#i am not making their walls white

[feitan-cl]

Trying to draw fanart of a ship being domestic but now i have to think of what color would their walls be :/

[rasoyas]

started as pose practice, ended in 🥺🫶

[karlachismylife]

I just know Gaz is so fucking good at rock climbing. He's just built perfectly for it, he's got the endurance, the flexibility, the grip, the core strength, the agility, the arm spread, he's not too bulky and heavy like Soap or Ghost, his height gives him quite a lot of advantages (even though sometimes there are trails for us hobbits, but mostly being tall helps). Price could probably give him a run for his money, but since I headcanon that Price has seriously fucked up his spine and joints, especially in his fingers, he might be held back by this. Also I feel like Kyle has the best endurance out of all four of them, so he does extremely well on the long ones. He's also got that magical ability to be able to take a rest at the tiniest little handle, like literally catches himself with two toes and a pinch on a non-existent bump in the rock and relaxes as if he's lounging on a beach, all muscles resting before the upcoming difficult few meters.

Also he's one of those who will climb even in slippers, just because he gotta flex like that.

No I'm not drooling over his fingers wrapped in that tape in places where he ripped calluses off, you are.

Also this was induced by a SoapGaz thought where Gaz runs Soap through some intensive training on the climbing walls and enjoys the view of all that muscle bulk flexing and rippling as Soap struggles to find his balance and makes mistakes in dispersing his weight which limits his reach. He's so tense, he can barely slur his Scottish nonsense out, sweat streaming down the dip of his spine and soaking his tank top through.

When he finally falls of the wall after reaching the top handle, his fingers are shaking and he needs Kyle's help to untie the harness knot. Wipes his forehead, leaving a white streak of magnesia stuck to the wet skin, and huffs and grumbles about how he'll still beat Kyle's PR one day.

Gaz won't let him, of course. But he won't stop Johnny from trying either, because after that he gets to massage all those sore muscles Soap didn't even know existed, and listen to him groan as he shamelessly leaks into his boxers. Because why wouldn't Soap get off the post-gym muscle strain, really. And why wouldn't Gaz enjoy watching him get painfully hard and sensitive from barely sexual touch, exploding into his mouth as soon as Kyle wraps his lips around Soap's tip.

[pixelglam]

Somewhere in New England, United States. 🌊

[meowbert-whiskers]

I guess I'm gonna get involved with the "Luis Serra is a white man" allegations because absolutely not.

He's from a remote island in Spain, right? An island no one has really heard of before in the Resident Evil universe, right? And if that we're so, that would also mean that there's little to no tourists or people moving there, right? And if all of the people there are natives, how the fuck is Luis white? (With a capital 'hwa')

Make it make sense please for the love of god.

Besides, there are thousands of different cultures just in Spain alone, so there's little doubt in my kind that Luis can't be mixed. He could be Hispanic and African. He could be partially Indigenous partially Hispanic. He could he fully Indigenous for all we know.

So why do you want to make him white so bad? It's so frustrating.

There are barely any true POC main characters in a lot of medias, including Resident Evil, so why can't you just be happy that people are getting representation?

"B-B-BUT1!1!1! SPAIN IS EUROPEAN AND EUROPEAN IS WHITE! 1!1" Erm..! Not all the time, buddy.

There are hundreds of dark skin Europeans, mixed Europeans, and even native people's from all of the different and vast countries in Europe. And guess what? You'd still consider them European.

💥

WOE, A NON WHITE MAN UPON YE!!

[mikodrawnnarratives]

The sheer CHALLENGES of being so ATTACHED to a character that WANTS to be wanted, WANTS to have her ppl, and does the most UNLIKABLE THINGS I- ITS- ITS A GOOD CHARACTER FLAW that technically only makes her a hypocrite via my interpretations of her yah yah

But it's just- MAN shes out there making the worst first impressions even with characters she'd otherwise have a lot in common with

[oceanwithouthermoon]

https://x.com/d3kutism/status/1741579841764475157?s=46

it should be illegal to be this fucking stupid so loudly and confidently omg..

mfs on the internet preach about "media literacy" yet they completely gloss over the fact that the only damn things that kusuo "canonically" is are a tsundere, an unreliable narrator, and a fucking liar LMFAOOO.. babe thats like basic reading comprehension, im sorry..

