years later—only after she won the Nobel. I’m reminded of the former secretary for the Nobel Prize who said Americans “don't really participate in the big dialogue of literature” because they don’t translate enough. I think it's a similar phenomenon as the one described in the "How US culture ate the world" article; the US is more interested in exporting its culture than in importing cultural products from the rest of the world. And sure, anglo culture is spread over most continents so there’s still a diversity of voices that write in English (from India, South Africa, etc etc) but that creates pressure for authors to adopt English as their literary language. The dearth of English translation doesn’t just mean that monolingual anglophones are cut off from a lot of great literature, but also that authors who write in minority languages are cut off from the global visibility an English translation could give them, as it could serve as a bridge to be translated in a lot more languages, and as a way to become eligible for major literary prizes including the Nobel.

Considering that women are less translated than men and represent a minority (about 1/3) of that already abysmally low 3% figure, I find the recent successes of English translations of women writers encouraging—Olga Tokarczuk, Banana Yoshimoto, Han Kang, Valeria Luiselli, Samanta Schweblin, Sayaka Murata, Leila Slimani, of course Elena Ferrante... Hopefully this is a trend that continues & increases! I remember this New Yorker article from years ago, “Do You Have to Win the Nobel Prize to Be Translated?”, in which a US small press owner said “there’s just no demand in this country” (for translated works); but the article acknowledged that it’s also a chicken-and-egg problem. Traditional publishers who have the budget to market them properly don’t release many translations as (among other things) they think US readers are reluctant to read translated foreign literature, and the indie presses who release the lion’s share of translated works (I read it was about 80%) don’t have the budget to promote them so people don’t buy them so the assumption that readers aren’t interested lives on. So maybe social media can slowly change the situation by showing that anglo readers are interested in translated books if they just get to find out about them...