#i am not beating the mouse allegations

[viktorsbedpartner]

cheese lovers look at this quick:

[lifemod17]

Hozier for UMG Philippines

Hozier saying "mahal namin kayo" (we love you) kind of wouldn't fare well

Source: x.com

[littleplantfreak]

I can see you being a good puppy hybrid mari! Very enthusiastic, sweet, and loyal <3

(Also I think ume would love giving puppy you head scritches!)

this can be us if you're a cat! (tho your rat/mice is winning in ur poll)

I'm taking this to heart you know. Puppy Mari is a thing forever in my head now. Ugh I'd love head scritches from Ume T-T

[livmadart]

You like Who Framed Roger Rabbit? So now picture the DCMK cast in that world! Would Shin and Cone be two seperate toons? Or would it be a case of Toon/Anime physics he can switch forms as needed? And the cast reacting to DIP!

Who Framed Roger Rabbit was one of my absolute favorite movies growing up! (along with The Great Mouse Detective—i am not beating the mystery nerd allegations hehehe ✌️)

I think that, by some strange side effect of the poison, Shinichi gets turned into a cute little toon, and now he’s gotta figure out toon logic along with all the murders

Thank you for the ask, it was a great way to get me into drawing again! It’s always fun to break out the different art styles :)

[aropride]

am i mouse coded. my friendsare saying im mouse coded because im "small" and im "scared all the time" is this true

[shopogopolis]

did you start posting a lot about mousegirls after you played mice tea. i have a mobile game on my phone that feautures a little chef mousegirl and everytime i play this game i think of you. not sure if its bc of ur posting habits or the Mice Tea Incident. Thanks!

Hello,

Like any respectable American, I like rodents and think it would be fun to be one or hangout with a girl who is one. Mice Tea definitely increased incidences of mouseposting as it put them back in mind, but this is less causative than it appears - there are multiple factors at play. I am beating the mouse allegations I am beating the mouse allegations I am beating the mouse allegations I am beating the mouse allegations I am beati

Best,

Mouseless in Maine

[neon-in-the-night-time]

ttpd first thoughts

woke up to find out she did the "released a back half of the album at 2 am" thing again. i’m just listening to the first 16 tracks though

ttpd is lowkey a bop, i really like the synths

lyrical motif of typewriters? shows up in tracks 1+2

some 80s influence in the production? who produced ttpd?

i like the vocals in the beginning of so long london reminiscent of a choir

the words "but daddy i love him" sounds very silly coming from a 34 year old woman

not sure how i feel about the songwriting just yet (i need at least 5 listen-throughs to form an opinion) but the production is so insane. loving the instrumentation

start of fresh out the slammer has some western vibes (like those movies where the cowboys have a shootout). guitars/strings give it i think. rest of the track doesn't have that vibe tho

lets see if florida!!! beats the female feature backing vocals allegations

okay florence welch has a verse. the timbre of her voice is so rich i love it. maybe i should try to listen to more florence and the machine after i get the feel of this album and also the fob hyperfixation fades

i like the bridge of florida!!!

"you wouldn't last an hour in the asylum that they raised me"?

again absolutely loving the synths

i can do it with a broken heart is really upbeat i’m loving the vibes. heartbreaking lyrics/upbeat melody and tempo combination goes hard as always

last ts new album release i had a whole 4.5 hour train ride to process the album and i lowkey miss it. i’m so bored trying to listen to the album without doing anything else

i know the song's called clara bow but it sounds like clarabelle. like the cow from mickey mouse clubhouse.

conclusion: i don't remember any of these songs. i do really love the production though, it's a very interesting use of synths. wish there was a glitter gel pen in here but idk

[deadgrantaires]

i spent like. an hour trying to solve the riddle of Why My CSP Transform Tool Isnt Working Right and the best i can come up with is it just. DOENST LIKE my tablet pen for w/e reason bc the transform tool works fine with my mouse but thats!!! really annoying and less accurate and i really dont wanna fuck with that eveyr time i need to use that tool bc CSP decided to never work right for me. in ADDITION to the fuckign.. visibility eye icons not clicking/toggling correctly with my tablet pen either like its just so much more difficutl and interupts the flow to have to switch to my mouse EVEYR TIME i wanna look at layers and im just.. over it!! i tried posting my question on the CSP troubleshootign website or w/e but im about to just throw it all away and never touch it again bc im fed up of fighting it!

and between that and my... being sick for a year and a half and hardly coping and then getting SOME OTHER BUG thats just compleltye tanked my ALREADY BAD AND HARD TO DEAL WITH breathing problems/ability to speak/cough i just!!!!! i am NOT beating the k*s allegations tonight huh!!!!

[blorbocedes]

Hi, I am this anon. So I did meet Binotto and took pictures with him but sad to report that unfortunately I couldn't make him disappear 😔. I still had to meet Fernando and I couldn't get arrested and taken out before I meet my old man. On side note, that old man is even better and funnier in real life. And his accent......😍. I'll have that picture all over my room. Well I'll continue my hunt on Ferrari in Zandvoort. (Never beating those allegations, at this point not even trying)

YOU GOT TO MEET OUR OLD MAN???????? AND HES FUNNY AND HOT AND CHARMING????? ugh swooning.... shaking.... fainting.... throwing up.... clenched fist should've been me.... I'm happy for you (😒)

please get a broom and thwack the giant rat that haunts Ferrari I need to see my little mouse on the podium 🥺 good luck on your zandvoort travels!! make sure to bring something for the orange smoke filters heh and ofc forza Max

[wiccan-succulento]

Aconitum Napellus

*This is a POISON.

(I know a lot of this is medical terms and may be hard to understand- I basically look up every term I come across. I’ve included definitions for most, but not all. I have tried finding my list of sources, but I have lost them. I have NOT personally had experience with this; therefore, some information may be slightly off, or not accurate according to new studies. Feel free to add new information, definitions, or facts. I am NOT a health professional.)

Common Names: Aconite, Monk’s Hood, Wolf’s Bane, Blue Rocket, Queen of Poisons, Soldier’s Helmet, Devil’s Helmet, Mouse Bane, Leopard’s Bane, Women's’ Bane, Brute Killer, Dog Killer

Native to: Central and Western Europe, Asia

Toxicity: Severe. All parts of the plants are toxic, especially the roots and root tubers

Poison will enter the body through contact with skin, contact with broken skin or wounds, ingestion, consuming any part of the plant. 

The taste of the poison is a very bitter one, followed by a burning of the mouth and possibly esophagus, then numbing of the mouth.

Toxins in the plant include:

Aconitine- cardiotoxin (heart toxin) and neurotoxin (nerve toxin)

Mesaconitine

Hypaconitine

Side Effects can take a few minutes to a few hours to show. 

Side Effects Include:

Abdominal Pain

Nausea

Vomiting

General Numbness

Partial Paralysis

Respiratory Paralysis

Paresthesia- abnormal sensation of the skin (tingling, numbness, chilling, burning, prickling) with no apparent physical cause

Diarrhea

Bradycardia- abnormally slow heart rythym

Hypotension

Chest pain

Palpitations

Sinus tachycardia- elevated sinus rhythm characterized by an increase in the rate of electrical impulses arising from the sinoatrial node (group of cells in the wall of the heart’s right atrium). In adults, sinus tachycardia is defined as a heart rate greater than 100 beats/min (bpm)

Ventricular ectopics- extra heart beats originating in the bottom heart chambers

Ventricular tachycardia- fast abnormal heart rate

Ventricular fibrillation- rapid and erratic electrical impulses of the heart

Defective color vision 

 The main causes of death are refractory ventricular arrhythmias & asystole. The severity of the toxins are related to the onset of rapid heart rhythm changes

Preexisting health conditions, old age, pregnancy, and breast feeding may amplify the side effects.

Overall in-hospital mortality is 5.5%

Antidotes & Remedies-  

It has been reported that the effects of aconite can be buffered/eliminated by various alchemical methods. 

Management is supportive, including immediate attention to vital functions and close monitoring of blood pressure & cardiac rhythm. 

Inotropic therapy** is required if hypotension persists. Atropine*^ should be used to treat bradycardia. 

Aconite-induced ventricular arrhythmias are often refractory to direct current cardioversion & antiarrhythmic drugs. 

Available clinical evidence suggests that amiodarone & flecainide are reasonable first-line treatment.

In refractory cases of ventricular arrhythmias & cardiogenic shock, it’s most important to maintain systemic blood flow, blood pressure, & tissue oxygenation by early use of cardiopulmonary bypass. 

The role of charcoal hemoperfusion to remove circulating aconitine alkaloids is not established.) 

The early use of cardiopulmonary bypass is recommended if ventricular arrhythmias and cardiogenic shock are refractory to first-line treatment 

**An inotrope is an agent that alters the force or energy of muscular contractions

*^ Atropine is a medication used to treat certain types of nerve agent and pesticide poisonings as well as some types of slow heart rate, and to decrease saliva production during surgery

Reducing toxicity-

Boiling, steaming, or soaking the plant may reduce toxicity due to the toxins being heat sensitive alkaloids. Since the toxic effect of raw aconite can be buffered/eliminated altogether by various alchemical methods, early Chinese medical texts focus much attention on processes involving the production of processed aconite. This includes procedures with special growing & harvesting techniques, special processing techniques, & herb combining techniques that blend the processed root with other foods and medicinal substances to safeguard against negative side effects. 

Ancient Chinese herbalists espoused a distinct concept of space referred to as “daodi yaocai” (herbs grown in a proper location). This concept is especially used when dealing with a variation of the Aconitum Napellus plant.

Li Shizhen and other ancient authorities of Chinese materia medica invariably state that “the best [aconite] is produced in Mianzhu in the region of Shu (northern part of today’s Sichuan province). Although aconite plants can also be found in other areas, they are unsuitable for treating disease.” A Song dynasty account gives a description of this particular region that is still known for producing China’s only “genuine” aconite 

The Chinese materia medica contains about 70 recorded types of post-harvest processing techniques aimed at reducing the toxic potential of aconite. The toxic effect of aconite stems from its alkaloids, especially aconitine. Since this ingredient is sensitive to heating, the processes of roasting, boiling or in most recent times, pressure-steaming, can reduce the effects of most alkaloids. Ancient Chinese texts specify that before heating, the aconite tuber should be peeled with bamboo knives. This labor-intensive technique has been abandoned in the modern production of medicinal aconite.

There is emphasis on the removal of the salt used for preservation of the aconite tubers after the harvest before they are brought to market. After the harvest, the unprocessed aconite root will decay rapidly (within a week) unless it is immediately immersed in brine. Brine immersion will embalm the root during the time when the entire year’s harvest is waiting for the typical step-by-step detoxification process consisting of skin removal and the application of heat. Traditional paozhi techniques specify that all brine is removed from the raw aconite slices before steaming or baking them, by soaking and rinsing them repeatedly in basins of fresh water. Seasoned Fire School practitioners, i.e. the contemporary scholar-physicians Drs. Lu Chonghan and Liu Lihong, have observed that industrial aconite production during the last two decades has flooded the market with high salt content aconite slices. To most kidney deficient patients, this significant salt residue in most pharmacy grade aconite (70% in most contemporary aconite products) is harmful and may be partially responsible for some of the side effects associated with aconitine alkaloids in the pharmacological literature. In addition, it has become common practice in recent years to remove the root peel by immersion in hydrochloric acid, defying the stringent alchemical experience of aconite detoxification garnered during the last two millennia.

Medicinal Uses -

Medicinal applications of aconite were not fully explored until the 18th century when Viennese physician Anton Stoerck published his clinical observations about benefits of the “internal use of aconite in humans” in 1762. Alleged therapeutic uses include treatment of joint & muscle pain. As a tincture applied to skin, it’s claimed to slow heart rate in cardiac patients. Other claimed uses: reduction of fevers & cold symptoms. Some take it by mouth for facial paralysis, joint pain, gout, finger numbness, cold hands & feet, inflammation, painful breathing & fluid in space surrounding the lungs (pleurisy), certain heart problems (pericarditis sicca), fever, skin diseases, & hair loss. Aconite is also used as a disinfectant to treat wounds & promote sweating. Some apply aconite to skin in liniment as a “counter irritant” for treating facial pain, joint pain, & leg pain (sciatica). Aconite root contains chemicals that may improve circulation, but also contains chemicals that can harm the heart, muscles, & nerves

.

History-  

Aconitum Napellus was used in ancient times as poison on spears and arrows for hunting and battles. The tips and (possibly) shafts pf arrows were covered with the poison so anyone helping a wounded soldier may get poisoned as well by skin contact.

