#i may have played with the concept a bit

[poorly-drawn-mdzs]

Thank you all for voting in the poll to decide who was going to be the leader of the band! It turned out to be such a close race!

[thewhizzyhead]

okay but AJR'S new song "Yes I'm A Mess" is one of their coolest concepts to date cause like, AJR has been hyping up the chorus for a long while now and from the frequently tiktoked verses "I could hate my guts when the sun comes up but I like myself like this" and the overall tune of the chorus, the most common impression on the song is that it's a song about the brothers "blowing up their lives" through partying and all that because they "like themselves like this". Basically it's your "wooo let's fucking party song" but in the perspective of them using it as a means of escape in a way. This impression is confirmed with the release of the full song whose lyrics include them wanting to quit their jobs and start over ("I'm in it now, I'm in it now, could I start again somehow?)

And of course, the theme of wanting to escae start over and becoming what you like yourself to be even if you make yourself into a mess is something quite relatable especially for young adults right? So that concept is good in it of itself but what makes this song so much fucking different IS HOW AJR FLIPS IT BY THE BRIDGE. By the time Jack sings "I could hate my guts when the sun comes up but I guess that's what this is. I like myself like this", there is a layer of acknowledged resignation that them blowing up their lives and escaping in the interest of starting over and "liking themselves" is something that's not that all good AND THAT POINT IS ESTABLISHED WITH HOW THE SONG ENDS - WITH THE OUTRO BEING ALL SLOWED DOWN AND REVERBED AS IF THE PARTY IS STOPPING AND YOU'RE COMING DOWN FROM YOUR EUPHORIC PARTY HIGHS.

This part especially took a lot of people off guard because they simply weren't expecting this shift of tempo to happen in a song marketed as a partying fun song and holy shit that's the whole point! The constant escape for a new and clean slate through indulging yourself into becoming someone you like to the point of self sabotage won't ever end up well - cause sooner or later, the tempo will turn slow, verses will be slurred, and the fun beat and whistles will stop. And for a band who prides upon having their songs be fun to dance to while being relatable in its woes of having to grow up and wanting to escape that, holy fuck is that an amazing point to make.

[fragmentedblade]

I think I've become an official HI3 player. I check the HSR leaks hoping for iterations of HI3 characters now

[good-beanswrites]

Hello again, I'm here to request once more. Feel free to take all the time you need btw! I would always be patient for your wonderful works ^^

This time I'd like to request from the Drabble List#2 - 47 with the 020607 Trio (mainly Mahiru though). And yes, this is hugely inspired by that one minigram with Mahiru. And as usual, feel free to change the scenario and/or the characters.

Thank you again, good luck with your future studies and take all the time you need!!

Woo thank you so much!! :'D This one was a ton of fun (and once again led me to get smacked in the face with unlikely character parallels I wasn't aware of before). It's from Kazui's pov but it's still mainly about Mahiru. I ended up going canon-compliant, but I did consider sticking super close to the minigram and do a little normal-au where Mahiru drags them across Japan to make a perfectly homemade cake 😅

Everyone knew Mahiru had a tough time distinguishing genuine from joke, but Kazui hadn’t expected it to come back to bite him. Mahiru wasn’t stupid by any means; sometimes she just forgot that others weren’t as unabashedly honest as herself. When she said something, she meant it. Kazui… not so much.

Which is why, following a conversation about her skills in the kitchen, in response to being pressed about his own household, he thought it would be inconsequential to utter the following words to her.

“Bake me a cake, and we’ll talk.” 

Kazui had laughed his booming laugh, Mahiru had giggled in her sweet little way. Neither realized what had just transpired.

That is, until Yuno dragged Kazui across the prison the following day to make him aware of the monster he had released upon the kitchens. The two hurried over to find a massive operation underway: Mahiru had several layers in the works, she was stirring multiple fruit fillings, decoration choices scattered across the countertop, and anyone who dared venture too close was shooed away with a slap from her wooden spoon. 

It took a few minutes to get the situation all worked out.

“So… you didn’t really want a cake…?” She asked, pausing mid-stir. Her eyes were so big and round.

Yuno came to the rescue. “Of course he does!” She interrupted. “Everyone here would die for a taste of your baking~” 

Kazui nodded. “I just didn’t mean for you to work so hard for my sake. I’m really not worth all this effort…”

Mahiru’s jaw fell, offended on his behalf. “Yes you are!” Her attention was momentarily caught by a timer chiming. Kazui took the bowl from her so she could take a pan from the oven. He picked up where she left off stirring. 

“Either way, why don’t I help you out?” Yuno had grabbed some ingredients from the counter as well. “While we bake, I’ll tell you a little bit about myself. A little,” he repeated. 

