#like the actual script not the transcript of the dialogue only

[whoviandoodler]

[ID: a meme of two people lying in bed, one staring at the ceiling and the other with their back to the first, hugging a huge plushie of mareep. the first person is titled 'me', the second 'my wife', and the mareep is titled, 'the memory of the man I used to be before the war left me a shell of myself, one incapable of even mimicking him in order to appease my loved ones (haunting the narrative, the narrative is crossed out so it says haunting the marriage). End ID]

Back on my MFMM shit.

[commsroom]

OK I need you to point me to the nearest entry point into this fandom. I don’t know what this is, but you popped up on my dash.. and I need to know what this is. Please lead the way.

oh!! that's exciting. yes. okay!! wolf 359 is a science fiction audio drama about the isolated and questionably competent crew of a deep space research station, the u.s.s. hephaestus. the initial four characters are comms officer doug eiffel, 'everyman' pop culture guy who really, really hates his job; commander minkowski, who cares about her job and the rulebooks that come with it a little too much, and desperately wants to feel like she's keeping everything under control; dr. hilbert... eccentric? station medical officer and mad scientist whose methods and mission objectives are not entirely above board; and hera, the station's mother program, who struggles with her job and the ways she's perceived by others.

there are other characters who show up later - i would say only three of the above characters are "main" characters, while the actual fourth main character is introduced in s2 - but that requires way more context, and i don't want to get into spoilers, obviously.

wolf 359 is a character drama - it's my personal gold standard for character writing - and the brief descriptions i gave you are the most surface, surface level parts of them. the writers once said something about it, like... that they weren't interested in subverting typical sci-fi character archetypes so much as looking at them and asking "why would a real person behave that way?" and i think it really worked. whether i like them or not, they all feel like real people to me. it has great sound design and a lot of "physicality" in the performances for an audio-only show, which i think comes down to gabriel urbina's film background and the way the scripts are written and performed. (and alan rodi's incredible soundtrack and sense for music cues.) you can't see a lot of what's in the scripts, but they're acted out in a way that you can kinda feel it anyway. i love that.

here's a fan made trailer that i think captures a lot of the right energy. it's a show about a lot of things, but some of the primary themes are communication + music, and i think the collaborative nature of the show itself adds something very sincere to that. it's also about corporate and medical exploitation, resisting dehumanization, what makes us human, connection, identity and autonomy, guilt and accountability, the stories people tell themselves to justify who they are or what they feel it's necessary for them to do, and, of course, the enduring philosophical question: "what's wrong with handcuffs?"

you can check it out at the website i linked above, or anywhere you can listen to podcast feeds! it's free, but they added ads a few years ago, which i hate, so you can pay a dollar here for the ad-free feed if that'll make a big difference in your ability to enjoy it: https://www.patreon.com/Wolf359Radio

it's a sequential story, nothing you really need to know about listening order except that i recommend not skipping the mini episodes (they have important character context and are where they are in the feed for a reason) (with the exception of mission mishaps ones near the end; those are comedy bonus episodes you can listen to whenever) and that you should definitely watch the live show after ep 26 and listen to special episode change of mind between s3 and s4.

i also have a folder here of every recording script where i edited any parts that were different from the show's dialogue + added transcripts for the ones that didn't have available recording scripts, if that's something you'd find useful! i also recommend checking them out just to see what i mean about how they're written.

the first season is pretty short, so i'd say stick with it until at least episode 12/13 (two part finale) if you can - i love the first season, personally, but that's the point it really becomes serialized, and so that's where i think you can safely say if it's something that's going to capture your interest or not. ... and that's it! sorry this is kind of an essay, but i got excited about it. i hope you love the show, please keep me updated, and let me know if there's anything else!!

[ikroah]

A girl can get somewhere in spite of stringy hair or even just a bit bowed at the knees if she can show a faultless…personality! —“Personality,” Johnny Mercer and the Pied Pipers (1946)

It Keeps Right On a-Hurtin’ #26 - Ring-a-Ding-Ding V

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Notes / Original Pencils / Transcript:

Notes:

ohhhhh my god why did i make this script so long my hand hurts this took forever aaaaagh

Welcome to the Lucky 38! This is a script that has remained basically the same for a long time but went through COUNTLESS extremely small rewrites over the course of production just to really nail Mr. House's dialogue. He's a long-winded guy, this whole issue is basically just him doing monologues, and I wanted to make sure it was all interesting and non-repetitive. I think I took out at least three uses of "merely" from the first draft.

One of the biggest production decisions of this issue was whether or not to cut the scene with Agnes and Cass and Victor, which immediately follows the end of the previous issue. The reason to include it was because it very necessarily established the change in location from the Vegas Strip to the Lucky 38 penthouse, which would have been jarring otherwise; the reason to exclude it was that it the issue was already extremely long and I thought opening right on Mr. House would have been more impactful. Ultimately, I did keep it, which was a good decision, but only because of the literally issue-saving idea to convey it as closed-circuit television footage instead of actual panels. Every single attempt at overlaying them with the lead-in to Mr. House was way too busy, but that idea really tied the page together like a nice rug.

And lastly, the framing device of the tarantula and the tarantula hawk was actually an extremely late addition to the comic. I had already finished the first three pages when I thought of it. My problem was that Mr. House's constant monologuing and Agnes' sad expressions got pretty repetitive. I needed something to break the action up while adding thematic heft and artistic variety. I've become a real enthusiast for wasps and tarantulas over the last couple months, so this one really was just a stroke of luck. It took only minimal revisions to make room for the framing device, with the most dramatic change being the complete replacement of the last page (which was originally just a splash page of the Lucky 38 in Vegas; bookending the first and last pages is so much better). So you see, the only reason for weaving a scene into this issue of a skittish desert-wanderer getting paralyzed and dragged toward a certain demise by a predator almost perfectly evolved to destroy it was just that I like bugs a lot. That's the only reason, yep.

Original Pencils:

Due to all of the photo-collage in the final version of the comic, there's a lot of panels and details that I (thankfully!) didn't have to draw myself. Sorry that the pencil isn't blue on the last three pages, I've been on the move for the holidays so they got scanned in grayscale by accident.

I did experiment with drawing the tarantula framing device myself, but ultimately went with the photo-collage method because the artistic juxtaposition actually made it much more readable when interspersed with the proceedings in the Lucky 38.

Transcript:

EXT. DESERT OUTSIDE OF NEW VEGAS. The city glitters in the distance, nestled between the shadows of mountains, with the spire of the LUCKY 38 towering above all else.

In the wilderness, a TARANTULA emerges from its burrow.

EXT. THE NEW VEGAS STRIP. On closed-circuit television monitors, a SECURITRON ROBOT approaches AGNES SANDS and ROSE OF SHARON CASSIDY, saying

VICTOR: Well howdy, partner! Fancy meetin' again here in Vegas!

CASS: What the fuck?

AGNES: Victor?

Unlike the usual police units, VICTOR's robotic "face" is that of a cowboy.

VICTOR: And heck, ya clean up nice! Sure lookin' a lot better now than when I rustled ya outta the bone orchard back in Goodsprings*--

CAP: *As was explained to Agnes way back in IKROAH #2. --Lou

VICTOR: --so how's about ol' Vic skips the rigamarole, huh? 'Fore all my yappin' makes ya want to go back, heh-heh-heh! I'm the welcome wagon, see. I'm to come and collect ya.

CASS: Agnes--

VICTOR: Boss wants t'see you, is what I'm sayin'.

AGNES: Boss?

VICTOR: Only of all of Vegas, friend!

CASS: Agnes.

MEANWHILE, the TARANTULA crawls beneath the starlight.

VICTOR: So why don't we mosey on over to the Lucky 38? And your good pal can come along, too!

CASS: I need to know what the fuck is going on, right now.

AGNES: I...I don't know.

VICTOR: And y'know, boss ain't ever let a soul inside before, least for not as long as I've been rollin' around on my spurs, so this ain't just an everyday social call, mind...

On the closed-circuit television monitors, VICTOR escorts AGNES and CASS to the entryway of the LUCKY 38.

VICTOR: ...but heck, I reckon ya'll oughta get along like franks on a fire! So come on! Lift's in the lobby here, and up to the top floor--and we can get the formalities out of the way before ya'll get [cut off]

INT. THE LUCKY 38 PENTHOUSE.