As wolfsbane, it was believed to repel werewolves and wolves. The poison was placed in raw meat which would kill wolves attacking livestock.

 Ancient Romans used it as a method of execution. 

In Hong Kong, aconite is the most common cause of severe poisoning from herbs. In Asia, toxicity is related to the use of aconite in traditional medicines. In western countries, aconite poisoning is associated with consuming the plant 

Supposedly used in times of war by retreating armies to poison enemy water supplies. Generals would realize the poisoning and be forced not to pursue the enemy. 

The poison was placed on the tips of harpoons to kill whales more easily. 

The murder of Percy John by his brother-in-law, Dr. George Henry Lampson, was carried out using aconite

“If [aconite] sap is condensed by simmering, it is called Shewang (Shooting Net) and used to kill wild animals.” The 5th century Daoist hermit Tao Hongjing elaborates further: “When the sap of the raw [aconite] vine is extracted by mortaring it to a pulp, and then concentrating it by simmering, the paste yielded from this process is called Shewang. Arrows dipped into it can be used by hunters to shoot wild animals; when hit by such an arrow, an animal will fall to the ground after 10 steps. If a human is struck by such an arrow, s/he will die as well, unless the poison is swiftly neutralized by an antidote.

Known Cases

Very low margin of safety between therapeutic and toxic doses of aconitine.

A 66-year-old female with no known heart disease obtained Aconite from an herbalist. She was instructed to make tea with it to treat her osteoarthritis*. About 90 minutes after consuming the tea she developed numbness of the face, arms, & legs. Rapidly followed by nausea, weakness, & chest pressure. In an Emergency Room, she was found to have an abnormal heart rhythm. After 4 hours of treatment with drugs & electrical shocks to her heart, a normal heart rhythm was restored.

* most common form of arthritis. It occurs when the protective cartilage cushioning the ends of bones wears down over time

There are cases of poisoning in which people intentionally swallow Aconitum napellus they grow because of claimed therapeutic effects. A 21-year-old male acquired Aconitum napellus plants after reading a book on herbal medicine. He ground up the dried roots & filled capsules with the material. He took 1 capsule daily for several months to treat anxiety. (No symptoms were reported during that time) In order to increase the effects one evening, he swallowed 3 capsules and went to sleep. Five hours later he awoke with generalized numbness, nausea, diarrhea, dizziness, chest pain, shortness of breath, & defective color vision (seeing purple). It was believed that early symptoms went unnoticed because he was asleep. In an ER, his heart rate was 43 bpm, and he had an abnormal heart rhythm. Plasma concentrations of aconitine supported poisoning by A. napellus. He spent 48 days in the hospital.

SOURCES: N/A, my list was lost when moving my information to a new document. I know for a fact I have spanned at least 6 websites, and 2 YouTube videos (only one of which was helpful) as well as the materia medica of John Henry Clark

[marjanefan]

Bewitched, bothered, bewildered- thoughts on‘The trial of Elizabeth Gadge’

’The trial of Elizabeth Gadge’ remains one of the most underrated and under discussed episodes of ‘Inside No.9’. However Reece Shearsmith has said on several occasions that this is one of his favourite episodes and there is much in the episode to enjoy and discuss

The episode concerns the trial of Elizabeth Gadge (Ruth Sheen- more of whom later) for witchcraft in the village of Little Happens at some point of the mid seventeenth century. The trial is overseen by local magistrate Sir Andrew Pike (brilliantly played by David Warner) who has summoned witch finders Mr Warren (Reece Shearsmith) and Mr Clarke (Steve Pemberton)

Please be aware this essay contains spoilers for the episode

NB spoilers for episode below

Before discussing the episode It is worth first looking at why the Seventeenth century was the peak period of witch trials in England, as it was in Europe (and North America later). The reason for this has been argued to be due to the religious and socio-political upheavals of the Reformation, counter reformation and resulting wars of religion and the beginnings of what we understand as the ‘nation state’ of the sixteenth and seventeenth centuries. It is worth noting witch trials in England became more common after James I came to power. James I as James VI of Scotland had a fascination with supposed witchcraft, setting up a royal commission into witchcraft, personally overseeing the torture of suspected witches and writing the Daemonologie in 1599 (As an aside-there is an interesting link here to another Inside No.9 episode ‘The Understudy’ which references ‘Macbeth’. Shakespeare included the characters of the three witches and references to witchcraft to specifically appeal to James I). It does not take a psychologist to read that James I’s fascination with /fear of witches may have stemmed from his issues with his mother Mary Queen of Scots because of her Catholic faith and her portrayal as a dangerous woman due to her alleged involvement in the murder of James’ father and the threat that she might one day try and reclaim her throne from James. There has been an argument that one of the factors in the amount of witch trials and number of women convicted in Scotland and England during the period was a result of anxiety around female power after the reigns of Elizabeth I and Mary Queen of Scots (and indeed Catherine de Medici in France). Almost 90 % of those executed for witchcraft in England were women- higher than any other European country. Of course it is no coincidence that witch trial numbers were at their highest during the period of the English Civil war and Commonwealth with their social traumas and religious disruptions. As someone with a keen interest in the history of witchcraft Reece Shearsmith would be aware of all of this and it shows in the care and attention to detail in the script. Shearsmith noted that it was predominantly women’s life that were on the line in a recent Guardian article about the inspirations for the episode where he also noted that the inclusion of Snowflake the mouse in the episode was also inspired by reading accounts of these trials.

https://www.theguardian.com/tv-and-radio/2021/apr/24/inside-no-9-bbc-steve-pemberton-reece-shearsmith-inspirations

This may be why seventeenth century witch trials (and witch anxiety) have proved a fruitful source for art during periods of trauma and political repression in the twentieth century. There are the example of Arthur Miller’s ‘The Crucible’ which uses the Salem witch trials to explore McCartyism and Carl Theodore Dreyer’s ‘Day of Wrath’ which uses the backdrop of seventeenth century witch trials to explore the Nazi occupation of Denmark and oppression of women. The motives and attitudes of those who accuse and punish suspected witches are put on trial as much the accused. This tradition continues with recent films such as the extraordinary 2017 Zambian film ‘I am not a witch’ which explores the ways women and girls around the world still have to deal with accusations of witchcraft and the resulting violence and oppression (as an aside the film also uses humour and surrealism to tackle this topic).

Two particular films have undoubtably had an influence on ‘The Trial of Elizabeth Gadge’. The first is the 1968 Hammer film ‘Witchfinder general’ starring Vincent Price as the real-life witch hunter Matthew Hopkins. It is revealed Mr Warren’s first name is Matthew, which must be a reference to the film. Like Hopkins, Mr Warren enjoys his work as a witch finder both because it brings him great power over others along with financial gain. Indeed the whole episode pays tribute to the folk horror genre of late 60s early 70s British cinema which both Pemberton and Shearsmith have spoken of as a major influence on their work over their careers. Another film which also has an influence is the 1922 Danish film ‘Haxan’ which Reece Shearsmith has narrated live on more than one occasion. He discussed the film and it’s influence on the episode in a 2018 Guardian article (linked below). One interesting feature of this film is that it uses humour to explore the ridiculous nature of belief in witchcraft. Shearsmith picked up and comments on this.

https://www.theguardian.com/tv-and-radio/2018/apr/08/reece-shearsmith-league-of-gentlemen-interview

Elizabeth Gadge fits the narrative we have had passed down about who the majority of victims of witch trials are. She is an elderly woman who has become ‘surplus’ in her society and an inconvenience to her family , particularly her son in law Thomas Nutter (Jim Howick). She has had to resort to selling herself to Richard Two Shoes (Paul Kaye) in order to pay the rent her son in law insists on charging her. In spite of all this she conducts herself with great dignity during her trial and manages to stand up to Mr Warren making a joke about his beard resembling a woman’s private parts much to the amusement of the court room. Her pleas to both her daughter and Richard Good Shoes to try and save her are genuinely affecting. Ruth Sheen delivers a terrific performance. Reece Shearsmith related in the recent Guardian article she was specifically chosen for the part, and that her performance makes the audience care about her fate.

While the tone of the courtroom scene are played as comic, the scene of Mr Warren’s interrogation are harrowing and illustrate that accusations of witchcraft, however ridiculous they are to us today, led to horrific violence against of thousands of innocent people (these scenes remind me personally of the scenes of the torture of Herlof's Marte in ‘Day of Wrath and of the elderly woman in ‘Haxan- a scene Reece Shearsmith commented on in the Guardian article).

The episode also suggests another reason, not often explored in scholarly literature, for witch trials. Namely entertainment and some sort of attention and distraction from the boredom and drudgery of life in these times. Sir Andrew Pike expresses delight that the trial has brought attention to Little Happens and that the neighbouring town of Much Happens will be envious. He also is pleased the trial could be ‘bigger than Pendle’ (a reference to the infamous Pendle witch trial of 1612). Sir Andrew takes an unhealthy pleasure in proceedings, lapping up the attention and the power he has been given over the life of an elderly woman. He even suggests extending proceedings by trying to accuse Elizabeth Gadge’s daughter. He goes from sentencing Elizabeth to death to advertising tickets for her burning without missing a beat. George Waterhouse, Richard Two-Shoes and Thomas Nutter are all shown to be selfish (and abusive) with their own reasons for wanting Elizabeth out of the way.

Reece Shearsmith obviously enjoyed portraying Mr Warren and he manages to show him as ridicious and vain while being incredibly dangerous and cruel that makes him a truly chilling character. His performance here is one of the most underrated in the series.

One question that I want to explore is why does Elizabeth Gadge kill Mr Clarke after he saves her. Steve Pemberton gives a tremendous performance as Mr Clarke, subtly conveying both his growing distain and concern about the system he is part of and at Mr Warren's behaviour (Reece Shearsmith gave particular praise for Steve's performance on the soundlcoud commentary of the episode and at the BFI screening with Steve returning this praise for Reeces performance as Mr Warren). Mr Clarke may come to realise that the work he is involved leads to the torture and killing of innocent people and how dangerous Mr Warren is. But he himself has benefitted from this system. as he notes. Rather than properly confront and address this system, he chooses to leave it in place and kill his colleague (who presumably was also a good friend at one point as his final words to Mr Warren reveal). He behaves in a highly self -righteous manner about it, asserting he has rid the world of a great evil. He also ensures he gets paid for the trial (I accept he gives Mr Warren’s fee to Elizabeth Gadge). It could be said he portrays himself as a ‘male saviour’ to Elizabeth, underestimating her agency. In his own way, Mr Clarke enjoys the power he has over Elizabeth’s life and sees her as someone who things are done to (even if it is apparently saving her life) just as much as Mr Warren and Sir Andrew. No wonder Elizabeth enjoys dispatching him.

But not only does Elizabeth Gadge avenge herself on Mr Warren and Mr Clarke, she also avenges herself on the village that put her on trial. Her final act before departing is to use the flames from Mr Warren’s pyre to set fire to the gathered crowd and the village. For me the end of this episode could almost said to be an act of vengeance not just on behalf of all the many accused characters (usually female) who usually end up killed in these stories but on behalf of all those killed in the witch trials of this period. This witch was not for burning.

Finally I just want to praise Yves Barre for his wonderful costumes for this episodes. He manages to convey the class system within Little Happens (with Sir Andrew and George Waterhouse being better dressed than most of the village) and his gorgeous costumes for Mr Warren and Mr Clarke convey how well they have done out of being witch hunters financially (their clothes are obviously well made with expensive materials and trimmings) while conveying their ideological commitment (their clothes are black and austere).

As has been noted 'The trial of Elizabeth Gadge' suffered from being the episode that directly followed onn from 'The 12 days of Christine'. However as I have hopefully shown it is an episode which continues in a fine tradition of exploring the witch trials of the seventeenth century and which brings something new and thought provoking to this tradition

[lifemod17]

New mouse begging for cheese dropped!!!

HELP ME I SLID DOWN THE WALL SCREAMING THROWING UP AND I'M RUNNING LAPS HE LOOKS SO GOOD OMG

This is a mouse begging for cheese photo, it should not affect me like this. It's supposed to be fun haha silly.

AND YET?!??!

It's the Black Denim Jacket. That thing is gonna be the death of me actually. And the obscured-ness I think, like the way his face is mostly covered with his hair.

[space--cadet-glow]

Translation: German manga of “The Minish Cap”, Part 2: “The Small Link”

So, as promised, here’s the second chapter of the German version of the manga of “The Minish Cap”!

