#i do not know why ive done any of this

[novaceresart]

yea

[s0fter-sin]

i need ghoap frantically making out against a door finally taking the leap on their feelings. need ghost grinding against soap, expecting to find him just as hard as him, only to feel nothing

and in all his wisdom and experience, he concludes soap was tortured and never told him

he’s trying to think of a delicate way to say he understands, that he’s been through it and it doesn’t change anything about how he feels (and who the fuck touched him so he can hunt them down and rend them limb from limb)

meanwhile trans!soap’s just trying to find the best angle to grind his cunt on ghost’s thigh

just it never even entering ghost’s head bc he’s never known a trans person but he has met plenty of people who’ve been tortured - himself included - so of course that’s his logical leap

soap takes off his shirt and he sees his top surgery scars and ghost asks if he wants him to kill the one who did it and soap just hums like, “actually, man did pretty good, they healed real well,” and ghost’s just teary-eyes with awe at how well he’s coping, “looking on the bright side, that’s my johnny.”

imagine he thinks johnny was fully castrated but sees he’s determined to still have a sex life with him so he buys packers and straps to help him bc hell yeah healing and soap’s just like, “holy shit i’ve never had such a thoughtful partner before, such a sweet man, lt.”

[puppyeared]

the shyest creature on earth dreams of art streaming

[marsbotz]

i need them to explode btw

[reel-fear]

Genuinely so curious who Mike thinks is gonna be buying The Cage or the new DCTL GN bc with the way he tweets as far as he's concerned, it's not gonna be:

The queer people he has actively admitted he will never show any representation of in the games.

2. The POC he has actively fought against representing in his franchise. [Who he also mocked for thinking they would be represented in his franchise]

3. The Bendy fandom which has always been concerned with topics of diversity esp in the sense of queer people since its creation. Who he has responded to really poorly esp in regards to the GN.

4. The fans who critique him. [He blocked me for doing so lol]

5. His fans in general who he tweets about like this currently. [He's being vague about why people were mad at him or sent him 'nasty messages' because if you actually looked into why you'd see he was in the wrong. Either way, a very hateful way to speak abt ur own fanbase.]

Reminder while Mike is trash talking his fans he has always treated them rather poorly. The fans who won the fanart contest for Chapter 5 never got their posters actually in game due to it being rushed. Not only was chapter 5 a big slap to the face story wise, but it was literally so rushed he couldn't be bothered to add in the art his fans gave him for his game FOR FREE. [Meatly blames this on a crazy timeline, reminder him and Mike are the literal ceos of this company. The proposal of future updates here is also pretty cruel considering Mike nowadays happily admits he corrupted Chapter 5's source code and therefore literally can't update it At All currently. Because he is a moron]

At least they got to be in Boris and the dark survival, and by that I mean that was the Only game they got to be in so far, isn't that just treating your fans like you love them? Shoving their hard work into a spin off game almost nobody has played or addresses much. [Hell, who knows if with the Lone Wolf rebrand they'll even stay there. In which case they'll be in None of the games, only in the credits of BATIM]

6. The Bendy fans who just generally disagree with him on stuff. Like the new ink demon design where there is literally a public poll showing people generally prefer the old one.

7. The Bendy fans who can see he is actively lying to them. To their fucking faces.

He says this has always been the case, but screenshots and links to tweets regarding the books being canon prove it was not. Does he really think bendy fans are stupid or something? [Unless he's admitting here he lied to Kress when he told her the books were canon which sounds worse!]

8. Anyone who doesn't like the idea of giving money to a guy who laid off tons of employees then afterwards thought it was a great idea to express his anti-union views! Also brag about how good of an employer he was, according to his employees, he was not!

So in summary; Mike is an awful person who has not learned anything from the awful things he did. I will not be purchasing The Cage because, combined with this and his absolute refusal to take any kind of critique or see any differing interpretation of his franchise, I have no reason to think my problems with the franchise will ever be addressed or fixed. I probably will pirate The Cage along with any future Bendy Products [Including the movie] and will do my best to avoid giving it any kind of monetary support. Unless this changes any time soon, I can't see myself making anymore positive Bendy posts soon.

