#if you want to translate - ask me first

[somerandomdudelmao]

Is it OK to translate your comic into other languages? .

ONLY if you have my permission and attaching a link to this blog under your posts/videos :)

If you are seeing someone translating my comic and not adding links and credits - they are stealing it.

If you are translating my comic without my permission - please stop.

[lunarharp]

if i just told you i love you would this world change

[kyouka-supremacy]

Well.

[mostlyghostlyy]

Can only imagine the stress of getting as many asks as you do… you’re a true pioneer in Longloving and your effort doesn’t go unnoticed. Please take all the time you need answering everyone we appreciate you!!🤍

Oh, don't worry, I don't answer anything that I dont want too. It just happens that I'm a fucking 𝓯𝓻𝓮𝓪𝓴 and I love writing bizarre shit.

[kn11ves]

my comic is live right now!

kyle and rex is an absurdist drama set in a stagnant afterlife where everyone lies, cheats, manipulates, and hurts each other in order to gain political power and admiration from the public.

with characters constantly haunted by ghosts of the past, trying to stay on top of the food chain despite constant betrayals and having their secrets held up above their heads, comes back kyle, from his long stay back as a guiding spirit on earth, to take back reigns of the throne in the inbetween. though much like everyone else, hes got a long list of dirty laundry that many are aching to reveal. there are no real friends here.

⸻

updates every 2 weeks, at 6:30 pm central US time! (SP & ENG)

WEBTOON: english link + spanish link

TAPAS: english link + spanish link

FANEO: spanish link

[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.

[tennessoui]

I adore the TA AU, but I feel like it needs a few more snippets before it could go on Ao3 and feel like a proper fic (not b/c of word count, but because it feels like there are a few key emotional moments missing). (What there is is so good!)

i guess that's the question though, like. a lot of my ficlets i have are just that--ficlets, meant to either lead into another ficlet eventually or lead into answering asks about the ficlet where i then talk more about the au and it gets all fleshed out.

is posting just a ficlet enough on ao3 or is it dishonest to what the au is on tumblr?

i think the ta au is a good example of that, where there are multiple ficlets but it may not feel complete in ficlet form because part of the au is the short ask answers and tags and head canon reblogs that can't be translated over easily to ao3 because it was born on tumblr and it's by it's nature a tumblr au

another example i think would be the princess diaries au where there are 2-3 really good ficlets i like a lot that i think people would like to read but they are by no means close-ended and they're written to leave the concept open to embellishment later on

so when it comes to aus like those, do i wait, do i try to write more, do i keep them solely on tumblr....and when it comes to aus that are JUST one ficlet but left-open ended, does that get to go on ao3?? do i wait?? do i try to write more?? at that point, is that no longer a copy-paste over project and an active effort to translate from tumblr norms to ao3 ones?

[bittersweetstargazer]

white americans r so interesting bc they'll be like I'm not racist 😤😤😤 and then refuse to listen to a kpop song for reasons that basically boil down to it's not american so I don't like it

[cartoon-skeleton]

day 3,650 of asking my friends if they will cover a unicorns song with me when we hang out

[knightzp]

Hi Miki!!! Was wondering how did you learn english? I'm gonna start working on spanish soon and I'm trying to think what would be best for how to get a basic knowledge of words and stuff because I don't know much

HII TIA!!! ohh in my case i learned a good part of my english just going to classes. english is like the compulsory second language in almost all schools here so i remember starting learning my very first words when i was just like. three years old lol. apart from the lessons i had every year at school my parents also made me attend a lot of extracurricular english classes growing up and i even went a couple of months during summer to the uk where i spent the time living with a family there and so i had no other option than to read and talk in english all the time and it helped a lot too

but ig this isnt very useful to you so thinking of something that can help you in an easier way and that has helped me a lot too was reading a lot and watching shows in english! i was always very lazy to start reading books in english ngl but when i started with fics i had no other option so i slowly began doing it and tbh it took me a while to get really used to it, bc even if i already had a good english level there were still words and expressions typically used in writing that i had never come around just yet. i was slow at first, looking words on the dictionary from time to time, but i really felt like it helped me lots to get better and it still does. and not only fics. unironically reading posts here on tumblr also helps a lot bc it makes me read in english every day and so i can easily maintain my level and even improve it. for the tv shows, i found that watching cartoons especifically helped me a lot since i hear the voices clearer than in other shows and even if you dont know that well the language i feel like this helps. ive done this not only with english but also with french, which im by no means as fluent as im with english but even if i didnt understand every single word i think it helped me quite a lot!