EDIT: it should go without saying not to send a person hate just because of a silly post like this one(+i dont have any reach anyway so im sure it wouldnt happen, but i wanna say this nonetheless lol) but i would just like to say that i just checked and realized that this person is 15 years old, so like... yeah, too young to be arguing with grown people on the internet. dont take this too serious or send this person hate pls lol..

[cosmogyros]

It's fucking weird how rude people are about immigration sometimes. And I don't just mean bigots being biased and stuff. I mean that, on a REGULAR basis, people ask me if I'm thinking about "going back to the US". And I'm just like... no? What do you mean "back to the US"? I live in Germany. I LIVE IN GERMANY.

I literally fucking started learning German and obsessing on German culture in high school, then I went to college in the US and majored in German Studies, including two study-abroad programs in Germany, then I moved to Germany for grad school and lived there for three years and worked in various German-speaking jobs while studying, then I had to temporarily return to the US but found a German-translation-based job at the US branch of a German company, and made a bunch of German or at least German-speaking friends in my new US city, and then a few years later I was able to move back to Germany, where I got a work visa sponsored by my employer and a full-time salaried job, and after a few more years I acquired my permanent residency, and soon I'll be applying for citizenship.

And people still sometimes ask me whether I'm considering "going back to the US". Like... dude? Would you ask a Mexican living in the US about their plans for "going back to Mexico"? That is rude as fuck.

Immigration is fucking hard. Why on earth would I have gone through all this shit just to throw it up in the air like "Oh well, never mind!"

[bitchfitch]

hello people who live in my phone. why did my computer take a dozen screenshots of the Minecraft video settings menu instead of the game while I was walking around taking pictures of the house i built? I'm sad :(

[corrupteddoodles]

something that fills me with indescribable rage is minimalism. don’t get me wrong if you want your house to be blank white with a single potted plant then go ahead and decorate it like that. not my business but please. stop painting beautiful vintage victorian houses grey. stop destroying old farmhouses because it doesn’t fit your aesthetic minimalism and farmhouse cannot co-exist. the entire point of farmhouse is that it’s supposed to look lived in. there’s supposed to be trinkets on the walls and all that. please if you want a minimalistic house just GET A HOUSE THAT WILL ACCOMMODATE THAT. STOP RIPPING OUT PIECES OF HISTORY AND PAINTING OVER THE RUSTIC RED WITH “I HAVE NO CREATIVITY” GRAY

[unimaginativebepisenjoyer99]

the satrinyavas

[soledadcatalina]

I think in general people forget harry is just as likely to embrace fascism as he is to embrace communism, moralism, and ultraliberalism because its kind of a buzzkill when all they see him as is wacky silly yaoi man to ship with kim and jean

i think that's a part of a broader discomfort white fans have in actually engaging in harry's whiteness and acting like all of his dialogue and choices reflect *their* political beliefs.

its early in the morning for me rn so im trying to find the right words for it, but i think if you take the plot device of harry's amensia at face value and that his whiteness is indicative of reflecting the default, "every man" character in regards to defining his political beliefs (in similar vein to the dumbass "disco elysium makes fun of all ideologies equally" takes), the game goes out of its way to tell you that his reputation isn't a blank slate, his whiteness informs his actions as a white cop.

also mechanically like, i dont think harry ever takes health or morale damage from the racism he encounters, even when that racism happens to kim, UNLESS you specifically have "revacholian nationhood" in which the game incentivizes you to hide your beliefs or otherwise take morale damage from your conscious choice to be fascist. i bring this up bc while i have seen discussions about what he takes damage wrt how he perceives threats to his masculinity, repressed sexuality, (which a lot i do agree with and think is fair to discuss as well), it makes me want to look at what he doesn't have a reaction like that too.

idk its just interesting to me! maybe its bc when i first played the game every time these knee-jerk racist moments happen it affected my perception of harry that i havent been able to shake since yknow?