My translation key: DT: „direct translation" (translated word for word) EQ: “English equivalent” (as in, as close to an English-sounding sentence as it’s gonna get) DT/EQ: „"direct translation/English equivalent" (for when the DT is so similar to an EQ that it’s practically English already) OE: “official English (translation as given in the English version of "The Minish Cap”)“ (NOTE:) "anything I need to point out” (exactly what it says on the tin) BG: „backwards German" for the Minish language in forwards form BOE: “the forwards version of the Minish language in the OE version” BOET: “the TRANSLATION of the forwards version of the Minish language in the OE version”

My translation work under the cut.

2. KAPITEL: „DER KLEINE LINK" 2ND CHAPTER: "THE SMALL LINK" CHAPTER 2: "SHRUNKEN LINK"

Toneffekte: „Bonk Batsch klopf" DT/EQ: „"Bonk bash knock" OE: "WHAM BAM POW"

Octorok 1: „Wohin guckst du?!" DT: „Where looking you?!" EQ: "What're you looking at?!" OE: "You lookin' at me?!"

Octorok 2: „Spasti!!" DT/EQ: „"Spaz!!" OE: "Quit bleeding on me!" (NOTE: ...For once, the English version had me laughing harder. German Octorok is just... Rude.)

Link: „Ups, der schaut mir in die Augen." DT: „Whoops, the looks (to) me in the eyes." EQ: "Whoops, he looked me in the eyes." OE: "Dang it! Our eyes met!"

Ezelo: „AAAAARGL!!" DT/EQ: „"AAAAAGGGH!!" OE: "GYAAAAAH!!"

Ezelo: „He, Junge! Ich meine dich!! Steh nicht blöd rum! Hilf mir lieber! Heute noch!!" DT: „Hey, boy! I mean you! Stand not stupid (there)! Help (to me) preferable! To-day still!!" EQ: "Hey, boy! I mean you! Don't stand there all stupid! Helping me is preferable! Even to-day!!" OE: "H-Hey, you! Boy! Are you just going to pretend... ...You don't see any of this?! Get over here and help me!" (NOTE: To get more slang-y with it would be like, "Help would be preferable! To-day, please!!")

Toneffekte: „Baller plong" DT/EQ: „"Shoot plong" OE: "POOM POOM POOM BAM BAM BAM"

Link: „..." DT/EQ: „"..." OE: "..."

Link: „He, ihr da! Hört auf, ihn zu ärgern!" DT: „Hey, you all there! Stop (x), him to annoy!" EQ: "Hey, you all there! Stop annoying him!" OE: "Hey! You guys! Quit picking on someone weaker than you!"

Octorok 1: „Waas?!" DT/EQ: „"Whaat?!" OE: "What'd you say?!"

Octorok 2: „Du Trottel!!" DT/EQ: „"You moron!!" OE: "Stupid punk!"

Toneffekte: „ZAMM YAAAAAH!" DT/EQ: „"BAMM YAAAAAH!" OE: "STOMP YAAH!"

Oktorok 1: „Bäh!" DT/EQ: „"Gah!" OE: "UGH!"

???: "..." DT/EQ: „"..." OE: "..." (NOTE: I can't tell if this is Link or Ezlo. Not that it matters, since it's literally just silence.)

Ezelo: „Puh. Danke, dass..." DT: „Phew. Thanks, that..." EQ: "Phew. Thanks for..." OE: "Oh my! Thank y-"

Link: „Schon gut. Ich weiß es." DT: „Already good. I know it." EQ: "It's okay. I know it." OE: "You don't have to say it... ...I know how this goes."

Link: „Ich weiß, wie es weitergeht. Hör mal." DT: „I know, how it along-goes. Listen (softener)." EQ: "I know how it goes on. Listen." OE: "I know there's no rainbow... ...But..."

Ezelo: „?" DT/EQ: „"?" OE: "?"

Link: „Die gerettete Maus rettet den Löwen... ...und bringt mich zu den Minish, richtig?" DT/EQ: „"The rescued mouse rescues the lion... ...and brings me to the Minish, right?" OE: "I figure you've got some gold other places too. I don't need your whole pot, but enough to build a house..." (NOTE: I love how not a single version I've seen thus far has used the Japanese's joke about the Dragon King. To be honest, referencing Leprechauns in the English version was probably the best thing they could've done- I mean, the Minish are small, associated with four-leaf clovers, hats, celebrations, and wishes, and are magical... But, here's where the German version takes it. What's being referenced in German is the Aesop Fable, "The Lion and the Mouse", in which a small Mouse is spared being eaten by a Lion, and later when the Lion is trapped, the Mouse saves him as thanks. The reason this REALLY works here, is because of the immense size difference between the Mouse and the Lion... Just like that between the Hylians and the Minish.)

Toneffekte: „Freu freu" DT/EQ: „"Pleased pleased" OE: "BOUNCE"

Ezelo: „Ich bin keine Maus!!" DT: „I am no mouse!!" EQ: "I am not a mouse!!" OE: "I'm NOT a Leprechaun!"

Link: „'Tschuldige. Dann eben ein Vogel?" DT: „Sorry. Then simply a bird?" EQ: "Sorry. Then just a bird?" OE: "Oh yeah, I see that. You're a bird!" (NOTE: Okay, German Link shortens down „Entschuldige"... Which, complete, would be "I'm sorry" or even "Excuse me". So, shortened in ENGLISH could be " 'Scuse me." Which honestly is kind of funny.)

Ezelo: „Auch kein Vogel!" DT: „Also no bird!" EQ: "Also not a bird!" OE: "I'm not a bird either!"

Link: „Was bist du dann? Was für ein Wesen bist du?" DT: „What are you then? What for a being/creature are you?" EQ: "What are you, then? What kind of being/creature are you?" OE: "Well then, what ARE you? Really, what in the world are you?" (NOTE: Idiomatic.)

Ezelo: „Ich bin ich. Ich heiße Ezelo!" DT: „I am I. I (am) call(ed) Ezelo!" EQ: "I am me. I'm Ezelo!" OE: "I'm not a what, I'm a who... I'm Ezlo!" (NOTE: Ezelo/Ezlo stayed Ezelo/Ezlo.)

Toneffekte: „Hah!" DT/EQ: „"Hah!" OE: "Ta-dah"

Link: „Du kennst die Minish nicht? Mann... Alles umsonst..." DT: „You know the Minish not? Man... All (for) nothing..." EQ: "You don't know the Minish? Man... All for nothing..." OE: "Dang! I thought you might be a Picori. Stop wasting my time."

Ezelo: „He! Warte, mein Kind!" DT/EQ: „"Hey! Wait, my child!" OE: "Hey! W-Wait, boy!"

Toneffekte: „Hüpf Hüpf" DT/;EQ: „"Hop hop" OE: "Sproing sproing"

Ezelo: „Lässt du mich etwa hier liegen?!" DT: „Leave you me something here lay?!" EQ: "You're leaving me here?!" OE: "You're just gonna LEAVE me?!"

Link: „Was willst du noch?" DT: „What want you still?" EQ: "What more do you want?" OE: "Is there some reason I WOULDN'T?" (NOTE: Holy mackerel, English Link...)

Ezelo: „Ich kann nicht so schnell laufen wie du! Was ist, wenn die Monster mich wieder angreifen?!" DT: „I can not so fast run how you! What is, if the Monsters me again attack?!" EQ: "I can't fun as fast as you! What if the Monsters attack me again?!" OE: "I can't keep up with you! What if evil spirits attack again?!"

Toneffekte: „Uff Hmpf" DT/EQ: „"Oof hmpf" OE: "Wumph wumph"

Link: „Oh Mann! Ich muss aber schnell die Minish finden." DT: „Oh man! I must but fast the Minish find." EQ: "Oh, man! I must find the Minish quickly." OE: "Beat it! I don't have time for you. I have to find the Picori quickly!"

Ezelo: „Minish? So, so! Wenn du mich mitnimmst, erzähle ich dir was über die Minish." DT: „Minish? So, so! If you me with-take, tell I (to) you what about the Minish." EQ: "Minish? So, so! If you take me along, I'll tell you something about the Minish." OE: "The Picori, you say? The Picori? If you take me along, I'll tell you all about the Picori."

Toneffekte: „Glänz" DT/EQ: „"Gleam" OE: "Gleam"

Link: „Wirklich?!" DT/EQ: „"Really?!" OE: "Really?!"

Ezelo: „Leih mir kurz dein Ohr. Ja, komm runter. So ist es gut." DT: „Lend (to) me briefly your ear. Yes, come down. So is it good." EQ: "Briefly lend me your ear. Yes, come down. That's it." OE: "I know all kinds of secrets about them. Just lean a little closer and... ...I'll whisper in your..."

[The English version then has an extra tid-bit that's not present in the German version for some reason... OE: "GOTCHA!"]

Toneffekte: „SCHLUPF" DT/EQ: „"SLIP" OE: "PLOP"

Ezelo: „Das tut gut!" DT: „This does good!" EQ: "This is good!" OE: "Ahhh... That's MUCH better."

Link: „Runter von meinem Kopf!" DT/EQ: „"Down from my head!" OE: "Hey! Who invited you onto my head?!"

Ezelo: „So läufst du mir nicht davon!" DT: „So run you (from) me not thereof!" EQ: "So, you won't run from me!" OE: "Now we'll never get split up."

Link: „Runter!! Du hast mich reingelegt!" DT: „Down!! You (x) me tricked!" EQ: "Down!! You tricked me!" OE: "Get off! You tricked me!"

Ezelo: „Welch eine Unterstellung. Ich erzähle dir alles." DT: „What/such an insinuation/allegation. I tell (to) you all." EQ: "What an allegation. I'll tell you everything." OE: "Hold on, boy, and I'll TELL you about the Picori!"

Ezelo: „So, Kind... Die Welt der Minish ist sehr klein. Daher wirst du sie auch in 100 Jahren nicht finden." DT: „So, child... The world (of) the Minish is very small. Therefore will you them also in 100 years not find." EQ: "So, child... The world of the Minish is very small. Therefore, you'll never find them, even in a 100 years." OE: "Just calm down. The world of the Picori is very small. At your size, you'd NEVER find them."

Ezelo: „Schau dir den Baumstumpf an. Stell dich mal darauf... ...und ich bringe dich zur Minish-Welt." DT: „Look (for) you the tree-stump (x). Place yourself (x) thereon... ...and I bring you to (the) Minish-World." EQ: "Look at the tree-stump. Place yourself on it... ...and I'll bring you to the Minish-World." OE: "See that stump? Climb up on it... ...And I'll SHOW you the Picori." (NOTE: „anschauen".)

Link: „Das ist doch nur ein Baumstumpf! Was soll hier schon passieren?!" DT: „That is still only a tree-stump! What should here already happen?!" EQ: "That's still only a tree-stump! What could even happen here?!" OE: "From on THIS stump? It's too SHORT to see anything!"

Toneffekte: „FWIIIIUUUUUH!" DT/EQ: „"FWEEEEEEE!" OE: "PICORIIIIIIII" (NOTE: ...I love how the German version completely messed up, and the English version both makes sense and DOESN'T make sense. Okay, so, in German, it's clearly been translated as the sound the Minish Portal is making. In English, it's... The gibberish Minish language used in-game. That's cool and all, but... The manga doesn't have the gibberish Minish language... It has the OTHER, backwards, Minish language... BE CONSISTENT, DARN IT. Either way, neither version correctly used the Japanese version's runes which spell out- backwards, that is- "RENA KUSACHI" or "CHISAKU NARE" forwards, which is... "BECOME SMALL" in Minish.)

Link: „Huch...? Wo bin ich jetzt?! Ich war doch im Wald?" DT: „Huh...? Where am I now? I was but in (the) Forest?" EQ: "Huh... Where am I now? I was just in the Forest?" OE: "Huh? Where are we?! Hey, where'd the forest go?"

Link: „Was ist das für ein Monster-Pilz?!" DT: „What is that for a monster-mushroom?!" EQ: "What kind of monster-mushroom is this?!" OE: "What a huge mushroom!" (NOTE: If you're wandering what the heck I'm doing here... I'm correcting all the backwards speech bubbles the English version has. And believe me, there's a LOT of them. And NONE of them were fixed for the "Legendary" edition, either...)

Ezelo: „Da geht es raus, Kindchen." DT: „There go it out, little child/kiddo." EQ: "Go out there, kiddo." OE: "Step outside and see." (NOTE: Also, I think it's adorable that the German manga kept the fact that Ezlo calls Link „Kindchen".)

