#but they ended up being too small to see :"

[buttercupshands]

I've been thinking a lot lately

ref to the quote under the cut

under the cut for maybe some people that would like to try and guess *shruggs*

[moonlit-tulip]

A gimmick which I think would be interesting in a visual novel: small variation in the visual designs of the sprites and backgrounds based on who's narrating a given scene. Not large variations, mostly—buildings are going to have generally the same architecture, people are going to have generally the same outfits, et cetera—but lots of details shifting around on the margins, showing the texture of the characters' thought-processes through the visual design of the world as they see it, rather than only through the text of their narration.

So, for example, one could have one viewpoint character be unusually faceblind, and portray this by having all the sprites have Same-Face Syndrome when viewed from their perspective, even as they hold onto more variation face-wise in everyone else's perspectives. One could have one viewpoint character who's unusually conscious of the fine details of their physical environment, and portray this by drawing the environment-art with much more fiddly detail when in their perspective, showing wood-grain and electrical wiring and other such things which are abstracted away in others' perspectives of the same areas. Et cetera.

[angy-grrr]

SJ's internal changes (I recall it was the editor in chief, someone really influential) happening JUST at the same time it was announced the epilogue would be 5 chapters (same week) + the ending not bringing up huge plot points (where the other villains are, why theres no actual Himiko corpse and instead we got Ochako's grief over that assumption, what happened to Dabi, what was the All Might vestige, why the bkdk handhold was off screen when its a big deal for them, who is Deku's dad, etc), letting them linger in the air while trying to make an okay ending + that strange two week break because of "schedule conflicts" + choosing to end BNHA under even more pressure even tho its one of the most important manga in SJ + Horikoshi talking about the ending days after the official release and bringing up how grateful he is for being able to work in SJ, as in past tense (like he is grateful he worked here, but isnt happening again; I say this bc I expected him to say something around the lines of "I hope im able to create something good here again soon!", considering we already know he has another manga project, if I remember correctly)

Thinking about it.

Thinking about how he could let it as it is, or try to pick it up and confirm the things that do matter to his story.

Btw, im not talking about the handhold as a shipper -it was genuinely important for them, as it symbolizes both their new mutual understanding and an acceptance as the new All Might duo thanks to their respective heroisms. It wouldn't be weird to add it in the epilogue, especially considering so many characters hold hands in non romanitc ways, so to choose not to when its arguably the most important one... Idk, it felt really weird as it was the only thing I was sure would get sooner or later.

[zytes]

7.15.23

[marimbles]

i miss carpisuns sometimes </3

[eats-a-berry]

i swear this panel drives me INSANE. this as a visual while the text says "it feels like we're pretty close", them being the same age but hien already having developed her tough personality while he's still a sensitive boy. this being one of the FEW things we know about their relationship. what tje hell man what the hell

[myfairkatiecat]

Okay I’m going to say it, some of y’all treat the KOTLC tag like it’s a tumblr community instead of an organization system that gathers together everything people post and tag as KOTLC

[feroluce]

So I went to the wiki page for the henghill Bullet & Brain mission of 2.2 looking for some dialogue I had missed and

a) I found something incredibly tasty that slotted into some other thoughts I'd been having, more on that on another day, and

b) I saw this super fun little trivia at the bottom, which!

I knew Penacony characters like Boothill took a lot of inspirations from old movies, but I didn't realize it was even in his and Dan Heng's relationship, that's so cool!!

It fits them very well, it's such a fun reference. "Butch Cassidy and the Sundance Kid" was an old buddy Western film (from 1969- nice) about a pair of outlaws. Butch Cassidy was the leader of a gang, and described as clever, affable, and talkative. Meanwhile, his closest companion, the Sundance Kid, was known as a man of few words.

Cassidy's original birth name was much more plain, but similar to Boothill, he took on a new moniker when he became an outlaw. "Cassidy" had been the last name of his beloved mentor, who taught him how to shoot and ride. And Sundance Kid was known as he was because Sundance was the name of his hometown, and it was the only place that had ever managed to catch and jail him, back when he'd been younger (also similar to Dan Heng, but ouch).

These two stick together like glue throughout the length of the film- through Cassidy's leadership of the gang being challenged, through a train robbery gone wrong, through being pursued by mercenaries, and even through fleeing to Bolivia and trying to start over together.

I don't want to say too much more, since the mission title is referencing one specific movie that I've never seen. I kinda wanna watch it now, though, just to see the inspiration that went into Boothill and Dan Heng and how they get along. I just think it's really sweet that these two were literally made to be the best of bros, how lovely is that. 💕

[ahalliance]

qantoine’s coping mechanism to feeling left behind being both self-isolating and becoming possesive of those he cares for is so juicy as a concept . like yeah you go you funky creachure, manifest those complicated and sometimes contradictory emotions

[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.

