#it ends the same way as the book...

[joseigamer]

hi, so i was able to stumble on something really interesting: an interview with the vampire one volume manga adaptation called "yoake no vampire" that came out shortly after the original movie did in 1994. as an adaptation it's very faithful to the book, just really condensed.

the first two chapters got scanlated into english from japanese 13 years ago, but the last one never was. unfortunately the japanese raws of the thing are no longer online but i was able to find a portuguese scanlation of the last chapter. i ended up doing what i would call "edited machine translation" on it (consulting a portuguese version of the original book to cross reference translations since a lot of dialogue was taken directly, checking dictionaries to confirm translations, redrawing some parts, etc). it's not perfect but i think it makes sense from beginning to end.

would people still be interested in me sharing? i would also include the portuguese "raws" of course (the translation group is defunct now but with credit to them ofc) i figured it might be a fun treat for anyone who's already read the book while we wait for the later episodes of the amc show (but also just for book!iwtv fans).

below are example pages (not in order)

[agnes-come-back-challenge]

I love that everyone in TMA is just. Unremarkable. Jon isnt a heroic character; he's self-loathing and depressed and he exhibits the same self-pity as I do when I'm self-loathing and depressed. He doesn't stand out for his strength of will or quick-thinking or virtue. He's a good person but he stops trying to stay human when it gets uncomfortable. He's everything that a regular person is when theyre trapped in a horrible situation and it's ugly and insufferable and Real.

[nikolaj-costerwaldau]

VIGGO MORTENSEN

as Aragorn, in The Lord of the Rings: The Return of the King (2003)

[katabay]

it's the musketeers babyyyyy

just shaking off some cobwebs, figuring some visuals out, trying out some brushes. someone get d'artagnan off of that before he falls.

[5-pp-man]

no you don't get it. i literally love stories where they dive into people's hearts/minds (literally or figuratively) sm it's my favourite type of storytelling.

[bixels]

I'm not getting into The Giving Tree discourse...

[galfromearth-22191]

The way these two were in the SAME room yet didn’t say not one word to each other is diabolical

Cause what do you mean, the guy that can create his own take on a super advanced piece of futuristic tech (while being a 70’s dude) would not be down to hang out with the girl whose spider abilities revolve around her tech savviness?

What do you mean Hobie wouldn’t be down to learn how the tech in her world operates cause it’s a whole 180 from the things he calls technology in his world?

What do you mean these two didn’t share a ‘More black spiders!’ moment when they first met? These two look out for each other through the good, bad, and ugly hello??

Y’all cannot tell the these two didn’t at least talk once cause Margo was one of the first people enlisted for the society, therefore they’ve had to cross paths at some point in time when Hobie was there for some time. They’ve seen each other before. And they’ve spoken, end of discussion

[aethersea]

it is funny though how kids' shows are so so so careful about death, no one's ever killed except MAYYYYBE the big bad, all those random side characters are fine, here have a quick shot of them before we leave just so you know they really did survive that 50-foot drop into a stormy sea,

and meanwhile kids' books nearly all agree that it's not an adventure until it has a body count.

[redbean-nom]

some designs for tusken era boba :)

unarmored/pre krayt hunt armored/post krayt hunt

alternative lighting style and flat colors

[icewindandboringhorror]

Pages from trying to keep a little sketchbook-scrapbook type thing going for two weeks lol. I gave myself specific rules in hopes they might all end up more cohesive/consistent seeming, but alas, scribbly chaos reigns, it seems

[caligvlasaqvarivm]

Do you think if the trolls all came back, like everything in the main comic did happen and they were alive again. Do you think Feferi would actually forgive Eridan? Or want to even be his friend after everything? I don't personally like the erisol and fefertasprite interaction…felt rushed…..so I just wanted to know your opinion if things were different! :)

Yeah, I think they would be! Feferi is one of the trolls who takes dying the least badly (relentless optimism) and Eridan does genuinely feel bad, which means a lot when it's Eridan. I think she really is genuine when she says she wants them to be friends and also that she's really not the type of person to hold a grudge, and like... death is SUPER cheap in Homestuck, it's really not the horrific, irredeemable, irreperable damage that it is IRL - and if you're talking about (Feferi) and (Eridan), then they're both dead (and irrelevent) now, so the score is kind of even.

In general, the fandom - I mean, people in general, really - tend to have difficulty divorcing themselves from other people. We tend to assume that the people and characters they like will hold similar opinions to themselves. This is how people who like Karkat and don't like Eridan can mentally gloss over or even block out their clear, close friendship, or how people who dislike Cronus can end up overlooking that Meenah actually takes his opinion seriously and unironically defends his wizard thing. Feferi really isn't mad at Eridan or upset about dying the way we probably would be, because she's friends with the horrorterrors, relentlessly cheerful, comfortable with death in general, and death is also just not really that big of a deal in this setting. "I'm really sorry about that, that was shitty of me" is honestly probably all the apology she needs, especially if they came back to life anyway.