Link: „Was ist denn das?! Die Bäume und Gräser sind so groß?!" DT: „What is then this?! The trees and grass are so big?!" EQ: "What is this, then?! The trees and grass are so big?!" OE: "W-What's going on here?! The trees and weeds got HUGE!!"

Ezelo: „Sie sind nicht größer geworden, sondern du kleiner." DT: „They (x) not bigger became, rather you smaller." EQ: "They didn't become bigger, rather, you became smaller." OE: "They didn't get bigger... YOU got smaller."

Link: „Ich glaub das nicht... Das ist die Eichel, die am Boden lag?! Puh, ich sehe die Baumspitze nicht mehr." DT: „I believe that not... This is the acorn, that on (the) ground lay?! Phew, I see the tree-tops no more." EQ: "I don't believe it... This is the acorn that was laying on the ground?! Phew, I don't see the tree-tops anymore." OE: "I can't believe it! This acorn was just the size of my toe! I can't even SEE the tops of the trees!"

Ezelo: „Freu dich, dass du mich gerettet hast. Aber du brauchst dich nicht zu bedanken." DT: „Please/happy/rejoice yourself, that you me rescued (have). But you need yourself not to thank." EQ: "Be pleased that you rescued me. But, you don't need to thank yourself." OE: "NOW aren't you glad you saved me? I know.. ...You're stunned. You can thank me later." (NOTE: Ah, I see that German manga Ezlo is just as snarky as German in-game Ezlo.)

Toneffekte: „Pöh..." DT/EQ: „"Boom..." OE: "LOOM"

Toneffekte: „TAAADAAH!" DT/EQ: „"TAADAAH!" OE: "BADOOOM"

Ezelo: „Da ist das Ding von vorhin!" DT: „There is that thing of before!" EQ: "There's that thing from before!" OE: "Oh my! It's that same Octorok!"

Link: „Woah! Es ist ja so riesig!!" DT: „Woah! It is indeed so huge!!" EQ: "Woah! It's really huge!!" OE: "Yipes! "Same"?! It's ginormously huge!"

Toneffekte: „DO DO DOH WACK!" DT/EQ: „"DO DO DOH WHACK!" OE: "THUD THUD CRASH THUDTHUD WHAKK"

Link: „Puuh..." DT/EQ: „"Pheew..." OE: "Huff puff"

Ezelo: „Pass auf, Kindchen! Nicht, das ich in Gefahr gerate!" DT: „Watch out, kiddo! Not, that I in danger put-in!" EQ: "Watch out, kiddo! Don't put me in danger!" OE: "Careful, boy! If you run into something... ...I might get hurt!"

Ezelo: „Schon ein gewöhnliches Ereignis könnte dich in Gefahr bringen... Selbst ein Wassertropfen..." DT: „Already an ordinary occurrence can you in danger bring... Even a water-droplet..." EQ: "Even an ordinary occurrence can put you in danger... Even a water-droplet..." OE: "When you're tiny, even ordinary things can be very dangerous! Like a drop of dew."

Toneffekte: „NRG! SSST" DT/EQ: „"NRG! SPLISH" OE: "PLIP SPLOOOSH"

Ezelo: „...wird zum Wasserfall." DT: „becomes to (the) waterfall." EQ: "...becomes a waterfall." OE: "That hits like a waterfall."

Link: „Ich komme um, ehe ich die Minish sehe..." DT: „I kill (will), before I the Minish see..." EQ: "I'll be killed before I see the Minish..." OE: "With help like YOURS, I'll NEVER find the Picori." (NOTE: „umkommen"- and I can't believe that line made me laugh harder than the English one.)

Ezelo: „Nun erzähl mal, Kindchen... Warum willst du unbedingt zu ihnen? Ganz allein in so einem Wald..." DT: „Now tell (x), kiddo... Why want you absolutely to them? Completely alone in such a Forest..." EQ: "Now tell, kiddo... Why do you absolutely want to get to them? Completely alone in such a Forest..." OE: "What possible reason can a kid like you have for needing... ...To find the Picori so badly?" (NOTE: That last part could also go as, "Completely alone in a Forest like this...")

Ezelo: „Was?! Fluch des Hexenmeisters?! Das Heilige Schwert?!" DT/EQ: „"What?! Curse (of) the sorcerer?! The Holy Sword?!" OE: "What?! A Mage's curse?! A sacred Sword?"

Ezelo: „Verstehe... Vaati hat die Prinzessin also..." DT: „Understand... Vaati (x) the Princess also..." EQ: "I understand... Vaati also turned the Princess..." OE: "And Vaati turned the Princess into a statue?!" (NOTE: Presumably before getting cut off, Ezlo was going to finish with „versteinert", hence why I added in "turned". Although to still cut him off slightly more accurately would be, "Vaati also petrified the Pri...")

Link: „Ezelo? Kennst du etwas Vaati?!" DT: „Ezelo? Know you something Vaati?!" EQ: "Ezelo? You know something about Vaati?" OE: "Ezlo, what do you know about Vaati?"

Ezelo: „Äh... Nein... Aber unter diesen Umständen werde ich dir helfen, denn allein schafft ein Kindchen das nie." DT: „Uh... No... But under these circumstances will I (for) you help, because alone manages a kiddo this never." EQ: "Uh... No... But, under these circumstances, I'll help you, because a kiddo will never manage this alone." OE: "Errr... Nothing... It doesn't matter. But count on me in this crisis. It's too much for you alone, boy!"

Link: „Hör auf, mich so zu nennen! Ich heiße Link!" DT: „Stop (x), me so to call! I (am) called Link!" EQ: "Stop calling me that! I'm Link!" OE: "Stop calling me "boy"! My name is Link!" (NOTE: Idiomatic.)

Ezelo: „Nun quatsch nicht und geh los! Die Monster hier sind so gefährlich!" DT: „Only twaddle not and go let's! The Monsters here are so dangerous!" EQ: "Stop twaddling and let's go! The Monsters here are so dangerous!" OE: "Link Schmink... Who cares? Let's get moving! This place is crawling with evil spirits! It's dangerous!" (NOTE: *sobs at yet another meaning of „quatsch"*)

Link: „Mach mir nichts vor, Ezelo!" DT: „Fool (for) me not (x), Ezelo!" EQ: "Don't kid me, Ezelo!" OE: "Quit giving orders! You're not in charge!" (NOTE: „vormachen", thus idiomatic.)

Ezelo: „Ein schönes Gefühl, von hier oben herabzuschauen." DT: „A beautiful feeling, from here above down-to-look." EQ: "A beautiful feeling to look down from up here." OE: "No, but I'm the one who can SEE where we're going!"

Link: „Sehr witzig." DT/EQ: „"Very funny." OE: "Know it all!"

Ezelo: „Ich wünschte, du wärst noch etwas größer..." DT: „I wish, you were still slightly taller..." EQ: "I wish you were just a little taller..." OE: "Y'know, this'd be EASIER if you weren't so short..."

Link: „Ich werfe dich gleich runter!!" DT: „I throw you immediately down!!" EQ: "I'll throw you down immediately!!" OE: "It you don't like it, then get down!"

[The OE version then has one extra sound effect that the German one doesn't... OE: "YANK"]

Ezelo: „He, zieh nicht an mir. Unverschämt!!" DT: „Hey, pull not on (to) me. Rude!" EQ: "Hey, don't pull on me! Rude!" OE: "Hey! Don't tug on me! How rude!"

Link: „Sei Ruhig!!" DT/EQ: „"Be quiet!!" OE: "I'M rude?!"

Wald-Minish 1: „Hcsnem nie!" BG: „Ein Mensch!" DT/EQ: „"A human!" OE: "Dangenni!" BOE: "Ningen da!" BOET: "A human!" (NOTE: Yes, I'm translating the English version's backwards Japanese just because I can.)

Link: „Ah! Warte mal!" DT: „Ah! Wait (softener)!" EQ: "Ah! Wait!" OE: "Hey! W-Wait up!"

Wald-Minish 1: „Hcsnem nie!" BG: „Ein Mensch!" DT/EQ: „"A human!" OE: "Dangenni." BOE: "Ningen da." BOET: "A human."

Wald-Minish 2: „Hcsnem nie, ej ho!" BG: „Oh je, ein Mensch!" DT/EQ: „"Oh dear, a human!" OE: "Dangenni datonho!" BOE: "Honto da ningen da!" BOET: "A real human!"

Ezelo: „Wir sind wohl im Minish-Dorf..." DT/EQ: „"We are surely in (the) Minish-Village..." OE: "Okay! Here we are... The Picori Village!"

Link: „Das sind Minish... Es gibt sie wirklich..." DT: „That are Minish... They are they real..." EQ: „These are Minish... They are real..." OE: "Th-These are the Picori? They really DO exist!"

Link: „Genauso, wie Opa es gesagt hat... Sind die süß! Hallo!" DT: „Just-as, how Grandpa it said (x)... Are the cute! Hello!" EQ: "Just like what Grandpa said... They're cute! Hello!" OE: "Wow! It's just like Grandfather said! They're so cute! Umm... Hello!"

Wald-Minish 3: „Ud tshetsrev?" BG: „Verstetsht du?" DT: „Understand you?" EQ: "Do you understand?" OE: "Rukawa?" BOE: "Wakaru?" BOET: "You understand?"

Wald-Minish 4: „Thcin Ehcarps enies ennek chi." BG: „Ich kenne seine Sprache nicht." DT: „I know his language not." EQ: "I don't know his language." OE: "Yoinara kawaga batoko." BOE: "Kotoba ga wakaranaiyo." BOET: "I don't understand those words." (NOTE: Although, the forwards Japanese could also mean, "I don't understand that/your language".)

Link: „Was sagen sie?!" DT: „What say they?!" EQ: "What are they saying?!" OE: "Huh? They can't talk?!"

Ezelo: „Das ist die Minish-Sprache. Aber sie haben einen starken Dialekt... Sie reden nicht so, wie ich es kenne." DT: „That is the Minish-Language. But they have a strong dialect... They speak not so, how I it know." EQ: "That is the Minish-Language. But, they have a strong dialect... They don't speak it like how I know it." OE: "That's the Picori language. It's a difficult dialect. It's different from the Picorese that I know."

Ezelo: „Wie sollen wir ihnen so erklären, warum wir hier sind?" DT: „How should/supposed we them so tell, why we here are?" EQ: "How are we supposed to tell them why we're here?" OE: "If you can't speak any Picorese, this is going to be MUCH harder!"

Link: „Was machen wir nur?" DT: „What do we only?" EQ: "What do we do now?" OE: "What am I going to do?"

Wald-Minish 5: „Thcin hcid ehetsrev chi." BG: „Ich verstehe dich nicht." DT: „I understand you not." EQ: "I don't understand you." OE: "Yoinara kawaga batoko." BOE: "Kotoba ga wakaranaiyo." BOET: "I don't understand those words."

Link: „Kann hier jemand unsere Sprache?" DT: „Can here anyone our language?" EQ: "Can anyone here speak our language?" OE: "Does ANYONE here speak Hyrulean?" (NOTE: Uhh... German Link? You seem to be missing a crucial verb there...)

Wald-Minish 6: „Nien." BG: „Nein." DT/EQ: „"No." OE: "Yoinara kawa." BOE: "Wakaranaiyo." BOET: "Don't understand." (NOTE: But, German Minish, you... You correctly answered him... IN MINISH.)

Wald-Minish 7: „Gnunha eniek." BG: „Keine Ahnung." DT/EQ: „"No clue." OE: "Inara kawanze nze." BOE: "Zenzen wakaranai." BOET: "Don't understand at all."

Link: „Herrje..." DT/EQ: „"Oh dear..." OE: "This is TERRIBLE!"

Festa: „Hallo?!" DT/EQ: „"Hello?!" OE: "Excuse me."

Festa: „Du ungewöhnlich... bist Mensch du?" DT: „You unusual... are human you?" EQ: "You unusual... You are human?" OE: "The way you're dressed... Are you from the Big World?" (NOTE: Okay, props to the German version for having Festari speak in broken German. This is ADORABLE. ...But very hard to translate!)

Link: „Du verstehst mich?!" DT/EQ: „"You understand me?!" OE: "You speak Hyrulean?!"

Toneffekte: „Die Rettung!" DT/EQ: „"The rescue!" OE: "Minor miracle"

Festa: „Ja, bisschen." DT/EQ: „"Yes, little bit." OE: "Yes. A little."