however its true that for what i said abt the reading and the tv shows you need at least some basic level on the language and since you said you dont know much.... mmmm i remember that back in school we used to read some thin books during english classes that were basically adaptations of other actual books (like one i remember was frankestein for example) but with simplified language and they were available for each level you had so something like that might help ! idk if it would be possible to find them online for free but i dont think itd be very expensive to buy one or two if you want to

[nudibutch]

okay real talk. for those into any form of pain play and/or impact play? how do you distinguish between like. wanting it because you Want it vs. wanting it because you feel like either 1. you genuinely deserve it (punishment or the best youll get) or 2. its the best you have to offer your partner?

[taexual]

Do you also read fanfictions? I am writing one but since English is not my mother language, I am afraid to actually post it lmao. Could you read? See if there's any grammar mistakes and if it flows naturally as it should. But if you cant, dont worry. I totally understand

hii, i don't really do beta reading/editing, sorry!! i can suggest some helpful tools, though, such as grammarly or instatext -- i've used both myself, and they're great! instatext requires a subscription, but you get a free trial period and can edit small portions of text for free every day

and if you think you'd prefer a person to read through it for you, you can always make a public post on tumblr, and ask if anyone would be interested!!!

regardless, have confidence, love!!! you're doing great 🤍🤍🤍

[hauntingblue]

HINA IS BACK

[springcatalyst]

so i may have rewatched murder on D street. again. abandon all hope ye who enter here

all the major characters foil fukiya in a really nice way. for a movie that claims to be a detective story, the murderer is really the focal point.

I guess since it's a ""detective"" story I'll start with akechi. he is obsessive and he goes through a period of uncertainty, where he doesnt know who he wants to be or what to do. in the last scene he is directly compared to fukiya when he says "some men cant live without being consumed by something," and the cop hes working with says outright that that's awfully similar to how akechi functions. akechi only catches fukiya BECAUSE of this obsessive, meticulous method. and fukiya is nothing if not meticulous in his work. both of them work-obsessed, both of them consumed by it, both of them detail oriented and the best at what they do, it's hard to not see those similarities. but where fukiya derails and spirals, akechi pulls himself out of that depressive uncertainty with his work. he finds a purpose and a goal in his work, he can safely place his identity within the work he does because not only is it socially acceptable (as opposed to art forgery and gender expression), but its rewarded. fukiya cannot find the same stability in his work by its hidden nature, even if the outside factors at play werent there.

tokiko is also of note: her and fukiya share a certain vanity, a certain pride, and an easily damaged ego. tokiko knows this of fukiya very early on, using his pride ("tell me now if you cant do it"/"surely a man of your skill would have no trouble") to get him to agree to work for her. but it's there in her, too. in how she feels betrayed, double-crossed, lied to, when she figures out he referenced himself for the akegarasu works. in how she shows him the pictures of her as the original model, in how she preens under the gaze of the men she shows the paintings to, because thats her. and then, of course, his own pride takes THAT information- that she was the ORIGINAL original- and leaves him feelimg betrayed, like he lost something, like something was taken from him. and he kills her to reestablish the value that he thought he had and so quickly came to need. HE needed to be the original. he rested his understanding of himself on it.