AGNES stands awestruck, looking upward, bathed in electronic green light. With horror, she ekes out a single question.

AGNES: ...what are you?

???: A "Hello" would have been preferable, but it'll take more than a crude faux pas to tarnish this moment. Who I am, Agnes--

What AGNES is looking at is a gigantic SUPERCOMPUTER and terminal, flanked by closed-circuit television monitors and guarded on both sides by SECURITRON police units. On the supercomputer's massive screen is the green-lit image of a face. The face

MR. HOUSE: --is ROBERT EDWIN HOUSE. The President, CEO, and sole proprietor of New Vegas--and more to the point, the intended recipient of a long delayed package.

AGNES: Oh, you...you mean the platinum chip?

MR. HOUSE: Correct. It's a...very precious artifact of the old world.

MR. HOUSE: My world, once.

In the back of the room, beyond AGNES, is an oil painting of MR. HOUSE, standing outside in front of what must have been a very large robot.

MR. HOUSE: In that world, I was the founder of RobCo Industries--a titan of innovation. We created a litany of robotic solutions for diverse markets, such as the Securitrons that you see here, and even a line of consumer-grade devices like the wrist-mounted Pip-Boy. But the platinum chip was, more than any other, my design. It was my vision.

MR. HOUSE: But it never left the factory in which it was originally made. Before it could even cool off from its assembly...we had the Great War. An international, thermonuclear bombardment of unimaginable power that annihilated the world in all of two hours.

MR. HOUSE: But not the entire world. Not Vegas. Not my Paradise. From my fortress of the Lucky 38, I saw to that. But as for the rest of the world, and my platinum chip--it took generations.

MR. HOUSE: First for the scarce remnants of humanity to crawl out from under their rocks, and for the world to at least resemble a functioning society again in which to do trade. And then for the work itself--of countless scavengers, treasure-seekers, and the like, all contracted to comb over the wreckage of Sunnyvale. It cost millions of caps, and later, New California dollars. And a not insignificant piece of my pre-war fortune as well. I, quite literally, moved mountains.

MR. HOUSE: I do not believe in providence, Agnes, but I do believe in destiny. How else to explain it? It was pristine when it was found. Neither the bombs nor the passage of time had so much as scuffed its sheen. But still...its value far transcended the mere market price of pure platinum.

MR. HOUSE: Amusingly, despite the discovery, I was still only as close to acquiring the chip as I had been originally in 2077. A final ordeal remained for me: how to ensure the safety of the platinum chip en route to its destination, from Sunnyvale to Vegas, without broadcasting its preciousness to thieves, armies, and raiders--or worse, to heavily armed fetishists for pre-war technology like the Brotherhood of Steel?

MR. HOUSE: Misdirection. Through a network of anonymous liaisons, I contracted the Mojave Express for a batch of deliveries, all superficially similar knick-knacks, to various intermediaries of myself. All but one of the orders were totally worthless decoys. But your identity as the carrier of the one genuine item was somehow compromised, leading to you getting attacked, and to the second disappearance of the chip.

MR. HOUSE: But look around you. Look where you are. You've made it, haven't you?

AGNES, still staring up at the visage of MR. HOUSE on-screen, doesn't respond. She frowns, nervous. The SECURITRONS guarding MR. HOUSE observe her stoically.

MR. HOUSE: Let me clarify: I had nothing to do with Benny's ambush. Heavens no! It goes completely against my interests. It would have been a perfectly quotidian day's work for you if not for his, and I stress, unexpected involvement. The platinum chip...belies its significance. For Benny to have not only discovered its delivery route but possibly enough of that significance to motivate such an act, this constituted a very troubling breach of my security. And I had been looking into it...but in a way, the issue seems to have resolved itself. Hm?

MR. HOUSE: A wild card. Now removed from the deck.

AGNES' gaze sinks to the floor.

MEANWHILE, a small shadow blots out the starlight in the desert outside of Vegas. It flies over the exploring TARANTULA.

AGNES looks back up at MR. HOUSE.

AGNES: I killed him.

HOUSE: So you did. I only wish that we could have spoken before you went rogue on my former protégé: if this story breaks, I can grant you amnesty, but not without controversy. And your infamy as an assassin could make our further arrangements quite difficult.

AGNES: Um...I didn't think there would be more to it than delivering the--

MR. HOUSE: Oh! Of course, of course! My apologies. Two hundred years of anticipation and yet I'm still getting ahead of myself. Well--would you mind? I've been waiting a long time for my mail.

The SECURITRON closest to AGNES wheels forward with its claw outstretched. AGNES reaches her fingers into a pocket beneath the belt of her dress to produce it: the PLATINUM CHIP. She holds it in her hand for a brief moment.

MEANWHILE, the shadow descends; the TARANTULA HAWK engages the TARANTULA.

AGNES relinquishes the PLATINUM CHIP to the SECURITRON.

MR. HOUSE: Thank you--it's a relief to pay for this chip for the final time.

The SECURITRON inserts the PLATINUM CHIP into a slot in MR. HOUSE'S supercomputer, feeding it into the drive with a CLIK.

MEANWHILE, the TARANTULA is fighting the TARANTULA HAWK.

From behind AGNES, another SECURITRON presents her with a stack of NEW CALIFORNIA REPUBLIC DOLLARS, which she gingerly takes in her hand and looks over.

MR. HOUSE: And I trust that you're satisfied with the agreed-upon compensation from the delivery contract, yes?

AGNES: Yeah, it's...it's fine...I'll be going now. Thanks.

MR. HOUSE: Oh? But you've only just arrived. I insist that you make yourself at home.

SFX: KZZSZZZTTT

The faces on the screens of the SECURITRONS in MR. HOUSE'S penthouse suddenly change from policemen to soldiers. AGNES recoils and tries to step away.

AGNES: H-hey, uh--

MEANWHILE, the TARANTULA HAWK pierces the underbelly of the TARANTULA with its stinger.

SECURITRONS surround AGNES.

MR. HOUSE: You are the first guest ever through the doors of the Lucky 38, you know. Nobody has so much as checked a coat inside since the war, so this meeting confers you a significant level of privilege...and inevitable celebrity. The people of Vegas have always gossiped, after all. Many have even clawed at the door desperately with dreams of being where you now stand. Surely you can comprehend how this compulsion to leave after such a deliberate and remarkable invitation risks considerable insult--to both myself and my citizenry? And very deliberate this invitation was. Don't you realize: if handing off my package was all for which you were needed, why wouldn't I have just had Victor relieve you of the chip outside? No, no, you see, as necessary as its acquisition was, the chip is ultimately just a key, for unlocking a new frontier...of possibilities.

MR. HOUSE: Possibilities for prosperity, peace, and technological advancement that haven't been seen in two hundred years. Possibilities greater than anything the New California Republic or Caesar's Legion could dream of, let alone achieve, by playing pretend in the clothes of their forebearers and convincing everyone else that it's statecraft. Possibilities--which if they key is turned by human hands--become certainties.

AGNES (a whisper): Are you not human?

MR. HOUSE: Don't let the video screens and computer terminals fool you: I am a living human. No less so than you. I just live with a particular set of, well...handicaps.

AGNES: You said you'd waited hundreds of years to--

MR. HOUSE: One could argue that the world has been waiting hundreds of years for this moment. Waiting for me. For the chip. For the long-dormant doors of the Lucky 38 to finally open, to a single and specially ordained individual: you, Agnes. And there are tremendous things waiting for us, waiting for us to accomplish them, together. I certainly couldn't do them with Benny. What do you say?

MEANWHILE, the TARANTULA has become completely paralyzed by the TARANTULA HAWK'S venom. The TARANTULA HAWK seizes its prey.

AGNES: ...no.

MR. HOUSE: I'm sorry--"No?"

AGNES: Yes--I mean, no. No! I don't want to help you! I...

Tears well in AGNES' eye.

AGNES: ...I just want to go back home.

MR. HOUSE: ...I see. Hmm.

MR. HOUSE: How do I put this in a way you'll understand?

MR. HOUSE: The die is cast.

AGNES, crying, looks up at MR. HOUSE again. Fear bulges on her face.