[longagoitwastuesday]

So so indebted to u for posting those lovely illustrations from Cyrano <333 & even more so for yr tags!! I'm completely in love w yr analysis, please feel free to ramble as long as u wish! Browsing through yr Cyrano de Bergerac tag has given me glimpses of so many adaptations & translations I'd never heard of before! I'll be watching the Solès version next, which I have only discovered today through u ^_^ As for translations, have u read many/all of them? I've only encountered the Renauld & Burgess translations in the wild, & I was curious to hear yr translation thoughts that they might guide my decision on which one I buy first (not necessarily Renauld or Burgess ofc). Have a splendid day & sorry for the likespam! 💙

Sorry for the delay. Don't mind the likespam, I'm glad you enjoyed my tags about Cyrano, and that they could contribute a bit to a further appreciation of the play. I loved it a lot, I got obsessed with it for months. It's always nice to know other people deeply love too that which is loved haha I hope you enjoy the Solès version, it may well be my favourite one!

About translations, I'm touched you're asking me, but I don't really know whether mine is the best opinion to ask. I have read... four or five English translations iirc, the ones I could find online, and I do (and especially did, back when I was reading them) have a lot of opinions about them. However, nor English nor French are my first languages (they are third and fourth respectively, so not even close). I just read and compare translations because that's one of my favourite things to do.

The fact is that no translation is perfect, of course. I barely remember Renauld's, but I think it was quite literal; that's good for understanding the basics of the text, concepts and characters, but form is subject, and there's always something that escapes too literal translations. Thomas and Guillemard's if I recall correctly is similar to Hooker's in cadence. It had some beautiful fragments, some I preferred over Hooker's, but overall I think to recall I liked Hooker's more. If memory serves, Hooker's was the most traditionally poetic and beautiful in my opinion. Burgess' is a whole different thing, with its perks and drawbacks.

Something noticeable in the other translations is that they are too... "epic". They do well the poetic, sorrowful, grief stricken, crushed by regrets aspects of Cyrano and the play in general, but they fall quite short in the funny and even pathetic aspects, and that too is key in Cyrano, both character and play. Given the characteristics of both languages, following the cadence of the French too literally, with those long verses, makes an English version sound far too solemn at times when the French text isn't. Thus Burgess changes the very cadence of the text, adapting it more to the English language. This translation is the one that best sets the different moods in the play, and as I said before form is subject, and that too is key: after all, the poetic aspect of Cyrano is as much true as his angry facet and his goofy one. If Cyrano isn't funny he isn't Cyrano, just as he wouldn't be Cyrano without his devotion to Roxane or his insecurities; Cyrano is who he is precisely because he has all these facets, because one side covers the other, because one trait is born from another, because one facet is used as weapon to protect the others, like a game of mirrors and smoke. We see them at different points through the play, often converging. Burgess' enhances that. He plays with the language itself in form and musicality, with words and absences, with truths masking other truths, with things stated but untold, much like Cyrano does. And the stage directions, poetic and with literary value in their own right in a way that reminded me of Valle Inclán and Oscar Wilde, interact with the text at times in an almost metatextual dimension that enhances that bond Cyrano has with words, giving them a sort of liminal air and strengthening that constant in the play: that words both conceal and unveil Cyrano, that in words he hides and words give him away.