[moe-broey]

What if.. for the first time in actual years.... I changed my loadbearing Alfonse phone background to North South FUCK West.........

It will have to get a good grade in being easy on the eyes though, to stay. BIGGEST reason loadbearing Alfonse phone bg was a mainstay was bc the nighttime pallette on that one FEH comic panel was unexpectedly autism-friendly as a nice bonus LMFAO

[jrueships]

Do u not ship tatum and brown 💔

[krytus]

"And [Terry] relates to the Iron Dragon team because of their philosophy. They have the thing closest to what he believes Cobra Kai should be; so, he can use them to get back in this world and to win what he believes would be honorably. He can’t have it, and I think the stakes are that much higher because now he knows he’s dying — he’s self-medicating, so he really has nothing to lose. We’re watching an unmoored Terry Silver. So, that’s why his relationships are a desperation to bring that team on, to have that team defeat Kreese, to defeat Miyagi-Do." [link]

my interpretation of this isnt that terry himself is dying, its that his philosophy/ck's teachings are what's dying, so he's looking for a way to save them -- "self-medicating" = buying out the next best thing since he cant have ck itself anymore, which ties back to his line "they took away the one thing in this world left that i care about" -> the ck creed/the dojo itself, his identity as the head of that snake

[microwavetoaster-selfships]

Little drabble for today, since technically today(or perhaps yesterday?) Was the day I had my little...moment of. Wow it would be so funny if I got engaged with Finn and of course it happens to be cliche a few days before Valentine's Day. Anniversary. I know I don't really post my writing a lot and keep it more private but that's mostly just cause it's harder for me to write things that aren't very emotionally incorporated, if that makes any sense? With drawing I can do a little cute doodle, draw some hearts around it, and that's it, a nice simple little thingy. But with my writing it is normally a lot more extensive, even if whatever I'm writing is just fluffy stuff. And. Not to mention. A lot of people normally brush over drawings after like five reasonable seconds, but with writing it isn't entirely something that can be consumed so quickly. But! I yap a lot on here anyway.

I don't thinkkkkkk this needs any content warnings? I tried to not go into detail about the actual extent of the woes I experienced and just said enough to get it out of my system, but everything else is true and accurate😉 it gets super sappy fluffy at the end because it is me we are talking about here, so of course it does. I did a shorter Speedrun version of my proofreading, so hopefully it has a nice flow to it!

--------

"Yes, but I want to actually do SOMETHING for today, I mean, something nice at least. It is a special day, we should do something.. special for it!" Kane reasoned, still in bed and curled up to a pillow. He cautiously rolled over onto his back, and his expression twitched like he had winced. He kept the pillow in his arms and loosely hugged it against himself.

"Kane, I'm pretty sure I just watched you die, I'm not going to let you expend what little energy you have left that needs to go to resting." Finn sighed, upset, sitting carefully at the edge of the bed. He certainly wasn't upset at Kane, more so the situation; and perhaps what little he could do- or have done- to remedy it, to no fault of his own, of course. Or anyone's, really.

Considering that Kane wasn't always that keen on bigger events anyway, his prying for one was a bit ironic. But just because he didn't like going out to restaurants or typical romantic events that involved eating out in public or resulted in lots of noises going on like at restaurants, it didn't mean that Finn didn't like those things. And, perhaps, Kane felt a little guilty inside, because he had been out of commission for most of the day, so anything that they could've done couldn't happen.

"It's not like I didn't know this might happen." Finn said gently, turning a little so he could look at Kane when he said it.

Kane sighed a little, almost in a pouting manner, and glanced at Finn to meet his gaze for a moment, "I mean, I know that we both knew it was going to happen, cause the prediction and all- and I could feel it- but..."

"But I'm feeling better now and-"

"Rest." Finn interrupted firmly.

Kane groaned in response, why must he need rest and recovery. Why must he be aware of how truthfully exhausted and sore he felt. "Okay, well I wasn't dying, I was just-"

"You were withering in pain, and trying to tug out your own hair so you could feel something else, you-"

"Okay, okay, but worse case scenario you could've just- I mean we live in England, all the houses and buildings are brick- you could've just bonked me out on the head and then drivin me off to the ER or like, urgent care or something."

Ah, and Kane was met with the look of a man who sometimes forgot what country people grow up to be. A look laced with concern because it was his partner he was looking at, but there was still a slight hint of "Fuck? No!" Whether Kane's country roots lying in America added to this was a different story.

"Er- euhm- Whatever the uh. Thing is called the-..." Kane looks around the room as he racks his brain for it, "The NHS! Yes! Whatever those.. they have like those walk-in urgent rooms, right? Like buildings?"