MR. HOUSE: Throughout the long delivery of this chip, several precise plans and fortuitous coincidences have aligned in just such a way as to make you, you specifically at this exact juncture, an irreplaceable asset in the ongoing endeavor of this wounded world's recovery from otherwise hopeless ruin.

MR. HOUSE: Your cooperation going forward is not merely crucial to this endeavor's success, but it's utterly non-negotiable. Should you entertain the moral issue of what's at stake, it's obligatory, even. It's why your refusal comes as such a...genuine surprise. Can't you see?

MR. HOUSE: I'm not a fascist, Agnes--I would never force you. But given the circumstances, I'm entitled, wouldn't you agree, to at least a brief demonstration of my vision? The vision that the platinum chip promises? Victor has surely seen your companion to the presidential suite by now--my other Securitrons can escort you to the basement, where I'm sure you can make a...properly informed decision.

The SECURITRONS close in on AGNES, who screams in protest.

AGNES: No! I said no! I already delivered your chip, I--I killed Benny! I-- I-- ...what do you want with me!?

MR. HOUSE: Haven't you been listening? I want what's best for you--for us. I know it's a lot, but bear with me for one moment longer, and I can assure you--that this is the beginning of something very incredible.

MEANWHILE, the TARANTULA HAWK has dragged the paralyzed TARANTULA back to the entrance of its own burrow.

The TARANTULA HAWK shoves its helpless prey into the hole, and then crawls in after it.

The TARANTULA is not seen again.

[genericpuff]

As someone who can't afford to go to animation school n adores your work- are there any advice or tips they taught you could share that transfer to art or comics? I know you talked about learning how to properly reference things which I admit I think I and a lot of other artists struggle with knowing how to do

Ironically enough, as much as I learned that I do NOT have the patience for animating (which is... ironic, considering all the patience that's required to make a comic LMAO) I did still learn a lot from it that I was able to take into comics. Storyboarding was one of the more obvious ones, as storyboards are basically just the "still versions" of an animation before it's been animated, with establishing shots, camera pans, dialogue shots, etc. all of which you'd find utilized in a comic.

Alongside that was learning how to draw consistently. Turnaround sheets are a shared practice in both animation and comics, they're necessary to creating an ongoing project that features the same core cast of characters. Learning how to draw the same characters the exact same way every time in a way that's both consistent and efficient is crucial.

That said, aside from those little starting tips, I do hope that some day you're able to find the means to go to school for animation or whatever it is that you're desiring to go into and learn. Yes, post-secondary schooling is expensive, and there are a lot of risks in pursuing a diploma/degree that can affect your future. That said, as someone who went to a school that literally no longer exists (like fr I don't even know if I can get my transcript anymore so for all I know, the year I spent in animation college only exists in the student loans that I'm still paying off, rip) I still learned and gained so much that I simply wouldn't have in high school or on Youtube. The biggest of which was the environment - being put into an actual dedicated space for learning art, with peers and teachers who were all unified in that space working towards the same goal, made so much more of a difference in my learning than I initially anticipated. I got so much feedback and guidance thanks to my instructors, and it really put me into a space where I was forced to try new things, I couldn't keep relying on the same tricks and comfort zones anymore. If it weren't for my instructors pushing me to step outside of that comfort zone, I never would have learned how to draw from life or use other mediums that subsequently became the foundations of the stuff I make today.

And while a lot of the things they taught I could have learned on Youtube or CTRL+Paint or Draw-a-Box, being in an actual classroom with grades and a schedule to abide by actually kept me moving in a forward direction and gave me so much more help on a personal level than some guy on Youtube could have given me reading from a script or, in this case, some rando on Tumblr responding to anonymous asks LMAO

Obviously, I'm never gonna recommend that anyone put themselves into financial ruin for post-secondary schooling, ESPECIALLY right now with the economy being what it is, but I do hope that if you genuinely want to go to school that you can find the means to do so, whether it's opting for community classes or applying for scholarships/bursaries/grants/etc or even just signing up for a local art class. Do your research on what's available and feasible to you - even art clubs can be super helpful in getting you out there and talking to people! As much as we may all be slaving away over our desks creating our next big piece, art is still a form of community and interpersonal communication - whether it's between you and an audience, or a peer with whom you exchange new ideas and feedback, or a mentor whose skills you hope to inherit and pass on to the next generation.

Until then though, keep creating and keep getting inspired. If you've never drawn from life before, set up a bowl of fruit and draw it as closely as you can to the real thing, or go to the food court and see how quickly you can sketch the people walking by before they're gone. If you've never tried storyboarding before, grab a piece of paper, find a scene from a live action movie you like, and storyboard it as if you were making an animated film. Try things! Fail at it! Try it again! See what happens!

[kazarinn]

(Link leads to download links, script file, and translation notes)

Here’s some context for why we did this: the official English subtitles for this movie are dubtitles, or in other words, the English dub script with names and terms swapped out and pasted on as subtitles. There are a few lines changed here and there, but almost all of the lines are a dub transcript in practice. Dubs are a very different form of adaptation that have their own unique requirements, so doing something like this is really bad translation praxis, and to be honest, it’s disappointing to see yet another major piece of Digimon media be stuck with subpar translation standards, again.

Since I figured that it would be helpful to have a more precisely done translation out there, if at least for reference, I went ahead and retranslated the entire thing from scratch.

As far as casual viewing goes, I’ll fully admit that there are a lot of places where the official version is punchier and has better flow than mine, since they had license to adapt things more freely than a fan translator like me would. But once you go beyond that, the official subs have the following issues:

Since they’re actually dubtitles, there is a substantial mismatch between what’s written in the subtitles and what’s actually being said in Japanese to an extent far beyond what should be acceptable for subtitling. As I said earlier, I personally believe they’re still decent enough for casual viewing purposes, but there are enough differences in details and nuance that would matter for people who want to analyze the movie more thoroughly.

The official translation has a number of issues that affect consistency with Adventure series themes, timeline, and lore in places where there were no such issues in the original Japanese dialogue. (This is a problem that also affected LAST EVOLUTION Kizuna‘s official translation.) This is something that can be a huge deal for a lot of Digimon fans, so while it’s not something that would have led to this decision by itself, it was a huge factor.

Originally, I was only planning to release a script file to be used with Blu-ray footage, but it seems that all of the official English subbed/dubbed releases have animation errors that were corrected only in the Japanese Blu-ray, so I went ahead and put together my own encode based on the latter. I’ll take the encode down if they somehow decide to put out an updated release that fixes all of these problems, but…seriously? In 2024? And after the disaster that was LAST EVOLUTION Kizuna‘s official release, too? Come on.

[verycharismaticdragon]

On Air Island - chapter 1 - part 3

[prev] - [story so far] - [next]

In today's installment, we are unfortunately hitting one issue this game has, which is that the quality of translation sporadically drops in some branches. Now is a good time to remember that this is a Korean indie game with a developer team that fits into one single screen in the credits. Fortunately though ya boy Dragon has been handling mtl for ages and knows exactly how to make it yield actual result instead of garbled nonsense, so I added the translation to the video and the 'script 👍 Lemme know if this format works!

(the transcript is available below the poll, under keep reading)

Ah right: A.H.M, Shishinao, and Shirashinao are all~ Naoto's nicknames. I'm pretty sure that's also a translation thing, but it's way funnier like this? Let's give him a few more. Naonao~

Anyway,

Transcript legend:

In-game text

Character speaking: dialogue line

regular chat message Donation: donation message

available donation messages

{ Alternative translation }

———— ———— ————

Hanse: The result for the 1st day settlement is! Mr. Fact in the 1st place and Honari for 2nd place!

[player] donated 50 Small Heart: (Voice) Hanse, don't be discouraged!

[Hanse, don't be discouraged!]

Predator: Ugh. Kissme3: Ha, ha, ha.

Hanse: ……………!

hasebuck: Ha, ha, ha. 9nine: Look how surprised he is hanmanse: He looks so cute...

Hanse: Wow......! I was surprised that you were able to post a voice message......

bbongGGu: Seems like he didn't know it So_yool: Adorbs

Hanse: But somehow...... Is it my mood? I feel like all eyes are on me......