Link: „Ihr müsst das Heilige Schwert reparieren! Wen soll ich darum bitten?" DT: „You all must the Holy Sword repair! Whom should I therefore request/ask?" EQ: "You all must repair the Holy Sword! Therefore, whom should I ask?" OE: "I need to get the sacred Sword reforged! Who should I talk to?"

Link: „Huch? He, du!" DT/EQ: „"Huh? Hey, you!" OE: "Huh? Where ya going?!"

Ezelo: „Folge ihm." DT/EQ: „"Follow him." OE: "Quick! Follow him!"

Toneffekte: „TAPP TAPP" DT/EQ: „"TAP TAP" OE: "Tump tump"

Ezelo: „Ich vermute, dass lange kein Mensch mehr hier war. Sie interesieren sich so sehr für dich." DT: „I assume, that long no humans more here were. They interest themselves so very for you." EQ: "I assume humans haven't been here for a long time. They're very interested in you." OE: "It's been a while since these Picori had a visit from your world. They're "berry interesty" in you." (NOTE: English Ezlo sounds like he's mocking the way the Minish talk... WHICH MEANS HE UNDERSTANDS THEM. DO YOU NOT SEE HOW MUCH THIS BOTHERS ME?! BE CONSISTENT, DARN IT.)

Link: „Was für ein riesiges Fass!! Ups. Nicht das Fass ist groß. Sondern ich bin so klein." DT: „What/such for a huge barrel! Oops. Not the barrel is big. Rather I am so small." EQ: "Such a huge barrel! Oops. Not that the barrel is big. Rather, I'm so small." OE: "Whoa! What a huge cask! Oh, I guess it's not THAT big... We're just small."

Link: „Wahnsinn, das ist ein Haus! Offenbar züchten sie hier etwas." DT: „Madness, this is a house! Apparently cultivate they here something." EQ: "Madness, this is a house! Apparently, they're cultivating something here." OE: "It's like a barn inside! Or a hot-house garden!"

Festa: „Enribhcstauq enie rhi tbah?" BG: „Habt ihr eine Quatschbirne?" DT: „Have you all a Gibberishpear?" EQ: "Do you all have a Gibberishpear?" OE: "Kasumaria minnorarape." BOE: "Perara no Min arimasu ka?" BOET: "Do you have a Perara Fruit?" (NOTE: Yup. "Perara Fruit" is used in the English version... Which proceeds to THEN call it by its in-game name, the Jabber Nut.)

Wald-Minish 8: „Retseirp, aj reba!" BG: „Aber ja, Priester!" DT: „But indeed, Priest!" EQ: "Of course, Priest!" OE: "Masaisa shoyosuma ria!" BOE: "Arimasu yoh Shosai-sama!" (????????) BOET: "I have it, Priest!" (NOTE: Random fun-fact... The English version actually mispelled the backwards Japanese! It's actually supposed to be, "Masaisa shiyosuma ria!", or forwards, "Arimasu yo Shisai-sama!" It still means how I translated it, though.)

Festa: „Bitte." DT/EQ: „"Please." OE: "Eat this."

Link: „Soll ich sie essen?" DT: „Should I it eat?" EQ: "Should I eat it?" OE: "I'm not really hungry, but..." (NOTE: Well, I'll eat it. And if I grow larger, I can reach the key! And if I grow smaller... Oh, wait. Wrong story.)

Toneffekte: „Mampf mampf schluck" DT/EQ: „"Munch munch gulp" OE: "Krunch munch GULP"

Festa: „Verstehst du mich jetzt?" DT: „Understand you me now?" EQ: "Do you understand me now?" OE: "You you understand what I'm saying?"

Link: „Ja. Häh?" DT/EQ: „"Yes. Eh?" OE: "Yes! Huh?!"

Festa: „Das is die Quatschbirne. Wer sie isst, beherrscht unsere Sprache." DT: „This is the Gibberishpear. Who it eats, masters our language." EQ: "This is the Gibberishpear. Whoever eats it masters our language." OE: "This is a Jabber Nut. Once you eat one, you're able to speak Picorese."

Wald-Minish 9: „Wah, ein Mensch! Oh ja, ein Mensch!" DT/EQ: „"Whoa, a human! Oh indeed, a human!" OE: "Wow! A Hyrulean! You really ARE a Hyrulean!"

Wald-Minish 10: „So, wie der Älteste es gesagt hat! Schöne Kleidung!" DT: „So, how the Elder it said (x)! Beautiful clothing!" EQ: "Just like the Elder said! Beautiful clothing!" OE: "It's just like the Elder said! Your clothes are cool!"

Wald-Minish 11: „Tolle Schuhe! Du kannst uns verstehen?!" DT: „Terrific shoes! You can us understand?!" EQ: "Terrific shoes! You can understand us?!" OE: "And cool shoes! Do you understand us?"

Link: „Hallo, ich bin Link!" DT/EQ: „"Hello, I am Link!" OE: "Nice to meet you! I'm Link!"

Wald-Minish 12: „Das ist ja klasse!!" DT: „This is indeed classy!!" EQ: "This is classy, indeed!!" OE: "Wow! Cool!"

Toneffekte: „Hüpf hüpf" DT/EQ: „"Hop hop" OE: "ZWIP RUSH"

Ginsta: „Oh! Du sprichst die Sprache der Minish! Ich bin der Älteste, Ginsta. Ruht euch schön aus." DT: „Oh! You speak the Language (of) the Minish! I am the Elder, Ginsta. Rest yourself nicely (take)." EQ: "Oh! You speak the Language of the Minish! I am the Elder, Ginsta. Take a nice rest." OE: "Oh good! You understand the Picori Language! I am the Elder of the Forest, Gentari. Please make yourself at home." (NOTE: Elder Ginsta/Gentari kept his name. ...I'm afraid I can't say the same for his brother. ...Also, „ausruhen".)

Link: „Dan..." DT/EQ: „"Thank-" OE: "Thanks a lo--"

Ezelo: „Wir haben keine Zeit!" DT/EQ: „"We have no time!" OE: "Don't you have pressing business?"

Link: „Uh, stimmt!" DT/EQ: „"Uh, correct!" OE: "Oh, right!"

Link: „Es war einiges los... ...und wir wollen das Schwert reparieren lassen. Ihr müsst uns helfen!" DT: „There were things go... ...and we want the Sword repair let. You all must us help!" EQ: "There were things going on... ...and we want to get the Sword repaired. You all must help us!" OE: "I came here because I need your help. The sacred Picori Sword has been shattered. We need your help to reforge it!" (NOTE: Idiomatic. And the return of „es gibt"'s evil cousin, „es war".)

Ginsta: „Verstehe... Aber um das zu tun, werden vier Elemente benötigt." DT: „Understand... But in order that to do, will four Elements required." EQ: "I understand... But in order to do that, four Elements will be required." OE: "I see... But if you want the blade reforged, you will need the Four Elements."

Link: „Elemente?" DT/EQ: „"Elements?" OE: "Elements?"

Ginsta: „Die Elemente sind die konzentrierte Energie von Elementargesitern. Ein Heiliges Schwert wird erschaffen, wenn ihre Kraft auf das Schwert übertragen wird." DT: „The Elements are the concentrated energy of elemental-spirits. A Holy Sword will created, if/when their power of the Sword transferred will." EQ: "The Elements are the concentrated energy of elemental-spirits. A Holy Sword will be created if/when their power is transferred to the Sword." OE: "The crystalline forms of the energies that fill our world. To be reborn, the sacred Sword must be infused with their power."

Ginsta: „Das Erd-Element ist der Kristall der Macht des Erd-Elementargeistes. Das Feuer-Element bringt Wärme und Licht in die Finsternis." DT/EQ: „"The Earth-Element is the crystal (of) the might (of) the Earth-elemental-spirits. The Fire-Element brings warthm and light to the darkness." OE: "The Earth Element is the distillation of the Earth's Power. The Fire Element shines on darkness and delivers warmth." (NOTE: I see that German Gentari has taken lessons in being confusing from the German Hurdy-Gurdy Man. Also, the German FLAME-Element got renamed into the Fire-Element... Because why not. The other Elements retained their names!)

Ginsta: „Das Tropfen-Element stillt den Durst und besitzt die Kraft der Heilung. Das Wind-Element trägt Pflanzen und bringt die Ernte zu uns. Das sind die vier Elemente." DT: „The Droplet-Element satisfies the thirst and possesses the power (of) the healing. The Wind-Element carries plants and brings the harvest to us. The are the four Elements." EQ: "The Droplet-Element quences thirst and possesses the power of healing. The Wind-Element carries plants and brings harvest to us. These are the four Elements." OE: "The Water Element contains healing power and quenching thirst. The Wind Element spreads the power of life, bringing fruitfulness."

Link: „Wo finde ich sie?!" DT: „Where find I them?!" EQ: "Where do I find them?!" OE: "Where are they?"

Ginsta: „Überall verteilt in Hyrule... Es wird sicher nicht einfach sein." DT: „Over-all distributed/spread in Hyrule... It will certainly not easy be." EQ: "Spread all over in Hyrule... It certainly will not be easy." OE: "Scattered across Hyrule. Finding them will NOT be easy."

Link: „Ich muss den Fluch brechen, um Prinzessin Zeldas Versteinerung aufzuheben! Ich werde sie finden!" DT: „I must the curse break, in order Princess Zelda's petrification reverse/remove! I will them find!" EQ: "I must break the curse in order to reverse/remove Princess Zelda's petrification! I will find them!" OE: "I NEED them to break the curse and return Princess Zelda to normal! I WILL find them, wherever they are!"

Ginsta: „Verstanden. Festa!" DT/EQ: „"Understood. Festa!" OE: "I see. Festari!"

Ginsta: „Das ist Festa, unser Priester. Er wird dir den weg zeigen." DT: „This is Festa, our Priest. He will (to) you the way show." EQ: "This is Festa, our Priest. He will show you the way." OE: "This is the Priest, Festari. He will guide you." (NOTE: Priest Festa/Priest Festari is the same. I'm amazed the English version kept the fact that he was a Priest, because that fact was dropped in the actual game...)

Link: „Ah, du." DT/EQ: „"Oh, you." OE: "Hey! That guy from before!"

Link: „Danke für vorhin!" DT/EQ: „"Thanks for earlier!" OE: "Thanks for your help!"

Festa: „Das ist meine Pflicht als Priester." DT/EQ: „"That is my obligation as Priest." OE: "No, no... It's a Priest's job."

Toneffekte: „Uh..." DT/EQ: „"Uh..." OE: "Ugh..."

Link: „?" DT/EQ: „"?" OE: "?"

Festa: „Oh, nichts." DT/EQ: „"Oh, nothing." OE: "It's nothing."

Festa: „Das Erd-Element findest du im Schrein im nördlichen Wald. Aber gehst du wirklich dahin?" DT: „The Earth-Element find you in (the) Shrine in (the) northern Forest. But go you really therein?" EQ: "You can find the Earth-Element in the Shrine in the northern Forest. But are you really going there?" OE: "The Earth Element can be found in a small shrine to the north... ...Known as the Deepwood Shrine!"

Wald-Minish 8: „Zum Shrein?!" DT/EQ: „"To (the) Shrine?!" OE: "Deepwood Shrine?!"

Wald-Minish 9: „Der Wald-Shrein ist schrecklich! So viele Monster!" DT/EQ: „"The Forest-Shrine is terrible! So many Monsters!" OE: "That's a scary place! Evil spirits are living there!"

Festa: „Im Tyloria-Wald tauchen plötzlich viele Monster auf. Außerhalb der Stadt ist es wirklich gefährlich. Zahlreiche Minish wurden verletzt und haben ihre Häuser verloren." DT: „In (the) Tyloria-Forest emerged suddenly many Monsters (x). Beyond the city is it really dangerous. Numerous Minish were injured and (x) their homes lost." EQ: "Many Monsters suddenly emerged in Tyloria-Forest. It's really dangerous beyond the city. Numerous Minish were injured and lost their homes." OE: "It's true. Evil spirits have recently returned to the Minish Woods. Some Picori have been hurt or had their homes destroyed." (NOTE: „auftauchen".)

Link: „Dann muss ich erst recht gehen! Ich werde sie mit dem Schwert meines Opas schlagen!" DT: „Then must I above all go! I will them with the Sword (of) my Grandpa defeat/smite!" EQ: "Then, I must go above all else! I'll defeat/smite them with my Grandpa's Sword!" OE: "All the more reason to go! I'll defeat the spirits with my Grandfather's Sword!"