Finn looked like he wanted to respond with several things like "The NHS wait time isn't worth it" and "The day I put you out of your misery like some animal even if it is to temporarily knock you unconscious is the day I [redacted]" but with as ruffled and exhausted as Kane still appeared, he wasn't going to have the man waste his breath on discussing the complexities of the NHS and every other healthcare system, or whatever else was going through his mind. Instead, he ever so gently nudged Kane over closer to the middle of the bed so he could lay down next to him. He understood that going from forever sleeping on a bed that was hardly bigger than him to the luxuries of a bed that was probably a bit bigger than your dining table was something for Kane to adjust to, but it still drove him mad that Kane, for some reason, slept right at the edge of the bed. Even if he has yet to actually fall off of it.

And Kane couldn't help but crack out a grin over it, he spent a lot of time in bed so there was hardly a moment where Finn wasn't wordlessly gently shuffling him closer to the center of the bed.

"But we aught to do at least something, right? Today isn't just any other day today- not to me at least- I want to at least mark it like that by doing something special. Even if it is something small."

As Finn stretched out and laid down net to Kane, he let out a long exhale, "And you call me foolish?" Finn mused, and with as much little movement as possible he rolled over so he could face Kane and gingerly wrap an arm around the other man, tucking it under the pillow that Kane was still holding closely to himself. He was sure Kane was still feeling sore, so he treated every movement and touch he did like he was trying to do a waltz in a minefield.

Kane cocked an eyebrow, "I do call you foolish. Not that I'm any less foolish- if not more." "You certainly are," Finn's voice turned to a mumble as he tried to nuzzle himself infinitely and impossibly closer to Kane.

"And would you like to elaborate on that?" Kane asked, with a faint grin. He was feeling far more amused that he was able to express himself at the moment.

"The whole point of the day is just to spend it however we'd like, and I don't care how we spend it, I just want to spend it with you."

This was one of the moments were Kane was glad that Finn had his face buried up against him, because even if Finn could feel Kane hold his breath, it at least still spared Kane a little dignity because Finn would miss seeing his eyebrows furrow and the corners of his mouth twist and maybe his eyes watered up just a little as well. "Yeah, but you spent the day like a medieval doctor watching a patient and not being able to do anything about it but sedate them."

Finn frowned a little, but he would've frowned regardless of what day it happened on because it was still something that happened in the first place.

Kane let go of the pillow with one of his arms, and then decided to forfeit the pillow entirely altogether and shift his position so he was laying more towards Finn now. He didn't really have much left to say.

"I just want to enjoy the day with you, Kane." Finn murmured, the weight of affection in his voice was undoubtable.

Kane was quiet for a moment, his eyebrows were still furrowed, "I just want you to know that you are special," he responded, and if his sentence had been any longer his voice might've croaked.

Finn smiled, and tried to be as gentle as he could as he softly tugged Kane ever so slightly more closer to him, "I know that you think I'm special." Again, Kane took a moment before he responded. His mind was having trouble arguing with someone who seemed to radiate their love out of their body.

"You do?" Kane asked. Of course he would want Finn to feel special.

"This is where I get to use one of your own sayings against you," Finn said, starting to grin, "You always say that actions speak louder than words, don't you?"

As much as Kane loved that saying and thought it to be true, it bugged him a little that it sounded like something you would find spelled out as the lesson in the back of a book or TV show for children. Which perhaps was exactly where he had gotten it from.

"I do say that. And at least in my experience I've found it to be relatively true, give or take some case scenario exceptions; as with anything there's exceptions."

"Well I think it is plenty special that I get to do this with you," Finn gave Kane the lightest squeeze possible in his arms, "And you tell me in plenty of different ways all of the time how you feel about me." Kane knew that he did that, but part of him almost wanted to respond with "I do?" because it wasn't the usual for someone to be able to understand the funny language that he seemed to speak.

Kane looked at the ceiling for a little while, soaking in the words and the moment. Finn seemed quite content and peaceful with things right now- which is what Kane wanted. Truthfully, in an ideal scenario Kane would've spent the day treating Finn like he was some royalty- not that he didn't have tomorrow to do that, anyway.

"I like you, Finn," Kane said.

"I like you too, Kane." Just for a few moments Finn had closed his eyes. Then again, no one ever goes to close their eyes for just a few moments and it turns out that way.

No, maybe today wasn't and couldn't be spent as a day for a big grand gesture and display of love and affection, perhaps that was something that was going to be saved for another time, but there was still just as much love to be felt in getting consumed by the peaceful tranquility that came with not having anything but a nice warm and safe home, and being willingly boxed up in a room with someone literally, and figuratively, wrapped up around you.

[franeridan]

the whole one hour and forty minutes of op stampede are worth it even just for that half a second of interaction between mihawk and zoro actually thank you and amen 🙏