And he did. Her questions were easier than he��d expected. While the others knew how to poke and prod about each other’s murders, Mahiru really did just want to know about his home life. While she buzzed around the kitchen switching pans and creating intricate icing patterns, she asked him about his childhood, his hobbies, his job. As soon as she saw his wife was a touchy subject, she let it drop (though with a bit of disappointment, to be sure). He scrambled a bit as Yuno the human lie detector would shoot him a look now and then. Overall, though, his measured answers managed to satisfy both women without giving much of himself away.

When they carried the spectacular cake into the common room to everyone’s amazement, Mahiru prodded him with her elbow.

“We should talk more! I mean, come on. How difficult was that?”

If only she knew the half of it.

———

“Hey, Mahiru.” Kazui traded weak smiles with Yuno as he joined her by the bed.

“Oh. Hi Kazui,” came her weak voice. She tried her best to smile under the tangle of bandages that surrounded her. Then, silence. 

Aside from a few coughs and small requests, that silence stretched on for hours. He and Yuno usually had a lot to talk about, but neither could muster anything up today.

He thought Mahiru had dozed off, but she surprised him by taking his hand. “Kazui?”

“Yes?”

“Do you really think I’m unforgivable?” 

He blinked. “I can’t really say.” 

The moment the words left his lips, he knew they were the wrong ones. Well, the glare that Yuno was trying to murder him with also helped. “Er, I forgive you, of course. But… I don’t know anything about you, Mahiru. Not really. I can’t say why others would think you’re unforgivable or not.” 

“...I see.”

Yuno looked like she wanted to add something, but couldn’t find the words. Traces of emotions flickered over her face before she could cover them up. Kazui guessed she wanted to defend Mahiru. But maybe she also agreed with him. And that was when the realization struck him.

“I guess, I always thought you were so much better than me and Yuno when it came to talking about yourself. You do it all the time, and very easily. But now that I think about it, I probably know just as much about your situation as you know about mine. For such an honest person, you hide everything just like we do. Or maybe, you hide from everything, like we do.”

More silence.

A teary smile appeared on her face. “You know… you could bake me a cake… and maybe we’ll talk.”

Kazui didn’t laugh, and she didn’t giggle. He nodded, solemnly. “I think that’s a good idea.”

[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.

[fisherrprince]

Although - let me premise. I like Lyse. I don’t think Conrad choosing her to lead the resistance was earned, it felt very fast and a bit out of nowhere because she’s not a leaderly type and the traits she gained were in Doma (he didn’t see that happen), but you actually don’t have to change anything major to fix or at least better it in my brain, you just need to swap around some dialogue. Don’t have him talk to you about choosing her, have her take the reins herself or with encouragement when he dies. thassit I think itd give her some je ne sais quoi

[astrxealis]

sorry to ffxivlovepost always anyway Man the way the devs & game did so good in making an mc that is Basically a blank-slate for the players, and there's so many opportunities to make your oc However you like but. the game itself adds so much story and character to that blank-slate guy. amazing

[soft-serve-soymilk]

I ALSO LOVE DRUGGING MY TEENAGE HEAD CHILDREN !!!!1!!1 ✨🎉🎊💯✨🎉🥳

[pigeonliker420]

whenever i go looking into help or random talk about bg3 i keep seeing people like comparing it to dragon age either in expectations or selling points and bro. ghirl. its not dragon age. its baldurs gate

[dinerfries]

playing around skipoung around spinning

[sysig]

Me, looking at Charm: Mm, she’s not deranged enough Me, looking at [Purple Text]: Mm, they’re not deranged enough!

Ft. an old idea (Patreon)

[aparticularbandit]

that said, you know when you're starting to get attached to a thing when 1) you start thinking of fanfic ideas and/or, more importantly, 2) you start thinking of crossover ideas with other stuff you are or have been attached to.

aka: i really want to a thing where junko and dottie underwood are together. for whatever reason. because. there's some crossover thoughts there.

aka: my who framed roger rabbit tumblr background that someone keeps bringing up is now giving me what would junko be like in toontown tokyo aka if junko is a toon portraying a role, what is junko outside of the role as a separate entity and also i really want to throw her at haruhara haruko from that expanded universe because they would hate each other so much but also.

....

i really want to play with wfrr!junko. so much. i have no reason or place to do that right now because the jess & agatha thing is very firmly early 2000's (and because dr1 didn't come out until 2010, that would be when roger died if i was playing with timeline canon, and then jess would be in that year of default, and right now i'm writing jess gets a happy ending for once).

so really that depends on if i return to the greater wfrr universe for other shenanigans.

mostly i want to play with a wfrr concept of junko.