saito isnt so much a parallel to fukiya as he is an opposite. saito is emotional, passionate, hedonistic. he knows what he wants and what he likes and he pursues it: the most obvious example is through sex, but I did notice that when he recognizes akechi's name, he pursues that: he gets a drink with him, likely having to lure that depressed bitch out from his room to the cafe, but he did it because he knew of his work and wanted a conversation with the man responsible for it. he met a celebrity, basically, and weaseled his way into dinner with him. saito knows what he wants and he gets it, not by manipulation or violence, but just by chasing it with a certain sincerity that fukiya always lacks. fukiya is meticulous and careful in a way that either stems from his work or drew him to the work that suits it, but either way its present in his personal life as it is in his work. he moves and speaks deliberately, with measured emotion, none of the genuine reaction that saito expresses. he rarely does things for the fun of it, and while it's obvious he finds satisfaction, pride, expression, in his work and his art, it is so meticulous, theres none of the hedonism that we see in saito. fukiya finds lying very easy, so much so that he cheats a psych test, where saito is so genuine that his looks incredibly suspicious just because he reacts bigly. and also, of course, its impossible to not mention the distinct sexlessness of fukiya's character, especially compared with saito, who is having lots of sex all the time. fukiya is averse and avoidant of sex, uncomfortable with it, uneasy. when faced with it, it is something he fights and then resigns to, a far cry from the almost gratuitous pursuit of sex that saito does. additionally, in the scenes where sex comes into play, saito is in control of his, literally the dom with his partners, where fukiya is very much out of control of his situation, not given much choice, and not really an active participant. the fact that these two are the two main suspects for the murder, then, is a great, jarring contrast. saito has every reason to look guilty, and he does, but the fact is that he is innocent.

even the minor characters have some fascinating roles. the couple across the bookshop, the way they arent involved with anything, just witnesses. saito runs into the street yelling about murder and we dont see him, we see the couple, watching through the windows. theyre voyuers, an audience, an outside eye. somebody to perform for. the nature of both fukiya's work and his life is that it is heavily scrutinized- his restorations have to be perfect, his forgeries even more so (or are all his restorations just forgeries passed as originals?...) his life must find a balance between being what he wants, and being something more broadly acceptable, something that fits within the world around him. its only natural that some of it ends up being a sort of performance.

i dont really have a satisfying conclusion i just think that all the characters are used to their absolute most potential and the end result is an impeccable exploration of what the fuck is wrong with fukiya. and i enjoy it immensely. thank u for coming to my ted talk

the student/assistant of akechi's is a clearer version of what's going on with fukiya. we're not given enough time with the character to know the nuances of their situation, but at baseline they're a girl passing herself as a boy for whatever reason to work with akechi. at the end, we see them put on the dress, the lipstick, look in the mirror, same as fukiya. that outward performance dissolves and we see something closer to the truth- it drives home the broad strokes of fukiya's situation with a less nuanced one- look at these two characters, what do they share? its a visual shorthand, as well as a continuous cycle, echoing that fukiya is not uniquely different, not totally isolated. (even if HE is isolated, its because of him, not because of this)

mayumi (the model) is similar to saito in how her sexuality highlights fukiya's lack of one. in the scenes where he's painting her, it gradually becomes clear that she's into it. she's having a great time; he's just painting. he's getting more and more frustrated which leads to rougher movements and more intensity but it is, again, strikingly sexless. she either doesn't pick up on this or doesnt care, and thinks the natural conclusion is to have sex, even when he obviously doesn't want to.

the girl saito is fucking (i dont think shes ever named?? if so i missed it OOPS) plays a kind of one-two parallel and contrast. her affair is a secret for obvious reasons, some kind of deeper desire that is kept hidden for her's and other's benefits, even as its pursued nonetheless. this mirrors fukiya's own queerness (in whatever sense of the word you think fits) in a pretty one-to-one way. but the way they go about it, or what it is in the first place, is vastly different- again, her open demonstration of sexuality and comfort in sexuality, of desire, makes his own lack of both of those things all the more obvious.

[monstersqueen]

im a simple gal i hear the opening of the dark era anime and i start crying

[aquickstart]

i see the brain damage is LASTING. didn’t even recognize u only clocked u by ur posts

first sentence sent me to the floor. ground to dust. reduced to nothing. obliterated completely