Festa: „Du bist jetzt wie wir Minish. Allein der Weg zu uns war sicher gefährlich..." DT: „You are now how we Minish. Alone the way to us was certainly dangerous..." EQ: "You are now like us Minish. The way to us alone certainly was dangerous..." OE: "But you're the same size as a Picori now. In small form, won't they just beat you up too?"

Link: „Für einen Mann gibt es immer einen Moment, in dem er alles geben muss!! Das hat mir Opas gesagt! Daher werde ich gehen!" DT: „For a man there is always a moment, in the he all give must! That (x) (to) me Grandpa said! Therefore will I go!" EQ: "For a man, there's always a moment where he must give his all! Grandpa said that to me! Therefore, I will go!" OE: "It may be dangerous, but there are times when a man has to do what a man has to do!! That's what Grandfather taught me! So I'm going!"

Festa: „Gut. Folge mir." DT/EQ: „"Good/Well. Follow me." OE: "I see. Okay. I'll be your guide."

Wald-Minish 9: „Link, nicht! Geh nicht!!" DT: „Link, not! Go not!!" EQ: "Link, don't! Don't go!" OE: "No, Link! Don't go!"

Festa: „Hier ist der Wald-Shrein." DT/EQ: „"Here is the Forest-Shrine." OE: "This is Deepwood Shrine." (NOTE: Name's the same, from the game, that is.)

Link: „Danke, Festa!" DT/EQ: „"Thanks, Festa!" OE: "Thanks, Festari!"

Festa: „Pass bitte auf." DT: „Careful please (x)." EQ: "Please be careful." OE: "Be careful." (NOTE: „aufpassen".)

Toneffekte: „Stille..." DT/EQ: „"Silence..." OE: "TOTAL SILENCE"

Link: „Ziemlich dunkel!" DT/EQ: „"Pretty dark!" OE: "It's pitch-dark!"

Ezelo: „Ähem... Keine Angst, ich bin bei dir." DT: „Ahem... No fear, I am with you." EQ: "Ahem... Don't be afraid, I am with you." OE: "You got nothin' to worry about! I'M with you!"

Ezelo: „So... Dann geh du vor!" DT: „So... Then go you forward/ahead!" EQ: "So... You go ahead, then!" OE: "So just get on in there, slugger!"

Link: „Ach, ich lass dir gerne den Vortritt." DT: „Oh, I let you glady the right-of-way." EQ: "Oh, I'll gladly let you go first." OE: "Ehhh... Why don't YOU go first!" (NOTE: Slightly idiomatic-ish... Also, neither version remembered that Link called Ezlo "senpai" here in the original Japanese version.)

Ezelo: „Dabei warst du vorhin so großmäulig!" DT: „Yet were you earlier so loud-mouthed!" EQ: "Yet, you were so loud-mouthed earlier!" OE: "What's wrong? You sure TALKED like a tough guy earlier!"

Link: „Ach, deine Stimme zittert ja. Du hast also auch Angst!!" DT: „Oh, your voice shakes indeed/yes. You have so also fear!!" EQ: "Oh, yeah, your voice is shaking. You're scared, too!!" OE: "YOU'RE the one who wants to lead! Are YOU scared?!" (NOTE: Idiomatic.)

Ezelo: „Dann gehen wir eben zusammen..." DT: „Then go we just together..." EQ: "Then, we'll just go together..." OE: "This is dumb. Let's go TOGETHER."

Link: „Gut, dann... ...los!" DT/EQ: „"Good/Well, then... ...Go!" OE: "R-Right... ...Here we go!"

Toneffekte: „Platsch" DT/EQ: „"Splash" OE: "SPLOOSH"

Link: „Wasser?" DT/EQ: „"Water?" OE: "Water!"

Ezelo: „Pass auf, was unter dir ist." DT: „Careful (x), what under you is." EQ: "Be careful of what's under you." OE: "Be careful where you step!"

Toneffekte: „Platsch platsch fst..." DT/EQ: „"Splash splash fst..." OE: "Splish splosh bloop"

Toneffekte: „Popp popp popp popp" DT/EQ: „"Pop pop pop pop" OE: "Bloop bloop bloop bloop"

Toneffekte: „Gro gro gro gro gro" DT/EQ: „"Gro gro gro gro gro" OE: "RRUMMBLE"

Ezelo: „Die Gegner haben uns bemerkt, Link." DT: „The opponents (x) us noticed, Link." EQ: "The noticed us, Link..." OE: "I think they know we're here, Link."

Toneffekte: „WATSCH" DT/EQ: „"WADDLE" OE: "PLOOP"

Link: „Riesige Schnecken!!" DT/EQ: „"Huge snails!!" OE: "Gi-Giant slugs!"

Link: „Die sind widerlich!" DT/EQ: „"They are disgusting!" OE: "Ick! Gross!"

Toneffekte: „Plopp plopp" DT/EQ: „"Plop plop OE: "Ploop ploop"

Link: „Uff, was ist das?!" DT/EQ: „"Ugh, what is this?!" OE: "Whoa! What're these?!"

Ezelo: „Riesige... Bambussprossen? Link, hack sie weg!" DT/EQ: „"Huge... Bamboo-sprouts? Link, hack them away!" OE: "Giant bean sprouts. Cut 'em down, Link!"

Link: „Hier! Yah!!" DT/EQ: „"Here! Yah!!" OE: "Hyah! Yaah!"

Toneffekte: „DOSCH ZASCH" DT/EQ: „"Dash slash" OE: "SLASH SLICE" (NOTE: KERSLICEAH!)

Link: „Sie wachsen immer wieder neu?!" DT: „They grow always again new?!" EQ: "They're growing back again?!" OE: "As quick as I cut, they grow back!" (NOTE: IDIOMSEAH!)

Ezelo: „Beeil dich! Die Schnecken sind gleich da!!" DT: „Hurry yourself! The snails are right there!!" EQ: "Hurry up! The snails are right there!!" OE: "Hurry! A Sluggula!"

Link: „Endlich!!" DT/EQ: „"Finally!" OE: "We made it!"

Toneffekte: „Hah hah" DT/EQ: „"Hah hah" OE: "Huff wheeze"

Ezelo: „Da ist eine Gravur! Ein Relief." DT/EQ: „"There is an engraving! A relief." OE: "Look! A carving! It's a relief."

Link: „Ist das etwa das Erd-Element?!" DT/EQ: „"Is that thing the Earth-Element?!" OE: "Is THAT the Earth Element?!"

Ezelo: „Nein, ist es nicht. Aber ein altest Emblem der Minish." DT: „No, is it not. But an old emblem (of) the Minish." EQ: "No, it's not. But an old emblem of the Minish." OE: "No, it's an old symbol.. ...Representing the Picori World."

Link: „Du weißt ja alles, Ezelo." DT: „You know indeed everything, Ezelo." EQ: "You know everything, indeed, Ezelo." OE: "Ezlo, you sure know a lot."

Ezelo: „Ähem... Ich erzähl dir alles, wenn du Ratschläge brauchst! Wenn auch nur ungern." DT: „Ahem... I tell (to) you everything, if you advice need! If also only reluctantly." EQ: "Ahem... I'll tell you anything, if you need advice! If only reluctantly." OE: "Mm-hmm! If there's anything you need to know, just ask me... ...I'll help you out!"

Link: „Was soll das?!" DT: „What should that?!" EQ: "What was that?!" OE: "You're kinda clueless for a hero." (NOTE: ...I'm not kidding. EZLO has Link's speech-bubble in the English version. BE CONSISENT, DARNIT.)

Toneffekte: „Zuck zuck" DT/EQ: „"Twitch twitch" OE: "Twitch twitch"

Toneffekte: „WOSCH" DT/EQ: „"WHOOSH" OE: "SPROING"

Toneffekte: „Boff boff boff WAFF" DT/EQ: „"Boof boof boof WAFF" OE: "SPROING POP SPROING WHOOMPF"

Link: „Pilz-Monster...?!" DT/EQ: „"Mushroom-Monsters...?!" OE: "M-Mushroom monsters?!"

Link: „Igitt, Stinkepulver?" DT/EQ: „"Yuck, stinky powder?" OE: "What's this stinky powder?!"

Ezelo: „Das sind Giftsporen! Atme sie nicht ein!" DT: „Those are poison-spores! Breathe them not (x)!" EQ: "Those are poison-spores! Don't breathe them in!" OE: "A cloud of poisonous spores! Hold your breath!"

Toneffekte: „Flapp" DT/EQ: „"Flap" OE: "Whoosh"

Link: „Jah!!" DT/EQ: „"Yah!!" OE: "Hyah!"

Link: „Mein Schwert wirkt nicht!!" DT: „My Sword works not!!" EQ: "My Sword's not working!!" OE: "My Sword is useless!"

Toneffekt: „BOINK" DT/EQ: „"BOINK" OE: "BLOING"

Link: „Ich bekomme keine Luft...!" DT: „I receive no air...!" EQ: "I can't breathe...!" OE: "I c-can't breathe..." (NOTE: Idiomatic.)

Ezelo: „Halt durch, Kindchen!!" DT: „Hold through, kiddo!!" EQ: "Hold on, kiddo!!" OE: "Hey, boy! Hang in there!"

Ezelo: „Wenn du stirbst... ...sterbe ich auch!" DT: „If you die... ...die I also!" EQ: "If you die... ...I'll die, too!" OE: "If you get killed... ...I'll be killed too!"

Ezelo: „Bitte nicht! He, zeig deinen Elan!!" DT: „Please not! Hey, show your vigour!!" EQ: "Please don't! Hey, show your vigour!!" OE: "And THAT can't happen! Get up! Show some grit!"

Toneffekte: „Kitzel kitzel" DT/EQ: „"Tickle tickle" OE: "Peck peck"

Festa: „Los!!" DT/EQ: „"Go!!" OE: "Let's go!"

Toneffekte: „SAUS" DT/EQ: „"WHIZ" OE: "Zzwip"

Link: „Huch? Minish?!" DT/EQ: „"Huh? Minish?!" OE: "The Picori?!"

Toneffekte: „Klick Knirsch KULLER" DT/EQ: „"Click grind RUMBLE" OE: "Klik Kchunk... PLOP"

Toneffekte: „Flutsch" DT/EQ: „"SLIP" OE: "THUD"

Ezelo: „Wäh! Hilfe!" DT/EQ: „"Wah! Help!" OE: "I... I can't breathe!"

Link: „Ein Topf?!" DT/EQ: „"A Jar?!" OE: "A jar?!"

Toneffekte: „Plopp" DT/EQ: „"Plop" OE: "Op"

Wald-Minish 8: „Link! Richte den Topf auf die Pilze!!" DT/EQ: „"Link! Point the Jar at the Mushrooms!!" OE: "Turn the jar toward the mushrooms!"

Toneffekte: „Schrooooh SAUG!" DT/EQ: „"SWOOOSH SUCK!" OE: "HWOOOO FHWOOM"

Link: „Wahnsinn! Er hat alle Sporen eingesaugt!!" DT: „Madness! It (x) all spores sucked-in!!" EQ: "Madness! It sucked in all the spores!" OE: "All right! It sucked in all the spores!"

Wald-Minish 8: „Ein Zaubertopf! Der Schatz unserer Ahnen!" DT/EQ: „"A Magic-Jar! The treasure (of) our ancestors!" OE: "It's a Magic Jar! It's a treasure that our ancestors made!" (NOTE: I love how neither version caught the fact that "Magic Jar" is literally just the original Japanese name for the Magischer Krug/Magic Jar/Gust Jar. German tried to... But used „Topf" instead of „Krug"...)

Toneffekte: „Sst sst sst SCHRRRRRRR" DT/EQ: „"Sst sst sst SCHRRRRRRR" OE: "Rustle rustle rustle Fwaaaa"

Ezelo: „Das ist das Erd-Element!!" DT/EQ: „"This is the Earth-Element!!" OE: "It's the Earth Element crystal!" (NOTE: ERD-ELEMENT ERHALTEN.)

Wald-Minish: „Hurra!!" DT/EQ: „"Hurray!!" OE: "All right!!"

Toneffekte: „Hurrah! Hurrah!!" DT/EQ: „"Hurray! Hurray!!" OE: "Yippee! Hurray!" (NOTE: THE MINISH ARE PRECIOUS AND MUST BE PROTECTED.)