Mike has just managed to make it so hard to speak positively or optimistically of this franchise when he's so willing to broadcast how little he cares about it or its fans. I'm at the point where I refuse to pull any of my punches with my problems with it. What's the point of trying to play nice with my critique when either way the people creating it don't care?

So with this post, I want to invite anyone who feels similarly about the franchise to tell me, make a post or send an ask talking about how all of this makes you feel. It may not change how things are, but genuinely seeing other people share my feelings of anger makes me feel better. It feels nice to see when other people share our same concerns and worries. I'd also love to know if anyone else thinks they'll be avoiding purchasing Bendy products over this.

I'm not forcing anyone to participate in it nor trying to say anyone who doesn't supports mike but genuinely maybe if we can collectively decide to boycott things like the movie, graphic novel and The Cage... It might at least make the bendy devs acknowledge how much they have destroyed their own fandom's faith and trust in them.

The way Mike tweets about his actions like he had no control over why people were mad at him at least proves to me he takes NONE of it back nor regrets it. If you didn't know about his actions and only went off his tweets, you would be led to believe Mike has been needlessly picked apart by fans over things he couldn't control [or in his own words, had his words twisted and taken out of context]. That is not how you speak about your actions if you have actually learned better from them.

anyway, that has been my bendy dev callout post. This is an open invitation to anyone feeling similarly upset about the way the franchise is going to talk about it. It's genuinely nice to see how people feel about this and the more we talk about the more it's likely the bendy devs are forced to address our concerns. I don't think they will but hey, that's why I'm not gonna support them with my money anymore nor am I gonna be nice to them in any content I make critiquing Bendy. I mean I'm also basically making this post just in case anyone asks me Why I feel this way towards to bendy devs/as a way to respond to anyone who thinks I am too harsh in my critique in the future.

As always, it seems the best part of Bendy isn't actually anything about canon but about what the fan's are creating with the ideas Bendy failed to do anything interesting with.

Also the books, the books slap.

[oceanwithouthermoon]

i think its weird that i have to make this disclaimer but the internet is crazy so wtvr,, anyway,,

if i say i dont like something, that doesnt mean "that thing is bad and nobody should post it.."

i swear literally every time i even mention that i dislike something, people will go "wow does that mean u fucking hate me cuz i post that thing? ur a fucking stupid bitch and all ur opinions r wrong" LIKE ?? er.. no. just because i say i dont like certain characterizations of certain characters (the saiki k fandom is CRAZY about this cuz i can state an opinion on literally any character and a group of people will still go 'well only we're allowed to post our opinions about them because we're always right!1!1!'), or certain ship tropes (mentioned my hatred of toxic yaoi maybe once or twice on here months ago and people STILL get mad at me as if i said toxic yaoi lovers r evil or something), or certain ships, or WHATEVER, does not mean that i HATE the people who are posting them or that i think they shouldnt post them at all, NO, im just posting about my personal tastes on my personal blog and it would be extremely weird and hypocritical if i decided that i was the ONLY person that was allowed to do that,,

i think the only reason people assume that is because there are a lot of other people on here who ARE like that, and a lot of people toe the line between posting that they dont like something and posting that they think everyone who likes that thing is stupid, annoying, and wrong,, so i guess all i can say is, sorry for whatever made you make these assumptions but they arent true about me so plz leave me alone ʘ‿ʘ ur doing the same thing to me that ur accusing me of but i didnt do it in the first place so ur just actively being a dick for no reason

[skunkes]

ok posting it here bc im not sure if its going to stay in the doodle page

[good-beanswrites]

hii!! can we get some platonic fuuta amane interactions please? thabks !!!