Mr.Fact: You almost freaked me out? Don't freak out, it's only just begun. { What, huh? You almost got discouraged~? It's only the beginning, so don't get discouraged, yeah? }

jimjman: What is it? Wannable: ;; VivaViva: Why is he like that

Hanse: Ugh, I'm sorry, Mr.Fact......

OnlyHim: Hanse's expression is hardening in real time boksunga: Be mindful Mr. Fact;

Mr.Fact: Oh, but~ I'll never get to the top. You can't take a shot at me. Okay? { Oh, but~ Quit dreaming of getting to the top. You're no match for me. Okay? }

OnlyHim: <Chat deleted by cleanbot>. ASHA: He's so fake NARICHAN: He just live by his name, Mr. Fact

Honari: But they say to dream big, right?

hansevly: ?! Perish: Oh…?

Honari: Even if you can't. { Even if you can’t achieve it. }

kimbab: Be careful Hanse! PunchHim: This is exciting, someone bring me some popcorn. FactOppa: (nom nom nom)

Mr.Fact: What? You're interrupting me?

island: Is that you? RealFact: If you're rich and popular, you're older than me.

Mr.Fact: You're thick as a board~ You're not afraid of the stares? { Honari, you're thick-skinned~ Are you not afraid of the viewers' gazes? }

Elvis: Suddenly? UglyFace: Are you going to drag Honari here?

Honari: What? I have no idea what you're talking about......

Snitch: ... Fearless: I feel sorry for Nari… hanse1se: Do dum;;

Hanse: Okay, wait......

DUMMY: Refrain yoursel Hanse. outnow: I will ** yoiu if you touch Hanse!

DUCKACOON: What's all the noise, quack? We'll keep going, quack!

Steward: Hey MyMaster: So boring CLAPCLAP: Thank God

Mr.Fact: I'm not even in first place. { Ugh, you’re not the first place, what do you know. }

doremipa: Woah that's crossing the line tho hansefan: Do you think 1st place can do everything?

Honari: … … … … …

Hanse: Ha... ... ... ... ...

kimbab: Eeek Imcrazy: Maybe this is how he treats lower ranks

DUCKACOON: A decent meal was prepared for the middle ranks quack.

lalala99: So-so Thief Jin: Just so-so BeSlave: Hahhhaha So-so

Naoto: Why on earth would you give it such an unappealing name?

rusure: I'm losing my appetite haahaha Rolling: Is it that harsh? Know_all donated 20 Ordinary Clover: Yep! Let me explain so, Shishinao is Naoto Know_all donated 15 Small Spade: Rumour said that he resigned from a broadcasting company and started his own broadcast

Naoto: I mean, it's not exactly broadcast quality...... We'll see. Tomorrow, we'll go to the top. { Anyway, considering the level of the broadcast… Just wait and see. Tomorrow, I will move up to the top. }

Perish: Fighting~ Flos: What? Crying? NARILOL: Anyone think the rank won't be changed? Angelic: 1111111 180x181: 222222222 Know_all donated 20 Touching Diamond: Moreover there is a rumour saying that he is son of a politician, it's interesting fight between the father and son!

Alice: It's too overwhelming for me......!

Carat: But I'm pretty sure Hanse won't be number one. Melody23: What a fact we got here

Alice: Above all............... You're holding my meal as hostage!

c'monya: There was a rumour that Alice is come from a conglomerat family. Know_all donated 5 Amazing Diamond: She is an influencer going by the name ALICE KingCry: It's not a rumour, it's a fact. Know_all donated 10 Amazing Diamond: I don't really remember but i think she start knitting for a hobby and got famous

Alice: That's just so evil---!

BeAKing: She is offended? Imfather: Oh my god. LoveCute: She'll get home by helicopter then Know_all donated 15 Small Clover: Honeslty, if she is the daughter of the S Company's president, they might have support her

Hanse: So.... Naoto is the 3rd place, Alice is in the 4th place. But the gap in vote results between them is quite significant.

Igiveu: I wonder if she's ever had a good meal. koncijeu: No wonder she's so annoyed.

Is A.H.M okay?

Wow, ALICE has such a nice voice.*sarcasm*

(Voice) Hanse, don't be discouraged!

[augustheart]

DC Pride 2023 Tribute to Rachel Pollack

This is a transcription of the text that appears at the end of DC Pride, written by a variety of authors in memory of trailblazing writer Rachel Pollack. I've done my best to copy everything exactly as it was written, and I apologize for any errors. It's over 3,000 words, so I'm going to put it under a cut outside of the foreword. The rest of the tributes are in plain text and not italicized except in places where they were by the original authors.

(If you would like a PDF of the following transcription, one is available here.)

“On April 7, 2023, the legendary writer and Tarot expert Rachel Pollack passed at age 77. Her work for DC's Vertigo imprint—including the celebrated Vertigo Tarot deck and a long run on Doom Patrol that was a deep influence on the property's recent HBO Max series—was profoundly meaningful for generations of comics fans. She was a trailblazing trans woman in comics and sci-fi communities that were frequently male-dominated, and her lifelong love of both superheroes in particular and the comics medium in general allowed her to confidently turn their storytelling tropes inside out, truly queering her comics in every sense of the word.

In the months before her passing, the editors of DC Pride were speaking to Rachel about writing a new story for this very issue, and her enthusiasm for the project was boundless, as she planned to return to her themes of the superhero and the secret identity, of the "kink" of costumes, and of the revelatory freedom that she found in these characters. Unfortunately, just as work was set to begin on the script, completing it became impossible for her. In the absence of that last great work, but with gratitude for the incredible stories she did give us, we've opted to turn the pages we reserved for Rachel's story over to her friends, and to the fans whose lives she changed, to share their memories of her.”

—Unspecified Author or Editor

“I met Rachel Pollack in 1985, at a convention, where I was interviewing her about Salvador Dali’s Tarot, and then I met her again a couple of days later at the Milford Science Fiction Writers’ Conference, and we became friends fast. She was smart and funny, she was a brilliant writer, and she was the first person I’d met who knew more than I did about obscure Jewish mythology.

She told me off for writing a line of dialogue. ‘But that’s the only thing in the whole story that’s actually true,’ I told her, and she explained that art truth and reality truth were two very different things. And I knew she was right.

I don’t know how much I learned about writing, but listening to Rachel and Gwyneth Jones and John Clute and Lisa Tuttle and the rest of them, I learned so much about reading, and what I learned would change me as a writer.

Rachel was my friend. I had never met a person who had transitioned before and I had so many questions and, patiently, she answered all of them. She decided I needed to know Roz Kaveney, and Roz and I have been friends for decades now.

In 1988 I was writing Books of Magic and knew I needed a Tarot reading in the comic. Rachel was in London, and I asked her what the reading should be. She took me out to buy a Tarot deck that spoke to me, and I saw what happened when Rachel Pollack walked into a Tarot shop. It was a little like what happened when The Beatles went on Ed Sullivan. And then she gave me a beautiful reading of four cards, which encapsulated the whole of the story I was trying to tell.

She won the Arthur C. Clarke Award in 1989 for Unquenchable Fire, and I read it and suspected Rachel was creating her own school of fiction, her own brand of magical realism.

We argued, gently, about Wanda’s fate in A Game of You, and Rachel did what I wish everyone who had an argument about art would do, which is she took what she wanted to say and put it into a comic. Tom Peyer had asked her to write Doom Patrol after Grant Morrison left, and she did a remarkable job. I loved the delirious joy of her comics, the magic and the sense of fun, in Doom Patrol and in the comics that followed Doom Patrol.

I was thrilled to see Rachel when I moved to Upstate New York, and then I didn’t see her for years. I did that thing where you think you’re in touch with your friend, but really you’re just on social media at the same times. I was stuck out of the country during COVID, and Rachel had cancer. I was thrilled when I returned to hear that she had beaten the cancer, and then I was going to see her and she hadn’t beaten the cancer. A whole new cancer had turned up on the day she had beaten the first one.

I got to see Rachel more in the past few months than I had in the previous few years. She was as funny as ever, as sharp and as wise. I got to know her wife, Zoe, and to appreciate their love. I got to tell her bad Jewish jokes that, I suspect, I’d probably first heard from her. ‘Everywhere I went, people said ‘Look at the schmuck on the camel!’’ Some people die well—not necessarily bravely, necessarily, but gently and wisely and kind. Rachel was going to be one of those. She asked me to come to her funeral, and I said that I would.