Festa: „Du schlägst die Monster und erhälst das Erd-Element... Grandios! Der Mut der Menschen ist unglaublich!" DT/EQ: „"You defeated/smote the Monsters and received the Earth-Element... Magnificent! The courage (of) the humans is unbelievable!" OE: "Defeating those evil spirits and getting the Earth Element... Wow! Hyrulean courage truly is incredible!"

Link: „Euer Mut ist auch nicht übel! Ihr habt mir geholfen, obwohl ihr Angst hattet!" DT: „Your courage is also not bad! You all (x) (for) me helped, although you all fear had!" EQ: "You courage isn't bad, either! You all helped me, although you were all scared!" OE: "You were pretty brave too! You were scared, but you helped out anyway!"

Festa: „Ja, wir haben vor Angst gezittert. Aber..." DT: „Yes, we (x) with fear shook. But..." EQ: "Yes, we shook with fear. But..." OE: "I certainly WAS scared. My legs were shaking. But..."

Festa: „...euch Menschen zu helfen, ist uns eine Freude!" DT: „you humans to help, is us a pleasure!" EQ: "...helping you humans is a pleasure to us!" OE: "...Helping people is our purpose." (NOTE: ...WAS SOLL ICH SAGEN? HE, VOLL GERNE.)

Festa: „Nun, ich bin... ...der Menschen-Fan des Dorfes. ♥" DT/EQ: „"Well, I am... the human-fan (of) the Village. ♥" OE: "To tell you the truth... ...I'm a huge geek for the world of people! ♥"

Container: „Knöpfe-Sammlung" DT/EQ: „"Buttons-Collection" OE: "Button Collection"

Buch 1: „Modemagazin" DT/EQ: „"Fashion-Magazine" OE: "Illustrated Fashion Guide"

Buch 2: „Hyrule-Touristenführer" DT/EQ: „"Hyrule-Tourist-Guide" OE: "Atlas of Hyrule's Out-of-the-Way Spots"

Festa: „Ich musste vor Rührung weinen... Deine Courage und Freundlichkeit! Und neue, scharfe Klamotten!" DT: „I must before emotion cry... Your courage and friendliness/kindness! And new, sharp clothes!" EQ: "I cried with emotion before... Your courage and friendliness/kindness! And new, sharp clothes!" OE: "Just being near you... ...Brought tears to my eyes before! Your courage! Your kindness! Your sense of fashion!"

Festa: „Du bist so menschlich in jeder Hinsicht!!" DT/EQ: „"You are so human in every regard!!" OE: "Everything about you is SO Hyrulean I can barely stand it!"

Toneffekte: „Funkel funkel" DT/EQ: „"Sparkle sparkle" OE: "Sparkle sparkle"

Link: „So nun auch wieder nicht..." DT: „So now also again not..." EQ: "I wasn't all that..." OE: "No, I'm really not THAT great!" (NOTE: Idiomatic...)

Festa: „Das Wald-Minish sind so konservativ..." DT/EQ: „"The Forest-Minish are so conservative..." OE: "Styles around here are so last century!"

Toneffekte: „Haach." DT/EQ: „"Haaah." OE: "Huff"

Link: „Ja? Sie sind schön schlicht." DT/EQ: „"Yes? They are beautifully simple." OE: "I dunno. They're kinda charming and rustic."

Festa: „Sie tragen seit Tausenden von Jahren dasselbe! Aber bei der Mode sind Trends wichtig!" DT: „They wear since thousands of years (the) same! But with the fashion are trends important!" EQ: "They've worn the same thing for thousands of years! But with fashion, trends are important!" OE: "Their clothing hasn't changed in a thousand years! When it comes to fashion, trends are important!"

Toneffekte: „Klatsch klatsch" DT/EQ: „"Clash clash" OE: "Wap wap"

Festa: „Jetzt habe ich mich entschieden. Ich hatte nur keinen Mut... Ab heute..." DT: „Now (x) I me decided. I had only no courage... From/as of to-day..." EQ: "Now, I've decided. I just had no courage... As of to-day..." OE: "I've reached a decision. I didn't have the courage before... ...But starting today..."

Toneffekte: „Flop flop" DT/EQ: „"Flop flop" OE: "Toss toss"

Festa: „...bin ich der modischste Minish des Dorfes!!" DT: „...am I the (most) fashionable Minish (of) the Village!" EQ: "...I am the most fashionable Minish of the Village!" OE: "...I'm gonna be the Village's most fashionable Picori!"

Mode 1: „Blondiert und gegelt." DT/EQ: „"Bleached and gelled." OE: "Dyed brown and spiked"

Toneffekte: „YEEEAAH!" DT/EQ: „"YEEAAH!" OE: "YEEEEAH!"

Mode 2: „Sein Schatz: Jeans-Hose." DT/EQ: „"His treasure: Jean-pants/trousers." OE: "Favourite jeans"

Toneffekte: „Auf einem Pilz." DT/EQ: „"On a mushroom." OE: "Mushroom"

Mode 3: „Sammelt gerne T-Shirts." DT: „Collects gladly T-Shirts." EQ: "Gladly collects T-Shirts." OE: "Huge T-shirt collection"

Ginsta: „Besuche einen Mann namens Melta im Gongol-Berg, wenn du das Schwert reparieren willst." DT: „Visit a man named Melta on (the) Gongol-Mountain, if you the Sword repaired want." EQ: "Visit a man named Melta on Gongol-Mountain, if you want the Sword repaired." OE: "If you would have the sacred Sword repaired, visit a man named Melari."

Wald-Minish 13: „Festa ist verückt!!" DT/EQ: „"Festa is crazy!!" OE: "Festari's getting weird."

Festa: „Breaken auf dem Pilzkopf." DT/EQ: „"Break-dancing on the mushroom-head." OE: "The mushrooms and I can breakdance!" (NOTE: ...Break-break-breakdance, here we go-oh-oh!)

Ginsta: „Er lebt dort, um seine Metallschmiedekunst zu perfektionieren. Er wird dir sicher helfen." DT: „He lives there, in order his metalworking-arts/skills to perfect. He will (to) you certainly help." EQ: "He lives there in order to perfect his metalworking-arts/skills. He will certainly help you." OE: "He lives on Mount Crenel, perfecting the metallurgical arts. I'm sure he will help you."

Ezelo: „Danke, Ältester." DT/EQ: „"Thanks, Elder." OE: "Thank you, Elder!"

Link: „Tschüss, Festa!" DT/EQ: „"Bye, Festa!" OE: "Bye, Festari!" (NOTE: I love how casual German Link is being by saying „Tschüss" instead of any variant of „Auf Wiedersehen".)

Ezelo: „Was lachst du, Kindchen? Du wärst fast getötet worden. Hast du keine Angst?" DT: „Why laugh you, kiddo? You (x) almost killed were. Have you no fear?" EQ: "Why are you laughing, kiddo? You were almost killed. Aren't you scared?" OE: "Why are you grinning, boy? Last time... You almost died! Aren't you SCARED?"

Link: „Das ist so spannend!! Wenn ich klein bin.. ...ist alles ein großes Abenteuer!" DT: „This is so exciting! When I small am... ...is everything a big adventure!" EQ: "This is so exciting! When I'm small... ...everything's a big adventure!" OE: "This is all so exciting! When you're small... ...EVERYTHING is a big adventure!"

Link: „Okay, weiter geht's! Auf zum Gongol-Berg!!" DT: „Okay, further go (let's)! On to (the) Gongol-Mountain!!" EQ: "Okay, let's go on! Onto Gongol-Mountain!" OE: "So on to the next one! Mount Crenel!!" (NOTE: Gongol-Mountain/Mount Crenel retained its name. Yup.)

Ezelo: „He he! Nicht so schnell, lass mich nicht fallen!" DT: „Hey hey! Not so fast, let me not fall!" EQ: "Hey, hey! Not so fast; don't let me fall!" OE: "Hey! Whoa! Don't forget I'm up here!"

Ezelo: „Na, aus dem kann noch was werden..." DT: „Well, out the can still what become..." EQ: "Well, something can come out of this." OE: "I wonder what trouble we'll land in next."

[zach-the-fox]

Furiends Episode 8: From the Ashes

Deep under the city of Heroto lies a network of subway lines that connects the town to many others. However, one station is an old line that has not been used for years, until now. The gang have all made themselves cozy in the abandoned underground station, which still has a train parked at it. Carly and Emmy make it through the gates and down to the platform, hauling packs of things they took from the surface, where they stop in amazement as they see the abandoned station looks as if it’s well-kept and functional.

“Whoa.” Emmy scans the entire place as she and Carly walk in. “This all looks amazing! Like before it all became creepy and eerie… Seems better.”

“You can thank Zach and Brook,” Hatboy tells them. “They were the ones who spent some time cleaning and fixing things. In the meantime, I’ve been busy searching around and collecting things for our use.”

“Like what?” asks Carly.

“Oh, some weapons. Every superhero has tools to fight with besides their powers, right? Check out mine!” Hatboy displays a belt set around his waist with various items such as toilet cakes and a plunger.

“Oh wow,” comments Emmy. “The bad guys will be deathly afraid of you for sure. What are you going to do? Spray them with toilet water and then flush them down?” Carly snickers.

The red rabbit puts his paws on his hips. “Well, do you two think you can do better? Hm? This is all that I could find.”

“If we’re going to be our own hero team, we’re going to need top equipment. Something more enhanced than a plunger and toilet cakes.”

“Team Rescuers has some fancy gadgets,” adds Zach. “It would be cool if we had incredible tools like what they have.”

“Why think about it?” says Brook. “We could go up top and steal everything from them! It’ll also teach those Team Rescue-jerks not to mess with us!”

“That would be difficult. We’d have to sneak into their base and disable their alarms system.”

“You know about their base?” asks Hatboy.

“I hung out with them for a few years. You pick up some things.” The gang start walking into the subway car. Carly sketches in her sketchpad while Emmy works away on a laptop. Zach approaches the warthog and stands next to her. “Hey, what are you doing?”

Emmy keeps her eyes fixed on the screen. “I’m doing a little bit of research into the news reports about the laboratory and the orphanage bombings. However, in the past few days, there have been more articles about explosions, attacks, fires, and so forth.”

“And let me guess,” butts in Hatboy. “Everyone’s pinning it all on us?”

Emmy nods. “Pretty much… They all say how dangerous we are, Team Rescuers is searching to put us in jail, and some are even saying we’re working with Capital Corp as their allies…”

The purple bunny sighs. “Man, it’s one thing to be hated, but to be blamed for every little thing, even if you didn’t do it…?”

“Yep,” Zach spurts. “I’ve lived that way for my whole life, pretty much… It’s not easy.”

“Why would Team Rescuers make up all of these lies about us?” Carly asks. “First, they abuse Zach, then they make us the enemy for befriending him and helping him… I mean, are these people really that dumb?!”

“People will believe any stupid thing,” Brook implies. “If you have a source that’s realistic, everyone will think that way.”

“And you are right about that, my child,” a voice from the shadows nearby speaks. The gang freezes, turns to the corner, and notices a robed figure. “Somebody has taken information of you all and has made false allegations about you. The people of Heroto have been convinced by this other source, but it is all lies and made-up stories.”

“W-who are you?” Carly queries. “A-and how did you find us?! A-are you here to rat us out and tell all of Heroto where we are?” The figure shakes their head.

“Wait, I know you…” Zach steps forward. “You were my aide… Back when I was in the orphanage… I am glad to see you…”

“I am glad to see you again, too, Young Zach. However, I am not here for a personal visit. I have been following your case after you’ve been evicted, and someone else has been, too.”

“What? You mean… someone’s been spying on me… On us?”  They nod. “Are they the ones behind the attacks and making us look bad?”

“Indeed. And they have ties with Team Rescuers, making it even easier for them to set you up. They have been formulating plans with them to do this.”

“Who’s behind all of this?”

“I’m afraid I cannot say anymore. I will say it is someone who knows you… You and your friends should watch yourselves. If you are not careful, they will get you. I must leave, for I have more pressing matters to attend to. Farewell, Zach and friends. I wish you the best of luck.” The figure disappears within the shadows by backing up.

“Someone from Zach’s past has been onto us…?” Hatboy spurts. “Who?”

“I don’t know,” Zach responds. “But I’m tempted to find out… We need to get to the bottom of this… We need to find out who’s been behind the attacks and framing us… It has to be someone who hates us very much…”

Carly looks up at the fox. “Well, Team Rescuers pretty much despise us right now, and it’s possible they could be the ones carrying out the strikes on the city. They could be doing it all in the shadows and then coming in to “save the day”. They could be frauds!”