[bayetea]

I think it's really annoying that leo has completely falsified memories of jason too and this is barely acknowledged in the books

[greenerteacups]

What do you think of jkr as a writer? I for one has always felt like she didn’t treat her female characters well. It felt strange, being critical of her when she was god queen of the earth, and also being 10

I think most of the problems in her books can be chalked up to genre hopping. Books 1-3 are perfectly good and serviceable children's books — great children's books, even! They have compelling, relatable characters and juicy mystery plots. They have problems, sure, but for the first three books someone's ever written — especially someone with little or no background in creative writing — they're really fucking good. So: there's her flowers.

The last four books pivot sharply into much more emotionally complicated and sociopolitically loaded territory, because they're describing a war. And it's hard to write children's books about war. I would venture you can't really do it, at least without dramatically misrepresenting what war is! And so Rowling makes the executive decision somewhere during the writing of Book 4 that she's not going to flinch away from that, she's going to go for dramatic realism, and she kills Cedric Diggory to let us know. People had died in Harry Potter before, of course — Quirrell gets sent to the fucking shadow realm, for example. But children haven't. (It also gives parents who are reading these books with their children a warning shot: shit is about to get significantly more real, think twice before you buy the next one of these for your 10-year-old.) After that, Rowling starts leaning much more into dramatic realism, and the fast-paced mystery-novel plotting of the first few books is replaced by a slow, simmering political conflict that unfurls over the course of about a million words.

The problem — besides the fact that she's picking one of the hardest things to write about, like, in all of literature, war is really insanely complicated and emotionally intense and hard to portray well — is that she's now trying to use characters, plot points, and technologies she developed for a children's series to enact a sprawling war drama among teenagers and adults. So Hermione, who was a reasonably precocious snobby eleven-year-old, becomes this sort of encyclopedic all-knowing savant of the wizarding world, who somehow remains functional and mostly even-headed despite her identity being the chief target of a prolifically murderous terrorist group. Draco Malfoy, a schoolyard bully whose primary tools included 1. namecalling and 2. telling teacher, JOINS said terrorist group (and admittedly does react reasonably, i.e., has a total crashout and takes to sobbing in a girls' bathroom whenever he gets a free minute). Dumbledore, who starts out as "whimsical friendly winky-wink trustworthy grandfather type", ends up being Magical Winston Churchill in a violent game of spycraft and espionage, eventually revealing he's only been keeping Harry at all these seven years because he wants to KILL him! And like, maybe really good technical writing could smooth out these transitions and make the first-order dramatic choices seem more natural, but Rowling is like, a Fine Writer, technically speaking. meaning she's reasonably consistent in characterization, her plotting is well-paced and believable, she has a clear authorial voice, and her prose is readable. personally, that's not enough to get me to buy into some of the changes that happen in the later books, and because she stuffs these things so full with new elements every installment, a lot of stuff ends up getting glossed over.

And like, I still love the books. I think they're wonderful, and they taught me how to read. but i can say that and also say that Rowling probably did herself a disservice by trying to write four giant war novels as sequels to her first three mystery children's books.

[regular-gnome]

hey..

at what point do collectors opt to turn things from puppets to scrolls? I feel like turning an entire living creature into [a piece of paper] is very complicated, while turning them into simple puppets is easier because they keep all the same parts, just simplified and wood?

It is! It depends on the person's proficiency and understanding of the mechanism regarding when and how they change the creature. Once someone gets good at it, the creature can be transformed into a lifeless object without it dying in the process, and they will move on to more complex and efficient ways.

The way I see it, archiving is a form of information compression and storage—and there is A LOT of information. When looking at Earth creatures we have everything from single-cell bacteria to whales that range up to 100 quadrillion cells, all with different sizes. The smallest single-cell critter is 0.3 μm, while the largest single cell is an ostrich egg that can get to 18 cm. So it's not just noting "a cell"—there's also a lot of information about the cell content, size, the DNA, current water, and oxygen levels, what protein it contains and how much. Then there are spatial dimensions. (While we can consider there being more, especially in fiction, I’m sticking to three; trying to visualize four fills me with frustration and existential dread xD) Every cell has its place in space in relation to the others, and all the contents' relations are also important. If, suddenly, all histones materialize inside a mitochondria instead of the nucleus, we can have a problem. Additionally, physical and chemical processes gotta be considered. There's electricity powering our brains, hearts, running nerves, air in airways traveling to lungs, chemical signals traveling between synapses that also need to be accounted for. So, you have all the contents in space, their vectors, and building blocks. Thats a ton to save. This information has to be compressed to be preserved in an organized manner while also remaining lossless so that when returned to its original shape, it's as it was. Not even mentioning that in intelligent beings, there are also minds to take care of. Jellyfish might be fine after 100 years in a static void, but a human? Yhhhhh.