Her funeral, several months later, was in the sunshine. It was filled with friends of hers from comics, from fiction, from Tarot, from writing, from teaching, from family, from the world, and Rachel lay above the grave on a wooden plank, wrapped in white winding sheet. We said true things about her, and we were funny and honest and there was so much love, and then we shoveled the earth on her, and cried, and said our goodbyes.

I’ve never met anyone like her. I’m glad she was my friend.”

—Neil Gaiman

“Rachel Pollack and I had the same favorite comic book—why, Doom Patrol, of course—and for a while she was its writer and I was its editor. She followed Grant Morrison, whose name was big and growing even then, and for years it seemed like Grant’s era might totally eclipse hers in memory. But DC released her Doom Patrol omnibus in 2022, and in the process unwrapped the radiation-proof bandages from her work, exposing the piercing and radiant appreciation that so many fans felt for it. On top of that, this year Dennis Culver and Chris Burnham, the creators of the excellent Unstoppable Doom Patrol, paid a moving in-story tribute to Rachel’s cast of broken-but-healing heroes.

I’m glad she got to see the omnibus, and I’m grateful for the chance it gave us to relive her perceptive, ironic, unsettling, and revelatory run. It was known for being strange and surreal, but there was so much more going on. Doom Patrol had been weird before, and funny, but never quite as wise or kindly meant.

A story that I always think of when I think of Rachel featured yours truly. At the end of my time as an editor—I had decided I wanted to write full-time—I called the creators I worked with to let them know I was leaving. Most of them, quite understandably, reacted with some implied variation of ‘What’s going to happen to me?’ It made me start to think I was being horrible and selfish. But when I called Rachel and nervously told her what I had decided, there was a silence, and then she said, ‘Quitting is good for the soul.’”

—Tom Peyer

“I met Rachel Pollack in the late ‘90s at WisCon, the feminist science fiction convention where we were both guests. It was the first day of the con, and they were introducing all the guests. I had read Rachel’s Doom Patrol comics and at least one of her books, Unquenchable Fire, and was excited about meeting her. She must have felt the same about me, because when the introductions were over, we headed straight toward each other as though we’d been magnetized, and we became friends immediately.

We lived on opposite sides of the continent, so we didn’t get to see each other that often, but thank the Goddess for email. I visited Rachel’s house once and she visited mine once. Her house was nicer. She took me to visit Hyde Park, Franklin Roosevelt’s old home, now a historic site—we were both FDR fans—and I taught her a Yiddish World War II song. We were both into our Jewishness, but from different angles. Rachel was interested in the mystic side, and I was into Yiddishkeit. Rachel had a bat mitzvah, and I studied Yiddish.

Rachel and I discovered we had the same birthday—August 17, which we shared with Mae West and Davy Crockett. So we sent each other birthday cards that also included happy birthday wishes to Mae and Davy.

I knew Rachel had written many books on the Tarot, so when one day I found a complete set of Tarot cards lying in the street, I decided the Goddess wanted her to have them, and I sent them to her on our birthday. After that, the Goddess would put out Tarot cards for me to find almost every year, often just in time for Rachel’s birthday presents. In return, she sent two Tarot cards that she had drawn for me when I was being treated for cancer. (I’m cancer free now!) I saved them and put them away safely—somewhere.

Last year a neighbor who was a collector of stuff died and left his collections to us, his neighbors, to take for free. Among all the stuff in his stuff-filled rooms was an unopened set of Tarot cards. Shortly after I found the cards, my Romani neighbors who lived around the corner put a book on Tarot out on the street, so I took that for Rachel. I mailed the book and cards to Rachel for our birthday.

For the first time, I got no answering card. I didn’t know that Rachel’s lymphoma had come back.

And somehow, it all got away from me.

Periodically, I would think, ‘Phone her—must phone Rachel,’ but something would come up and I’d forget to phone, or it would be too late to phone because of the time difference between New York and California. Damn it!

I miss you, Rachel. In our next lives, I’ll try to be a better friend.”

—Trina Robbins

“I first met Rachel Pollack when I was the assistant editor on The Sandman and she was the new Doom Patrol monthly writer. I shared an office with Tom Peyer, who was Rachel’s editor, and when Rachel swept in like a redheaded bohemian priestess, I always wound up putting aside my own work so I could chat a bit with Rachel as well. She had the rare gift of wielding her considerable expertise about comics and mythology in a way that made the person talking to her feel smarter.

After I left DC Comics to write full-time, I moved to Rhinebeck and discovered that Rachel lived there, too. We formed a small writing group that met once a week, usually in my kitchen. Always as kind as she was insightful, Rachel spent more time celebrating what worked than critiquing what didn’t. She did a lot of celebrating, of others’ writing and of her own, delighting in the words and worlds that moved through her.

She was, pre-pandemic, a frequent guest at my Passover Seder, the only person besides myself and my mother who knew all the Hebrew and all the traditional melodies. Her vast knowledge of midrash and Kabbalah made her comments more delicious than the charoset she made, and let me tell you, that was pretty damn good. 

In October, when she started to get really sick and I started to visit more frequently, often with Neil Gaiman, Rachel defied any expectation of how a dying person ought to act. She cracked Borscht Belt jokes and talked about writing and writers, and then I went with her wife, Zoe, to pick out a grave. We discussed the Tarot, which I had belatedly begun to study along with her seminal book on the subject, Seventy-Eight Degrees of Wisdom. I asked, ‘What does it mean when you get an auspicious card in a place that means it’s negative?’ ‘It means that’s what you’re struggling with,’ she replied.

I am struggling with this turn of the cards. I cannot fully fathom that she will not be sitting at our favorite local café, writing, but ready to put down her antique fountain when she sees me. Yet when I turn back to her writing, I feel her still with me: Doom Patrol Rachel, Writing Partner Rachel, Rachel of the Passover Seder, Rachel Poet, Rachel Priestess, Rachel Friend.”

—Alisa Kwitney

“Rachel Pollack loved comics.

When we first talked about comics, it was about her own. Eight years ago I asked Martha Thomases if the Doom Patrol run after Grant’s was worth checking out, as I hadn’t heard much talk of it. She said ‘Yes. Read it.’ I adored the run and reached out to Rachel via email to let her know. To my surprise, I heard back from her within 20 minutes.

Over time we talked about the comics and creators that she loved. Carl Barks and the Duck comics, particularly the characters of Huey, Dewey, and Louie, meant a great deal to her. Little Lulu was high on her list. And The Fox and the Crow inspired a whole arc of her Doom Patrol run. The works of Jack Kirby (particularly on Fantastic Four and the Fourth World saga), Steve Ditko, and Gene Colan were brought up often, as were series including Xambi and Promethea, which she revisited often. She had even reached out to Marvel back in the early ‘70s inquiring about writing opportunities, two decades before writing at DC. 

Rachel saw the inherent queerness in superhero comics back in the Silver Age. One example she would reference was “The Town That Hated Superboy!” from 1967’s Superboy #139. In it, the citizens of Smallville turn against Superboy for nearly two pages. What stood out to Rachel was how Ma and Pa Kent pretended to hate Superboy out of fear that if they didn’t, those around them might suspect that Superboy was really their adoptive son, Clark. Though taking this sequence and relating it to an idea as heavy as the violent consequences of inadvertently outing someone by simply treating them with kindness was unlikely Otto Binder’s intention, the subtext was picked up on by many queer comics readers at the time in addition to Rachel.

Through the years I got to have a greater understanding of Rachel’s unbelievable kindness as well. She saw the world as a positive place and held out hope for just about everyone. Rachel discussed how attitudes with London’s Gay Liberation Front turned against the trans community in the ‘70s, but she would also talk about how some of the same people came back around and were vocal advocates for trans rights by the ‘90s. Whereas most, understandably, would allow themselves to be bitter and resentful, Rachel’s capacity for love and compassion was too strong for that.

I was devastated knowing just how many projects Rachel had in the works and how many stories she still had to tell. But after taking time to think on it, I know that no matter how long she stayed here with us, her work would never be done. Her stories will continue through those who love her and those who haven’t found her yet but will love her just the same. 

I love talking about Rachel’s work and her kindness. I plan on doing so for the rest of my life.”