But not all is good, at all. Unlike Hooker, Burgess reads to me as not entirely understanding every facet of the characters, and as if he didn't even like the play all that much, as if he had a bit of a disdainful attitude towards it, and found it too mushy. Which I can understand, but then why do you translate it? In my opinion the Burgess' translation does well bending English to transmit the different moods the French text does, and does pretty well understanding the more solemn, cool, funny, angry, poetic aspects of Cyrano, but less so his devotion, vulnerability, insecurities and his pathetism. It doesn't seem to get Roxane at all, how similar she is to Cyrano, nor why she has so many admirers. It does a very poor job at understanding Christian and his value, and writes him off as stupid imo. While I enjoyed the language aspect of the Burgess translation, I remember being quite angry at certain points reading it because of what it did to the characters and some changes he introduces. I think he did something very questionable with Le Bret and Castel-Jaloux, and I remember being incensed because of Roxane at times (for instance, she doesn't go to Arras in his version, which is a key scene to show just how much fire Roxane has, and that establishes several parallels with Cyrano, in attitude and words, but even in act since she does a bit what Cyrano later does with the nuns in the last act), and being very angry at several choices about Christian too. While not explicitly stated, I think the McAvoy production and the musical both follow this translation, because they too introduce these changes, and they make Christian as a character, and to an extent the entire play, not make sense.

For instance, once such change is that Christian is afraid that Roxane will be cultured (McAvoy's version has that infamous "shit"/"fuck" that I detest), when in the original French it's literally the opposite. He is not afraid she will be cultured, he is afraid she won't, because he does love and appreciate and admires those aspects of her, as he appreciates and admires them in Cyrano. That's key! Just as Cyrano longs to have what Christian has, Christian wants the same! That words escape him doesn't mean he doesn't understand or appreciate them. The dynamics make no sense without this aspect, and Burgess (and the productions that directly or indirectly follow him) constantly erases this core trait of Christian.

Another key moment of Christian Burgess butchers is the scene in Arras in which Christian discovers the truth. Burgess writes their discussion masterfully in form, it's both funny and poignant, but it falls short in concept: when Cyrano tells him the whole discussion about who does Roxane love and what will happen, what they'll do, is academic because they're both going to die, Christian states that dying is his role now. This destroys entirely the thing with Christian wanting Roxane to have the right to know, and the freedom to choose, or to refuse them both. As much as Cyrano proclaims his love for truth and not mincing words even in the face of authority, Cyrano is constantly drunk on lies and mirages, masks and metaphors. It's Christian who wants it all to end, the one who wants real things, the one who wants to risk his own happiness for the chance of his friend's, as well as for the woman he loves to stop living in a lie. That is a very interesting aspect of Christian, and another aspect in which he is written as both paralleling and contrasting Cyrano. It's interesting from a moral perspective and how that works with the characters, but it's also interesting from a conceptual point of view, both in text and metatextually: what they hold most dear, what they most want, what most fulfills them, what they most fear, their different approaches to life, but also metatextually another instance of that tears/blood motif and its ramifications constant through the whole text. Erasing that climatic decision and making him just simply suicidal erases those aspects of Christian and his place in the Christian/Cyrano/Roxane dynamic, all for plain superficial angst, that perhaps hits more in the moment, but holds less meaning.

Being more literal, and more solemn, Hooker's translation (or any of the others, but Hooker's seems to love the characters and understand them) doesn't make these conceptual mistakes. Now, would I not recommend reading Burgess' translation? I can't also say that. I had a lot of fun reading it, despite the occasional anger and indignation haha Would I recommend buying it? I recommend you give an eye to it first, if you're tempted and can initially only buy one.

You can read Burgess' translation entirely in archive.com. You can also find online the complete translations of Renauld, Hooker and Thomas and Guillemard. I also found a fifth one, iirc, but I can't recall it right now (I could give a look). You could read them before choosing, or read your favourite scenes and fragments in the different translations, and choose the one in which you like them better. That's often what I do.

Edit: I've checked to make sure and Roxane does appear in Arras in the translation. It's in the introduction in which it is stated that she doesn't appear in the production for which the translation was made. The conceptualisation of Roxane I criticise and that in my opinion is constant through the text does stay, though.

[eachuisge-cc]

fuck it, coyote time

[hunterontheedge]

Hey I think everyone should draw their faves fat. Or at least draw a fat person once in their life bc variety is lovely to see but also do you know how fun it is. Do you have any idea. With enough practice it will be like second nature it will be fun. I do not care how much sense it makes btw :)

[puthyflapps]

Swifties prove everyday that they’re the dumbest people on the internet and that’s really saying something cuz I’ve dealt directly with blarkes