I think the mechanism would work by saving information in intangible magic and assigning it to a physical medium—be it a statue, doll, book, or scroll. If it is physical and can carry information, it can be used. We can argue the mind is part of the soul, or it is a biochemical process, but the fact is nobody really knows for sure what it is and Im not a theolog, so for the sake of this universe, I'll say it's something that occupies the same space magic does and is influenced by chemical processes, meeeeaning it can also be tricked by them. And the magic.

The first degree of preservation would be spells that only change the material but keep all shapes and info in place. This wouldn't require much thought while executing and could be "automated" or worse, taught to mortals (if they have enough magic to power the spell), like petrification or changing someone into wood, metal, or any other solid material. It's not perfect, if the structure is damaged, the spatial information is damaged too. Breaking is one thing, but imagine if the statue melts.

The next step would be assigning objects with some compression and change, like toys and dolls. I feel like there would need to be a system like a content library, so not every single atom is saved each time, but chemical structures like nucleotides in DNA (the ATGC thingies) would just have a shortcut. Larger repeating patterns could also be assigned their own id to save data, and it would slowly stack up. While things are written in intangible magic form and anchored to the medium, the medium can be somewhat customized, like the decorations the Collector added to the dolls. The mind, running in controlled magic, can also be affected, as we saw with Collie trying to scare them and Luz’s dream. On the spell keeping the preserved critter stable has a link to what shortcut it uses so with countless diffrent worlds and structres it wouldnt mix up.

Then we go further into compression, reducing size and dimensions until we reach a point where one axis is almost entirely removed, and we end up with a scroll. Then there are other things—creatures saved as amber miniatures, snow globes, scrolls, or drawings, sometimes purely to annoy the sibling that has to deal with the creature in unhandy form. A more permanent binding would be in a book that can contain a bunch of different animals. Rebinding for long-term preservation is the Curator’s job.

Looking at Earth creatures, eucariotic life shares ancestry with some ancient bacteria that decided to rebel and started to cooperate, so we share similarities even with distant organisms in some strutures since they come from each other. So when it comes to preserving whole populations with relations, the library of compression doesn’t have to be separate for every single animal or plant. For each section of the archive, there would be a common library of building blocks, and scrolls being somewhat separate carrying the exact instructions for body arrangement and the soul/mind/the part that makes them alive attached.

Next is unpacking the information. I think this requires the ability to interpret and recreate what was saved that mortals lack. While they couldn't really unpetrify others, a collector could (assuming the mind hadn’t deteriorated into a husk). In the case of an automated spell, I think it would result in a very lossy transmutation—like a jpg losing pixels, the creature might lose like heart funtion. The Collector's spell also looked temporary or incomplete since an influx of other types of magic (like in Amity or Raine’s case) was able to push back on it. That might also be why they were conscious in the form they were in. Not meant for long just enough to take them to archive in normal conditions. When a creature is heavily compressed, it needs external force to rebuild, as it's essentially written fully in magic. That’s what I think happened to the Owl Beast. Lilith released it from the medium, but since it wasn’t fully rebuilt, it being a magic form attached itself to a magic source.

SO YEAH, its a process that takes quite a while for them to master and it comes with experience. But when experience is based on life it often makes it hard to practice so those with less empathetic approach master it faster. Thanks for the ask! I was dying to talk about that for such a long time and that was a perfect thing to organise thoughts

[coquelicoq]

if we assume that each of the three pillars comes exactly three times for a total of nine times, and we know that the 7th time it was the 40-year guardian, and if we assume that was her final visit and the last two visits will be split between the 30-year guardian and the 8-year guardian, we can calculate how long ago the miharu family made that deal: (40x3)+(30x2)+(8x2)=196 years. 196 years ago it was 1828, but i think this is supposed to be set in the 1980s or 90s, so call it the late 1700s. that's the kind of thing matoba as the head of the matoba clan has to concern himself with - deals with youkai made by people 200 years ago from families that don't even exist anymore. it's an interesting contrast to the thing he says to natsume at the end of this arc, about the 9th visit, which is 30 years away, being someone else's problem. he's embroiled in the past but doesn't even think he'll get to have a future.

[twilight-zoned-out]

"Seven years ago we all went through the flames; and the happiness of some of us since then is, we think, well worth the pain we endured."

Although Dracula was published in 1897, some think that it takes place in 1893 because of the way the days and dates used line up. If that's the case, Jonathan Harker's epilogue, seven years later, would have been added around 1900. A new era bubbling with new change and new conventions. The story ends with Jonathan looking ahead to a new century filled with the unknown and being able to look on the past, despite its darkness, "without despair."