—Joe Corallo

“‘It’s so cool that you created the first trans superhero,’ a very nice person told me recently. Writing feels like stuffing a message in a bottle and lobbing it out into the open sea, so to meet someone who had caught one of my bottles and read what was inside was extremely exciting. Unfortunately, I am a nerd first and a lover of accolades second, so I had to correct them. 

Galaxy, the character I created, is not the first out trans superhero in the DC Universe. Kate Godwin, created by Rachel Pollack 30 years ago, is. Kate is important, but more than that, she’s important to me. 

I was a teenager 30 years ago. That’s also important.

There’s a lot of talk of firsts in superhero comics, most of it meaningless. Dick Grayson absolutely deserves the ‘Sensational Character Find of 1940’ label trumpeted on the cover of his first appearance, Detective Comics #38, but you don’t need to read it, even as a die-hard Robin fan.

You can’t say that about Doom Patrol #70, the first appearance of Kate Godwin. That issue changes everything. That issue changes lives. Because Kate, a kind and funny woman, with an amusing power set and questionable taste in superhero outfits, who is beautifully, unapologetically trans—Kate is the viewpoint character.

Imagine the power of that. Holding up a trans woman—a lesbian trans woman, at that!—and saying ‘This, this is who you, the reader, should identify with.’ To have a trans woman be smart and pretty and likable, and not an object of scorn or pity, or a side character. She was the hero! I can tell you from experience, that is a tough sell now.

Reading that comic in the 1990s felt like a lightning bolt from heaven.

It was too powerful for my teenage self to handle. It was radioactive, and yet I would read my copy ragged to bask in its glow. I can call up its panels from memory. When I finally began my transition, many years later, I wore a lot of black tank tops and jeans, unconsciously aping Kate’s unofficial uniform. I didn’t put it together until recently, rereading those 30-year-old stories that I had imprinted upon like a baby bird. Early on, I wasn’t sure of the kind of woman I was, but clearly I knew the kind of woman I wanted people to see. Someone like Kate Godwin.

I never got the chance to meet Rachel Pollack and tell her how I had received her message in a bottle. How I had held it close to my heart until I finally found the strength to absorb its message. How she showed me I wasn’t alone, and I could be a hero, even if that just meant saving myself.

But I hear people say those words to me, having read about Galaxy. Which will have to do.

Thank you for being first, Rachel.”

—Jadzia Axelrod

[paulgadzikowski]

For the ask game: also TVTropes, but it was Hero of Three Faces. The following was one of the examples on the page “The Tape Knew You Would Say That”, and so that cartoon was the first one I saw …Tumblr is not letting me paste for some reason, it’s the one where the Third Doctor explains to some proper how to turn a one-way communicator into a two-way. The first new cartoon I remember seeing was the Studio 30 one where the Tenth Doctor is the script doctor but I swear I started reading before that

(also, unrelated to the ask game: you’ve said that a full description of each comic you post here isn’t in your spoon budget, but would a simple transcript of the dialogue be within your abilities?)

Okay yeah, the first one's a crossover with SEARCH, a one-season show from 1972 that I liked a lot. The character running the monitor station was played by Burgess Meredith

And here's the other one you mention

Regarding image descriptions: I can post transcripts actually, but only some of the time. I usually draft the dialog in a text file then paste it into the images, so it is right there to be pasted into new cartoon posts. I don't always do it that way, though, and I don't archive the dialog after the posting of the cartoon; so it won't happen with evening archive posts when they resume and it won't happen with all morning update posts. For instance, tomorrow morning's new cartoon post won't have it because today I composed the dialog directly in the MSPaint textboxes. But from now on I will cut-and-paste the dialog into the posts in the instances when it's available.

[whenyoulosesmallmind]

I fratelli Karamazov 1969 [EP1] - Ivan & Smerdjakov + at Katja's, the beginning of the three thousand rubles affair

As a farewell to 2023 and to a happy new year, I bring you... some more Karamazovian dramatics!

part one | part two | part three (you are here!)

Some sparse notes before the translated transcripts start under the cut: 1. usual disclaimer that I'm not a professional, just an amateur, and am doing this out of pure insanity -- if you want to discuss translation related things or have some corrections, my inbox is open and your thoughts are welcomed <3; 2. mild trigger warnings for (time appropriate): strongly implied slut shaming and more vague possibly mysoginistic remarks made by Smerdjakov about Grušen’ka -- i feel like Smerdjakov himself is sometimes made to fit into the evil gay "advisor" stereotype and that might not be everyone's cup of tea -- while I don't think these bits take anything away from the writing and actually contribute to paint a more vivid picture of the society and the time the work is set in, we must keep in mind that this is a 1969 adaptation of a 1860s novel and that there are things about it that might squick some nowdays; 3. I'm actually really sorry that this took me so long to finish, I've had the dialogues written down and a rough sketch of the translation sitting around for months and polishing it turned out to be an harder task that what I thought it would be. There's still some sentences I'm not 100% sure about, but done in this case is better than perfect, and it doesn't matter how much I mourn the formal you in english, I gotta learn to work without it; 4. that said, this time I relied in a couple of scene on a lot more stage directions than last time, I felt that some more prominent acting/staging choices, especially in the Ivan & Smerdjakov bit, were important enough to warrant a description -- Katja and Dmitrij's interaction I feel instead it relies on more subtle choices for its effect, that are harder to describe, especially on Katja's side, so left it more barebones to give the dialogue more space (so you should watch it to get the full effect, wink wink nudge nudge); 5. enjoy the insanity <33

Interpreters: Umberto Orsini as Ivan Karamazov, Antonio Salines as Smerdjakov, Neda Naldi as M. Chochlakova, Maria Grazia Antonini as Lisa Chochlakova, Carla Gravina as Katerina Ivanovna and Corrado Pani as Dmitrij Karamazov.

Original script by Diego Fabbri, directed by Sandro Bolchi.

You can follow watch the drama here on YT or here on RaiPlay -- I suggest the latter, it's free and it's the original source, but youtube's still there if you prefer.

[INT. – AT THE KARAMAZOV’S/IVAN’S ROOM] min. 14:19

(Ivan snaps his fingers from behind a screen – Smerdjakov enters: he’s here to help Ivan get dressed)

Smerdjakov: (with a servile tone – to keep in mind for all his dialogues: he never drops it) I’m not allowed to say certain things, as I’m just a servant who should only thank his master’s benevolence, but if I may risk a word it’s only because I’m devoted to you, Ivan Fëdorovič…

Ivan: (with a harsh tone – emphasis on devoted; he keeps up the commanding/angry tone until stated otherwise) I sincerely don’t understand why you should be devoted to me! – As you put it.

Smerdjakov: I like to hear you talk, Ivan Fëdorovič… when you’re arguing, downstairs, with your father–

Ivan: That’s rare!

Smerdjakov: (cont. – must note: as Smerdjakov is helping Ivan button the back of his waistcoat, they are talking in front of a mirror and the last piece of this line is spoken while they’re both looking at their reflection) Well, those times I… I never miss a word. Sometimes I even hide, I must confess, to not lose the flow of the conversation… and I can say that you don’t converse: you reason.

Ivan: Is the frac ready? – Did you iron the frac?!

Smerdjakov: Ironed, Ivan Fëdorovič: I overlooked the ironing myself because I don’t trust that muddler, Marfa, nor that hick Grigorj.

Ivan: (amused/sardonic – he’s putting on the cuntiest little round glasses) What is it – what would you have told me if you were allowed to speak freely?

Smerdjakov: Well, now maybe… I wouldn’t dare…

Ivan: You’re allowed! And don’t make me beg you…(grabs Smerdjakov by his hair and pulls him close) you’re cunning.

Smerdjakov: But maybe you already know, Ivan Fëdorovič–

Ivan: What should I know? (he releases Smerdjakov)

Smerdjakov: Dmitrij’s new sudden infatuation for Agrafena Aleksandrovna… they’re talking about it, in town, because Agrafena Aleksandrovna – Grušen’ka, you understand? – she has her own history, and those who have their own history are on everyone’s lips.

Ivan: It’ll be my brother Dmitrij’s usual whim.

Smerdjakov: Well… It may be something more. Certainly something different.

Ivan: Dmitrij has a fiancée.