Ahh yes, thank you so much for the request! I love them so much ;--; They've been making my brain go brrrr lately with T3 possibilities, though I decided to stay away from the drama for now. Here something sweet after T1 verdicts but before the attacks -- they're just hanging out :3

Yuno smiled down at Amane, finding her hunched over a table of craft supplies with Fuuta. The guilty verdict had hit them hard, so it was good to see them in better spirits. She tried to peer over her shoulder to see what they were working on. “Aw, what are you two up to?”

Amane returned her smile. “Fuuta is teaching me to misbehave.”

His face twitched in horror. “Oi, you can’t just go around saying that!” He looked frantically at Yuno. “We’re just folding paper planes.”

Amane lifted her chin. “You said in middle school, you made them to throw in class.”

“I said my friends made them to throw in class. And it’s not like I’m telling you to throw them. I was just making them because there’s nothing better to do in this damned place. You were the one that said it looked fun and sat down to annoy me!”

Fuuta huffed at the accusation as Yuno walked away, laughing. He returned to the design he was folding. He hadn’t been giving an explicit step-by-step for each, but Amane was keeping up just fine. They each had a small pile of various plane designs they were adding to. 

Running a finger along a new crease, he gave Amane a sideways look. “Though, you could stand to misbehave a little bit.”

“I did.” She reached forward to mimic the fold on her own plane. “That is why I’m here.”

“Eh? I don’t mean you should commit crimes!” He scowled. “I’m talking about normal kid stuff, nothing against the law. Like staying out too late, driving your teacher crazy, funny vandalism–”

“--Vandalism is against the law.”

“Oh come on, it’s harmless! Don’t even try to argue that a little graffiti is comparable to what got you here.” He rolled his eyes. “So? What about that other stuff?”

She shook her head. With neither disappointment nor pride, she said, “I never left my home at night. And my teachers were far too strict.” 

“Aw, it’s the strict ones that are the most fun to prank!” He pointed to Amane, adopting the most persuasive voice he could manage. “You gotta do some of these things, or you’ll turn out with a stick up your ass. Like Kotoko, or Mikoto. Or a weirdo like Kazui and Mahiru. Shidou’s more or less normal, and he’s the type of guy to break some rules now and then.”

“And you?” She raised her eyebrows at him, feigning innocence. “I take it you turned out perfectly because you misbehaved as a child?”

“Hey, I never said I was a shining role model or anything. But I mean it. If you stay like this, you’ll grow up to be a boring loser, another cog in the wheel.”

“It is an honor to be a part of something bigger than yourself, to find belonging, and purpose.”

“Tch, don’t be such a pain!”

“I wasn’t.”

“You know that’s not what I was talking about!”

“What were you talking about, then?” She gave him the same expression as before, and wondered if could hide her genuine confusion. 

“Don’t play dumb. I know working in a group is a good thing, but you don’t want to kill yourself for leaders that don’t give a shit about you. That’s a major issue in this country, you know? In government, and corporations, and all that. That’s not belonging, that’s just exploitation.”

Amane stayed silent.

Oblivious to the emotions flashing across her lowered eyes, he nudged her in annoyance. “And the best way to break from that is to loosen up a bit. So have a little fun now and then, jeez!”

She picked her creation off the table. She turned it over in her hands. It had come out perfectly sharp and clean. “I’m having fun now.”

Fuuta, preparing to argue with whatever she said, blinked. “O-oh.” 

“At school, my favorite activities included choir practice and the arts. It has been difficult to sing here without accompaniment, so I am grateful to have the opportunity for crafts.” She looked at him earnestly. “Despite your past of disobedience,” she smirked, “I always enjoy your company.”

His expression twisted up, but he couldn’t hide the reddening of his ears. “What do I care if a brat like you likes my company?”

She smiled. “I’m not a brat. As established, I am very well-behaved.”

“That’s even worse!”

“Tell me about this plane, Fuuta.”