[empyreanmirror]

i hope you know im selectively uploading things to protect you all from lies of p content

[bibiana112]

Finished Danganronpa Lapse and tbh nobody gets it like I do because every review I've seen wasn't made by someone who's played zero escape Why did Echo do that? ZTD shifting strats that's why! Lyle's canonically a zero escape nerd who brings up the morphogenetic field as a quick joke and is introduced arguing about the funyarinpa, do I think all these references get in the way and that it's a bit underwhelming when this comes unexplained out of nowhere? Absolutely! But it's so clearly an element the creator was inspired by and wanted to include and play with rather than a lazy last minute deal to fix 'plot holes'

[monster-noises]

7. Favorite actor of the year?

25. Did you create any characters (in games, art, or writing) this year? Describe one

From your 🎃

7: Oh, harvey guillen absolutely. Him or matt berry. But i side more with harvey cause.. it.. i just.. he........... v////v

25. i did! I did i did, plenty for Andromadis, my ttrpg campaign, many of whom I adore but would be kinda lost without context, and Montgomery but ya'll've heard at least a bit about him so.. hm.

I suppose this was the year that i really Solidified Charlie and Ulysses, who were just kinda floating around amorphous in the brain meats before hand, and i talk about them probably the least! So a Quick Introduction to my bad bad backwater cowboy cosmic horror boys! ( I know the ask is describe One but frankly they cannot be seperated v-v)

Ulysses is a very short and slender man, with close cut reddish hair, small wire glasses, and a clean face (he's trans but that's not really a big talking point here) at one point in time he desired to be a preist and a teacher, but somewhere along the way those dreams fell off. There's some rather... uncharitable rumours as to why but most just chalk it up to his short temper and unnerving disposition being not a good fit for the feild.

He disappeared from town some time ago, just walked into the brush and never came back. He found a book out there, A special book, A living book. A book that contained within its pages all time and all things and all possibilities, and it spoke to him, it called itself 'the fabric of time both woven and unravelled' he introduces it in his sermons as 'the book of ulysses'. He made a deal with the book, feed it; and it will grant you life and freedom and a peak into the unknowable.

So Ulysses marches out across the land, seeking out the smallest most isolated places, to speak the truth written in the books pages, and let it have the spoils of the congregation.

He is not sure if the deal he has made is in anyway a Good one.

Charlie is a ghost.

Kind of.

Charlie Was a man, this is certain, and that man Did die, but his spirit remains and so he must be a ghost? Right? But see, it is unclear if the spirit that takes his apperance and calls itself charlie is fully or even partially the man that once was or just a new unexpected extension of the eternal entity that contains itself within the book.

Charlie was the books previous owner, a tall and sturdy man with a thick beard and long black hair. He was a loner and a wanderer, with a cheerful and disarming personality, the kind of person you would trust at your campfire without really thinking about whether you Should. He remains the only of the only of the books acolytes to ever feed it with his own flesh and time. This caused something of a feedback loop, and resulted in his spirits long entrapment within the entity of the book, and his manifesting as a ghost after ulysses took over as the books keeper.

The two do not make fast friends, but they are coming along, dealing with the horrible business they must attended to definitely brings them together, and though neither would readily admit it, the company is nice to have....

Thank you pumpkin!!!

[camping-with-monsters]

Had both the DUMBEST yet SMARTEST combination of tales to mix for a character (set of characters but there’s only one of importance) for Tags of Whistlegrimm y’all will not believe me. I’m so serious with this inclusion. This is a legitimate character.

Have y’all ever heard of “The Deer of Nine Colors/The Nine Colored Deer” story? In simple terms, the deer saves a man and brings it to a secret land he should not speak of, but he reveals the existences of it out of greed. So like, with that being said, what other stories feature a deer of interest? Do you recall any? Do you recall… the most famous reindeer of all…

YEAH. RUDOLPH THE RED NOSED REINDEER.

Both are deers named with the mention of color, both just ARE DEER, both from presumably mystical lands (we can assume the North Pole would be magical in some sense if Santa was there). And like. If you think about it… Santa has nine deer. Nine colored deer. Nine individually colored deer? Red is typically the lead of the rainbow and Rudolph is the one that leads the sleigh.

Anyways here’s my concept for Rudolph himself. The colored pattern the Nine Colored Deer typically has is depicted as a “rein” type formation over him. There’s some implied albinism type thing going on with the color palette which would typically give deer a pink nose anyway, plus it calls back to the nine colored deer’s main body color typically being white. I haven’t felt this smart in a while this is SO funny. I love him. He’s perfect.

Right now he’s planned for Blind Man’s Bluff’s cast ;)