Smerdjakov: The noble miss Katerina Ivanovna.

Ivan: (with a softer tone, almost dreamily, clearly he’s thinking about Katja) …and there is not a girl more fine nor fascinating – (back to the harsh tone; note that after this rise he softens a bit) so?!

Smerdjakov: And who might say the contrary… but this Grušen’ka, as those who know her say, looks like she might have other… other requirements. I’ve told you she has a history and, for a man as intelligent as you are, it’s all said.

Ivan: (laughs) The shoes – get the bone shoe horn, the long one.

Smerdjakov: (kneeling to put the shoes on Ivan, who is sitting on the bed) And then there’s more that’s riling Dmitrij up, there’s almost a challenge.

Ivan: The gossiper that you are…

Smerdjakov: (laughs) If it were gossip, I wouldn’t speak, Ivan Fëdorovič, but I can always stop here, if you prefer.

Ivan: And speak, then, say what you want to say.

Smerdjakov: For… this Grušen’ka has, how can I say it – given his age, fallen in love is a kind term, is it? – the master fell for her, too.

Ivan: What master?

Smerdjakov: (Smerdjakov looks up to Ivan) Ours – (he looks at the shoe he’s putting on Ivan) mine. Fëdor Pavlovič, you father, sir. (laughs) He’s fallen madly in love!

Ivan: (as he kicks Smerdjakov away, sending him sprawling on the ground) You’re a reptile!

Smerdjakov: I swear on everything I believe that this is the truth!

Ivan: And since you don’t believe in anything, you perjure!

Smerdjakov: (as he gets up to his feet) I guarantee you, Ivan Fëdorovič – the master confided in me, and I already had to run some tasks for him at that lady’s… I don’t badmouth: I confide in you, if you allow me, of course… Fëdor Pavlovič, despite his age, is gone for her to the point he even wishes to marry her – (reaching for Ivan) to this, we’ve come!

Ivan: (he gets up, puts distance between him and Smerdjakov again) Do the two know?

Smerdjakov: The two? – you mean, the father and the son? (as he gets Ivan’s frac and helps him wear it) I believe so, and this is, I think, the true reason for the hatred: no more the heritage. And it’s not yet said that the older one won’t have it his way, Dmitrij’s impetus notwithstanding – and I find him a handsome young man, a young man who should be liked, on the contrary: who is liked, undoubtedly; but this time, in this challenge, eh!, who knows? Because it looks like this Grušen’ka lights, how can I say, lights the amorous fantasy in more mature… elderly men; it’s one of her particularities, they say.

Ivan: (angry) Stop it! – (then, distraught) I have no more need for you, I’m ready.

Smerdjakov: The coat is downstairs, in the wardrobe. I’m sorry I upset you, Ivan Fëdorovič.

Ivan: (still distraught, upset) I’m only thinking about poor Katerina Ivanovna; ignorant, I suppose… (he scratches at the door frame with his fingernails) that upsets me.

*

[INT. – AT KATERINA IVANOVNA’S/BALLROOM] min. 19:52

(the scene opens with the camera following a waiter carrying a teacups tray through a moderately crowded ballroom; he stops by M. Chochlakova and Lisa)

Waiter: Please, madame.

M. Chochlakova: (takes one of the offered teacups) Thank you.

Waiter: Some tea, miss?

(Lisa shakes her head; the camera returns to following the movement of the waiter amongst Katja’s guests, until he passes by Katerina herself and Ivan and focuses on them – note: Ivan isn’t wearing his cunty glasses anymore, but he’s cuntily holding a cigarette)

Ivan: Yes, I am… I am worried for Dmitrij, the argument with my father over that damned heritage is exasperating him: he withdraws, he hides; we can’t find him for days and days. Do you see him?

Katja: I was hoping to have him with us today, I had a note delivered to his domicile but… who knows if he’ll show up. However, you don’t have to worry so, Ivan Fëdorovič: I know Dmitrij, I know what is troubling him at this moment. We need to let his agitation placate naturally. Why did he target his father so intensely – because now he needs money and he doesn’t have any, and he’s so proud he won’t borrow from anyone: and so he gets exasperated.

Ivan: So you think, Katerina Ivanovna, that money might pacify him.

Katja: No, it’s not the money that gives him peace. Dmitrij is the most generous man I have ever known, money obsesses him only because it lets him act fully free.

Ivan: (smiles) Mh, I admire your intelligence and your… extraordinary lucidity; I did not think that a woman in love could see with such clarity the man she loves.

Katja: I believe it is love that makes me see so clearly, for Mitja’s sake. I know the situation I find myself in.

Ivan: Do you know about… the news, too?

Katja: I know the news, too. (she spots Dmitrij, who just entered) There he is! (she turns back to Ivan, their faces are very close) He came.

(the camera cuts to Dmitrij, standing very still; at Katja’s aunt’s call he comes towards her and kisses her hand) 

Katja’s aunt: Dmitrij Fëdorovič, don’t pretend to be a statue, come closer!

Lisa: I hoped you would bring along your brother Alëša…

Dmitrij: Don’t you know he walks a different path than us? And he’s serious about it, my little brother – he’s not like us, he doesn’t mistake the devil for holy water (he spots Ivan and Katja sitting together) Anyway, I see another member of the Karamazov family already preceded me, and is already here.

(to Katja’s aunt) You really want us all, eh?

Katja’s aunt: We would really like to have you all – because you’re pleasant, you Karamazovs.

Katja: (she stands up and walks towards her aunt) Aunt, I’ll let you have him all for yourself later, but may I speak to him for a moment first?

Katja’s aunt: Youths and feelings’ rights, I’ve always respected.

Katja: Dmitrij Fëdorovič, if you’ll follow me. (she exits with Dmitrij following)

(the scene cuts off with a shot of Ivan pensively about to take a drag of his cigarette, he seems to be following Katja and Dmitrij with his gaze)

[INT. – AT KATERINA IVANOVNA’S/KATJA’S ROOM] min. 23:07

Katja: Come, Mitja, come.

Dmitrij: Will it be a long talk? Maybe an explanation?

Katja: (rummaging through a vanity) No. No, I just have a favour to ask you Mitja; you should send this parcel to Moscow for me, to my sister Agaf’ja Ivanovna. It’s not urgent but… you really must be the one doing it, Mitja, because no-one in the house should know.

Dmitrij: Would it be a secret, then?

Katja: There are three thousand rubles inside, my sister needs them, or her husband does, I didn’t understand very well. In any case, I’m sending them personally; there (she hands him the parcel) I told you you can do it at your leisure, then you’ll give me the receipt, but… it has to remain between us, understood?

Dmitrij: I’ll do it right now, I’ll bring you the receipt immediately – (he makes for a side door) can I leave from here? I’d rather not pass through the ballroom.

Katja: But why, Mitja, what are they going to say about this sudden escape?

Dmitrij: They’ll say… they’ll say you asked me to tend to an urgent and delicate matter. Isn’t it the truth, Katja? And then, you won’t be alone: someone from the family will keep you in good company – actually, I’m wondering, why didn’t you ask Ivan for this favour? He would’ve been happy to make himself useful.

Katja: What you’re saying isn’t worthy of you, Mitja. Maybe you don’t even really think it, but… you want to hurt me, I feel it.Dmitrij: Is there anything I’m not worthy of? What is it that’s not worthy of me? Come on, Katja, you know very well how low I can go. I’ll do what you asked me to, and without anyone knowing. (he leaves)

[corsicanchevalier]

Japanese to English Translation Commissions Open!

I'm a stay-at-home parent and my family is in need of extra income to stay on top of bills. Please see below the cut for my info:

What you can commission:

I’m open for translating manga, doujinshi, fanfiction, magazine articles, etc as long as you have a private, personal copy for me to translate. Translation will be in script format, so no typesetting or manga cleaning. (If the material was originally available via purchase, please don’t make the translation publicly available on pirating sites as that enables people to steal from the mangaka. If the media was free (like on Pixiv) or is an extra material like a magazine article or mook drama script however, you're free to share that with your fandom.)

Content I won't do: guro, extreme gore, shota/loli characters in sexual situations.

Why you can trust me:

My 10 years of freelance translation experience includes doujinshi, manga, essays, audio drama cds (including transcription), advertising, medical records, banking statements, rental contracts, and medical and metallurgy scholarship for private clients and a translation agency. 