After sufficiently rolling his eyes and sighing, he agreed. He started explaining what made these planes different from the last: how they compared on speed, accuracy, and length of flight. It didn’t really matter if they were just going to toss them around here or the panopticon later, he thought it would be helpful to teach her anyway. Maybe if she ever was inclined, she’d remember which ones were best for pinpointing a teacher’s back, or a warden’s…

[corvidares]

okay, so i just finished re-reading Any Way the Wind Blows and this feels so blatant as to be smacking me in the face: simon is disabled.

now, the reason why that makes itself even clearer in this book than in wayward son (where he, of course, also has the wings + tail) is because simon is once again in the world of mages - despite doing his best to leave it behind. compared to wayward son, where hes basically and literally in the wild west. where theres magical beings everywhere, where simon practically fits in because he is one.

but ill get back to that.

ive seen a lot of really interesting points about what simon's wings represent and mean, and i'm not disagreeing with those. but in a very literal sense, they are a disability.

think about it like this: the world of mages (and Normals) is not built for humanoids who have giant webbed wings and a tail. simon constantly struggles with controlling these limbs, and their size makes it ten times harder. spaces are too small, furniture and objects are broken when he spreads them, and many a shirt or jacket are ruined.

he struggles to find a good way to deal with this - spell them away? wear them out by cutting holes in things? fold them extremely painfully into his shirt? even though this last one is treated like a solution for a little while, its far from ideal. who is simon doing this for? himself, or everyone around him? yes, of course Normals cant see them. and yeah, hes expressed discomfort about baz and penny spelling them hidden. but thats not the point. even with this botch job of a way to "wear" his wings, which succeeds at hiding them from Normals, simon still states a couple times that he knows people stare at him and his seeming hunchback. i mean, thats blatant.

(he eventually, with shepard's help, realizes a good way to work around this - zippers or buckles on shirtbacks - which very much feels like an aha! disability aid moment)

im not saying disability is based in how people look at you, or it only being a societal thing. (as in, when he wasnt in the world of mages, he wasnt suddenly 'not disabled at all') disability is a huge spectrum. but those things absolutely can be a part of the disabled experience.

but all of that doesnt even get to my main point: simon has no magic anymore. and in the world of mages, thats a huge deal. magic is like living and breathing, especially for baz and penny. its not something they question or have to worry about not being able to call upon. hell, even before simon lost his magic he was disabled, just to a different extent.

before awtwb, we dont hear much about mages whose magic is weak. but they come to the forefront now - which just solidifies that solid magical ability = able bodiedness.

smith is promising a miracle cure. a cure. think of it like bullshit orgs such as aut!sm spe@ks, wanting to "cure" autism - he wants to cure people. (and hes just as full of shit) why? because weak magic is seen as a disease, a problem, even subhuman.

take daphne, baz's stepmom. her quality of life is fine, great. her weaker magic doesnt seem to put her at a disadvantage. she manages her disability well. but in comparison to the norm, to what is expected of the average mage, shes got nothing. less than nothing. she feels shame over what she cant do.

smith's case becomes even more blatant when we see, at the end of awtwb, that he wants to essentially cull weak magicians. that they're holding back society. that theyre better off as powerless as Normals - who are blatantly seen as subhuman - than as weak mages. much like how ableist rhetoric puts forward that disability is a fate worse than death.

which brings us back to simon. he insists hes a Normal, now or always has been. baz insists hes the most powerful magician to exist. both of them are wrong.

and right. and right and wrong.

simon is some third thing - not a mage, not a Normal. akin to how disability is its own minority aside from race or ethnicity he has a foot in each world, and he always has. but now he cant achieve blending into either.

this is why the increasing presence and humanization of other magical beings beside mages is so important (thank you shephard!) how mages tend to seem magical beings is very ableist. theyre subhuman, theyre not to be trusted, theyre freaks, theyre dirty, etc. except oops, how can you keep thinking that penny, when this very nice one works at a cafe and helped you translate shephard's engagement terms?