“That actually might be the case,” Emmy says. “However, we need to be sure that it’s truly what they’re doing.”

“So, what do we do?” asks Brook. “I’m sensing a plan to break into Team Rescuers’ base, stealing all intel on them, as well as their gadgets, and then we convince the people of Heroto they’ve made a mistake.”

Emmy smiles. “That’s exactly what we’re going to do! Sneak in, search for anything Team Rescuers has on the attacks, and then tell everyone in Heroto who the real villains are!”

“It’s a good plan,” adds Hatboy. “But, how are we going to get into Team Rescuers’ base without anyone knowing where we are? Team Rescuers, as well as the whole town, has a bounty on our heads and they’re sniffing around every corner to look for us. What’re we going to do about that?”

“Perhaps we can help you with that,” utters a voice. The gang turn and flinch to the source of the voice and notice a group of four animals emerge from the shadows where the figure had appeared. The four animals reveal to be a raccoon, blonde-haired mouse in a red dress, a bat, and a chipmunk.

“My god…” Zach takes a step back in shock. “Capital Corp! Roger Raccoon, Charlie Chipmunk, Bella Bat, and Anne the Mouse…” The others get into ready stances and stick together. “What do you all want?”

“Relax, Hon,” Bella states. “We’re not here to hurt you or rat you out. If anything, we’d like to call an accord and help you out.”

Carly narrows one eye. “Help us out? What…?”

“Look,” Anne begins. “We understand you don’t trust us, and think this is some joke, but we’re actually telling you we can help.”

“Yeah right,” Brook tells them. “You think we actually believe you? How do we know you’re not going to backstab us?”

“Those Team Rescue-jerks have been thorns in our sides for so long,” Charlie responds. “They always beat us, attack Buscity, and hurt other people. And now, with what you guys have experienced, it’s only appropriate we should work together to defeat the enemy we share…” The gang become hesitant.

“We’re not asking for much, Kids,” Bella explains. “You don’t even have to pay us a penny. Crushing Team Rescuers is good enough for us as is.” The friends look to each other and exchange whispers before coming to an agreement and looking back to Capital Corp.

“Very well,” Zach begins. “We’ll employ your help. Under certain conditions.” The four ask what it is. “First, we ask that you keep all of this a secret. Tell no one, not even your boss, about the secrecy of our new pad and our identities. Second, once Team Rescuers are defeated, we want you to keep peace between Heroto and Buscity, ending our conflicts. Third, anything that Team Rescuers own will go to us for the future of our organization. All of you understand?” Capital Corp all agree to the terms. “Thank you. Now, we’ve been planning on infiltrating Team Rescuers’ base for intel and weapons. If we’re going to get into their command center, we’re going to need to distract them, and the town, luring them away so we can get in without being seen.”

“A distraction, you say?” asks Roger. “That should be easy enough with me and Bella. We’ll make sure Team Rescuers stay as far away as possible and keep them occupied. Anything else?”

“We’ll need to enter in their base and avoid the security system,” Emmy adds. “Anything tripped could sound alarms.”

“You leave that to me and Charlie,” Anne tells them. “We can get that security system disabled quickly and quietly.”

“That should be it,” Zach says. “We can take care of the rest from there. I know Team Rescuers’ base well enough to search for anything valuable.”

“Get your backpacks and gear ready,” Emmy orders. “We set out in a few hours.”

@carlycmarathecat​   @emmy-the-absolute-goof​ @bendy-bear-15​

[palmtreepalmtree]

I’m procrastinating some shitty work I have to do so here I am again with another edition of The Worst Movie on Netflix™!

So, I’m not gonna lie.  I totally let down @casskaykingston​ when I promised there would be more Christmas Netflix reviews.  I got pretty tied up with the holidays and then once Christmas was over it felt besides the point.  So as a sincere apology, I will try to deliver this non-Christmas review in the same spirit, and hopefully some fun will be found.  No guarantees though.  Cause, this one is a complete what the fucking fuck?

Today’s review is of the film,

Treasures from the Wreck of the Unbelievable.

Now, if you’ve heard of this film, you probably know everything I’m about to say.  If you haven’t---well then come along on this ride with me, friend!

This review is eventually going to be very spoilery.  So if you think you might want to torture yourself by watching this film, then by all means, don’t read this review.  I mean, don’t watch it.  I’m telling you not to watch it.  But whatever, you do you.  Or if you’ve got better things to do with your time than I do, buckle up bucko, cause this one is a ride.

So picture this: it’s midnight, I can’t sleep, and I’m looking for something quiet and relaxing to fall asleep to.  I’m searching Netflix, as one does, and eventually see this title.  Naturally, an hour and 22 minutes of under-the-sea footage seemed pretty appealing.  Plus, I swear the description said something about an underwater mystery---so I was hooked.

The film is in a documentary style, telling a pretty simple story of a dive team’s efforts to recover potentially ancient treasures found off the coast of East Africa.  There are talking heads---researchers and art historians---and there’s this quiet music that plays throughout the underwater footage.  The whole thing is pretty relaxing, to be honest.

I wasn’t paying much attention when I hit the play button, but it was pretty early on that I knew for certain that this was a mockumentary and not a documentary.  First of all, where in East Africa was this all happening?  I don’t know if you know this guys, but it’s a pretty fucking big continent.

Second, as the dive team starts finding more and more elaborate treasure, they seem pretty low key about it.  If it was real, it would be one of the most priceless finds in history, so their muted enthusiasm, especially as they start bringing up item after item of solid gold objects, is decidedly weird.  Haven’t they ever seen Goonies?  This is not how you act.

Plus, the treasure trove is like a fucking world antiquities garage sale.  It includes artifacts from civilizations across the globe including an image of the Buddha, an image of Kali, something that looks like it’s Mayan or Incan, something from ancient Egypt, and so and on so forth.  Now I’m no art historian, but none of these objects look particularly right for their alleged time periods either.  

Also, there wasn’t much of a mystery to the story.  Like yeah, the researchers are looking for records of such a ship, one packed full of riches that went down, but there doesn’t really seem to be much urgency behind it.  Eventually, they come up with some mythological story to explain it---a freed slave named Cif Amotan II who amassed a fortune that was allegedly lost.  Yes, and?  Now remember that name, Cif Amotan II, cause I’m going to come back to it.

But in general, THAT’S IT.  That’s the story.  What follows is just really calm music, images of divers unearthing small to enormous artifacts, and eventually images of the pieces in the exhibit where they’ll be shown to the public.  Oh, and don’t let me forget to include questionable images and interviews with local villagers (with entirely unnecessary subtitles since they are in fact speaking English) wondering what the fuck is going on out there.

Here’s the thing---I have failed to mention what eventually came to be a pretty important piece of this weird puzzle of a snoozer of a mockumentary.  Occasionally they cut to the person who is financing this dive, an artist known as Damien Hirst.

Now, if you know who this is, you might already be rolling your eyes.  I did not.  It wasn’t until I had reached the final frame of the movie that I was like WHAT THE FUCKING FUCK :

If you’re having trouble making that out, that’s an under water statue of what is obviously intended to be Mickey Mouse.  Let me repeat, WHAT THE FUCKING FUCK?

So, I do a little research.  Turns out Damien Hirst is some fucking mucky muck in the art world.  And this little mockumentary was created in some sort of collaboration with a new art show he did in 2017.  Here’s some of the reviews:

“A Disastrous Damien Hirst Show in Venice” by Andrew Russeth for ArtNews

“Damien Hirst’s Shipwreck Fantasy Sinks in Venice” by Tiernan Morgan for Hyperallergic

“Damien Hirst: Treasures from the Wreck of the Unbelievable review -- beautiful and monstrous” by Laura Cumming for the Guardian [a considerably more glowing review than the others]

So what had I just watched?  I spent an hour and 22 minutes watching an art show catalog.  

Guys.  Guys.  GUYS.  WHAT.  WHY.  I HATE EVERYTHING.

And guess what.  Remember how the whole treasure was supposed to belong to some freed slave named Cif Amotan II.... have you figured it out yet?

I AM FICTION.

IT’S NOT EVEN CLEVER.  You got beat by JK, by like a fucking decade, you bleeding numpty.  FUCK.

So apparently this art show was like one of the largest ever to large.  Like it was massive.  Two museums full of works.  And in addition to these giant colossus-like pieces that appeared to have been raised from under the deep, the exhibition also included tongue-in-cheek references to its own foolishness---like this one:

Ultimately, the point of this appears to be some sort of play on what is real, I guess, I don’t know.  Like, if you want to know what the fuck this guy actually thought he was doing, just read the damn review from the Guardian, because she seems to have some idea what is going on and actually liked it.  I, personally don’t give a fuck.  Cause ultimately, this thing put me to sleep like a charm.  Like it took me three tries to get to the end cause I kept falling asleep.  

CERTIFIED GOLD STAR: The Worst Movie on Netflix™!

[schmuckubus]

THAT’S IT I am FUCKING SICK of the slander I see leveled at my boy Stuart on a regular basis so I will take the precious minutes of my life required to defend his honour. First allow me to address the allegation that Stuart is some silver spoon sucking aristocrat who never had to work for what he’s got. Little Stu’s parents fucking DIED in a tragic supermarket soup can accident when he was but a wee bald babe and he spent a major portion of his formative years stuck in an orphanage. He had NO FRIENDS because he was a little mouse and NOBODY WOULD ADOPT HIM because he was a little mouse. Remy experiences prejudice from humans sure, but ones who have no grasp of his sentience or intellect. The population of NY SAW this little talking cardigan-wearing sweetheart and spurned him regardless. Stuart remained stalwart through years of this full-intentioned abuse until the Littles, the decent enlightened people they were, saw him for the wonder he was and gave him a home, a beautiful and somewhat opulent home for certain, but one that he had suffered for. Remy meanwhile grew up in an enormous family AND had parents, or at very least his father, for his entire childhood. HE spurned HIS family, for understandable reasons of culinary ignorance within his culture, but despite this they were ALWAYS behind him even when he was bein a catty little bitch. It was, in fact, his own selfish acts that brought the wrath of the old shotgun lady down on his clan and forced their exodus. Secondly, actin like Remy’s masterful talents with food and street-smarts automatically put him above Stuart? Get real. Stuart almost dies on a regular basis, he had the fortitude to survive bein swooshled around in a washing machine, could YOU do that? Bitch I could not. He enters a boating race, during which an evil child ACTIVELY tries to fucking kill him and not only does he survive that ordeal he fucking wins and also sinks the little bastards boat. And he’s so fucking nice and polite the whole time, that is STONE COLD. Not even a slick kitty cat street gang has the stones to put my man to bed, he fucking trumps all comers. He kills a big fucking falcon. I don’t remember what else happens in that movie but he fucking kills the falcon and I remember that guy was a real bad bird. Stuart has nice stuff and he lives well but he covets nothing and is willing to sacrifice his car, his plane, whatever just to help the people he cares about. He has GOOD MANNERS and that shit counts. Remy is selfish and rude to pretty much everyone, and at no point does he fight or kill anyone. I get that he’s had it rough and I know he learns and matures and I respect him for that I am not shitting on Remy he is a great rat and he makes a mean STEW but y’all gotta face facts. Stuart is a survivalist wunderkind, which brings me to my final point. Stuart Little is a CHILD, Remy is a GROWN MAN RAT and Stuart STILL has the edge. It has nothing to do with Remy being gay, gay people can fucking dish out slaps with the best, honestly Stuart could just as likely be gay I mean he is a child and he needs the time and space to develop and figure things out for himself I’m just saying the sweaters? It’s a strong possibility. It doesn’t matter. Stuart doesn’t have the mass or the access to knives that Remy has but in my heart of hearts I know he’d find a way to fuck up his day. I don’t know where all the Stuart Little hate has come from these past few years but honestly it doesn’t matter. Stuart has lived his whole life with the prejudice of fickle humans and it doesn’t slow him down one bit. Stuart Little would 100% beat Remy Ratatouille in a brawl. And you know what? He’d help him up after. 

And that’s what it’s all about.

ppl in the ratatouille tag asking who would win in a fight remy or stuart little and the answer is obviously remy like hello that cardigan wearing orphan mouse had his whole life handed to him on a silver plate, meanwhile remy busted his ass every single day to support a family of 500 or so rats, most of whom were homophobic!!!!! by night he was a CHEF, a genius forced to hide his talent AND his identity . you think he wont beat that spoiled little mouse within an inch of his life if he had to?? just because hes gay???? dont make me laugh