even baz and the events of wayward son play into this - yeah, some vampires are horrible people. but plenty, like baz, are just people. with a range of experiences and morals and ways of living life. (take nicodemus) (i could make a point about how simon's stalwart acceptance of baz's vampirism helps baz comes to terms with it and how this is also super disability coded, but thats another essay)

in the beginning of awtwb, he decides to go to the extreme opposite of his chosen one powered life - to live as a Normal, and the second step (after cutting himself off from baz and penny) is getting his wings removed.

except he cant do it. and even having his wings touched is horribly uncomfortable. now, this partly has to do with how much theyre sensual parts of his body - same as his tail. but its also, separately, very intimate. theyre treated very clinically, like a fascinating specimen to pore over. im not trying to give niamh shit here, just saying what i saw.

but theyre part of him. people with disabilities often deal with being stared at and poked and prodded by the medical field (if theyre not ignored or waved off. maybe both.). even every day folks feel the right to touch disabled folks, or their mobility aids.

for a lot of people, mobility aids are a part of them - its like a stranger touching your face and thinking theyre doing you a favor. when instead theyre being weird as fuck.

simon's status as previous chosen one even plays into this sort of thing - people see him more as a figurehead, for what he can and cant do (including his wings!) than a person. hes a tragedy, hes a hero. hes inspirational, hes to be pitied. sound familiar?

the end of awtwb doesnt spell out whether simon ends up deciding to keep his wings (frustratingly). but they spell out that he would absolutely would, in my opinion.

simon increasingly treats them as a natural extension of his body. think of the scene where he flies about the watford goats. how he expresses his feelings with his wings and tail. and of course, how he learns to let baz loves each and every part of him: including his dragon limbs.

baz loves him, and loves them, not in a fetishistic way, but because its simon, and he loves everything simon is. not just what he represents or can or cant do.

[quinn-pop]

sorry for the metadede flood lately um. anyway i think dedede officiates waddle weddings. if they even have them lol. it’d be funny and cute

[purpurussy]

.

[todayisafridaynight]

We rlly don’t need another majima game 😭 please give other characters a chance he already had the spotlight in 0😔

lord if i speak on goro majima.

[cowboy-robooty]

not going to name names bc thats messed up but omfg i was tryna find records of old heta fandom shit to show inu right and i found a hetalia iceberg and I SAW MY 2019 OPP ON THERE. IT WAS SO FUCKING FUNNY LIKE MY EYES BULGED OUT OF MY SKULL BECAUSE IM NOT EVEN JOKING I HATED THIS BITCH SO MUCH WHEN I WAS 14 AND NGL I STILL HATE HER. I DIDNT SAY NOTHING AND KEPT CURTIOUS AND NORMAL OBVIOUSLY BUT ON THE INSIDE I WANTED HER ASS DEAD EVERYDAY AND WELL... you all know im never in the loop with things and had no fucking clue that she was just the antichrist for an entire group of people lol. SHE WAS MY ANTICHRIST THO. I HATED HER AND SHE HATED ME OKAY AND IM LIKE RODF SEEING HOW SHES ON THE FUCKING HETALIA ICEBERG I WAS LIKE OMG.... I THOUGHT ONLY I FUCKING DESPISED HER

[kijosakka]

au where through training for the,,, fuckin skate olympics or whatever alejandro did he realizes how shitty his family is and manages to leave the situation (probably getting disowned,, living off of money won through skate competitions or smth idk) and years later reunites with josé on ridonculous race to try and rekindle a real family relationship

[anxiously-sidequesting]

To me personally malistaire is the funniest and most pathetic villain wizard101 has ever had AND I MEAN THAT SINCERELY!!! Between doomed children who have been manipulated, groomed, and isolated into becoming products of their environments, someone scorned who has been punished unfairly by having your biological heart torn out your chest and turning your children and all of reality against you to satiate their own ego, a nonhuman entity so powerful and so clueless they unintentionally threaten the lives of everyone around them, Malistaire FELL DOWN BRO. Like yeah you're bitchless now. You and me both. Get in line. Everyone in this room is bitchless. We are ALL living that ✨💅🏾💃🕺 Single Life™. You are a middle-aged man. Cope

[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.