Style-wise, I like to stay faithful to Japanese nuances and tone but pride myself on localization (making for a more natural flow of dialogue or text) and my writing skills, both creative and communicative.

Talking shop:

I charge $10.00 USD per hour and will always first send you an estimate of the amount of time a project should take for me to finish. With less wordy manga I can usually complete 3-4 pages in around 1 hour. 

Budgets can be negotiated. I prefer payment half upfront and half upon completion/your receiving the translation.

Please understand that due to the due to the nature of estimates, there's a chance I finish a project faster or slower than I initially thought. I will let you know of any changes not in your favor before proceeding with the work and sending a final invoice.

I accept Paypal and Venmo. Service fees will be accounted for in my invoice to you. 

Please take into consideration as a stay-at-home parent, my working hours are only in the evenings.

No refunds. 

If you want a summary of what your material says rather than a complete translation, it will cost $5.00 USD per page of source material. (Perhaps useful for longer works like books or articles, etc.) 

Please provide me with links or files to your scanned material for what you would like me to translate. If I cannot read the text easily, I will ask you to re-scan or provide better quality images. For media that are only available via purchase, I request that you include a picture of your copy with a written message to me so I can confirm that you actually own the material. A copy jointly owned by you and your friends so you can split costs between you all is just as eligible as a privately owned copy. A picture is still requested however.

Scripts will be emailed to you upon completion of the half-way mark and then ending. You are welcome to check up on the progress of your commission, but please allow me time to work on it. 

I reserve the right to refuse a commission. 

How to commission me:

Email me at mkdraws4you(@)gmail(.)com with the title of "Translation Commission" and the following details:

Source Material: (Doujinshi, Fanfiction, Manga, Official material, etc.)

Attached photo of your copy and scanned pages or links to scans (if applicable): 

Sound Effects Translation: (Yes, No, Not applicable) 

Preferred Translation Style: (Complete or Summary) 

Preferred file type: (.doc or .pdf)

I will reply with an estimate of how much your commission would cost afterwards, and then we can work things like completion dates or budgets, etc., out. Please feel free to contact me at my Gmail for price estimates and other questions that you have. Thank you so much for your interest!

[thenationaltreasuregazette]

The 2003 Script, a primer

If you’ve ever gone looking for the National Treasure script, in between various transcripts of the finished film you will find this:

It's a draft of the script dates from early 2003.

Reading scripts can be incredibly instructional if you’re a student of screenplay or just a lover of movies. It’s even become popular in recent years for some big franchises to publish their scripts in book format. These might contain a deleted scene or two, but generally they are reconstructed from the finished film.

But that’s not what a script is. A script is a blueprint. And there are always changes from blueprint to final product. Sometimes they’re small—improv’d dialogue here and there, a scene whose location had to be changed for logistical reasons—and sometimes they’re significant.

The 2003 script of National Treasure provides us with a fascinating window into how this particular story evolved during the development and production processes.

More below!

First off, let’s get rooted in the context of where this particular script falls in the development timeline.

Development Timeline

The original idea for National Treasure came from Oren Aviv and Charles Segars all the way back in 1997. Jon Turteltaub came onboard in 1999 to develop the project further, and you’ll notice his name in the “previous drafts by” list on the title page.

By the time our 2003 script comes about, previous drafts have been written by Jon Turteltaub (who when on to direct the film), E. Max Frye, and Jim Kouf. The writers of the draft in question are the husband and wife writing team of Cormac and Marianne Wibberley.

This is pretty close to how the final writing credits worked out. If you’re unfamiliar, the Writers Guild of America has a strict arbitration process for determining credit on screenplays.

Writing Credits

Possible credits are:

“Written by” — if the story and screenplay are written by the same person or team

“Screenplay by” — the writers of the actual words on the page

“Story by” — the creators of the story, characters, and events

If you would like to fall down the rabbit hold of WGA credits, read more here.

WGA SIDEBAR: Pay the f*cking writers!!!

The WGA credits for National Treasure are:

Screenplay by Jim Kouf and Cormac Wibberley & Marianne Wibberley

Story by Jim Kouf and Oren Aviv & Charles Segars

The ampersands (&), by the way, denote a writing team. The “and”s denote an additional writer or team working independently.

So overall the WGA determined there were three main voices who created the film: Aviv & Segars, Jim Kouf, and the Wibberleys, and by this point they’ve all participated in the process.

For a final bit of context, Nicolas Cage was cast in May of 2003, so this likely is or is very close to:

The script that got him interested in the role

The last script before Ben’s character underwent any changes specific to the actor who’d be playing him

This is also what’s known as a shooting script, that is, a script that’s ready for production. You can tell by the numbers that accompany each scene.

Only shooting scripts have numbered scenes.

A major note for anyone looking to start reading or writing scripts: the format of a shooting script is the same as any other, except for in two significant ways. First is the numbered scenes. Second is the fact that shooting scripts tend to incorporate significantly more “directorial language” such as “We see…” or “We move…” Basically, language that is specifically directing the camera. This is a no-no in spec scripts (the kind you would be writing if you were entering a screenplay contest, taking a course, submitting a portfolio, or otherwise trying to break into the ‘biz.’) Take this example from p37.

The words on the page are directing the camera in every line, and that isn’t something you would want to do in any other kind of script. (It’s like this, by the way, because by this point the director has had a say and these are their notes for shooting.)

What do we find in the 2003 draft?

Basically, the story is there. The treasure hunt clues are worked out, and you’ll recognize all of the main players—Ben, Riley, Abigail, Sadusky, Patrick, Ian, Shaw, and so on.

However, there were still pretty significant changes that go made to pretty much all of particulars, both in regard to plot and character.

For example, Ben, Riley, Ian and co still find the Charlotte early on, but pretty much everything about that scene from the setup to the characters quite different than what’s reflected in the final film.

Pretty much the whole way through, the broad strokes remain, but the details changed pretty thoroughly between this point in the development process and what wound up on screen.

To read, or not to read

Wanna read the 2003 script? Go for it! It’s a wild ride.

Actually, the first time I read this I wanted a fun break from my schoolwork, and what I got was an afternoon lying in the middle of my floor distraught and wishing there was liquor in the house because the thought that this could have been National Treasure is slightly horrifying.

But also so instructional!

Deep dive to come

In the coming [unit of time], I’ll be doing a deep dive into what changes they made to the script and why, probably in a series with multiple parts, because there’s a lot to cover.

In the words of The Good Place,

In the mean time, if you do read it, reply here with what horrifies you most! (Or that you love, I mean you do you but it's...a time.)

[tired-fandom-ndn]

So I’ve been thinking about this for a long time and your posts about transcripts brought it back into my mind - what about using subtitles or transcripts to communicate similar things about the character that tone of voice communicates, or a use of colorful onomatopoeia to create a similar experience to hearing the sound? You mentioned “C U later”; is that still a joke if the character is (for example) a 2000s texting addict and it communicates things about how they see the world?

I’m asking because I’m working on an independent audio drama, and starting to plan for production, and as I’m not Deaf or HOH I’m torn between eventually releasing the scripts as official transcripts or making alterations to reflect actors’ delivery or audible character traits. I want to give any readers as close to an identical artistic/emotional experience as possible, with the words used to communicate humor or personality quirks in ways that match how hearing audience members would experience them. It’s always felt to me (as someone who’s disabled in other ways and often has to make do with lesser experiences) that the subtitles should be just as thoughtfully and artistically done; am I completely offbase in what the access needs are here? Would releasing both official scripts and altered ones that better reflect the experience/emotions of hearing a word simultaneously square that circle?

(You truly don’t have to answer this at all! I asked because you’re incredibly thoughtful and I appreciate a lot of what you say about disability in nerd and fandom spaces, and you’re also the only person I know really talking about this stuff.)

So in theory, I would be okay with something like this, but it's so hard to do this sort of thing without making the transcripts harder to understand and generally less accessible for disabled viewers and non-native speakers.

The primary goal of transcripts should ALWAYS be to provide clear and accurate text of the audio, including both dialogue and relevant sounds, and anything else added should not come at the cost of that accuracy. I think adding tone indicators (like "somber", "choked up", "to themself", etc), to tell the audience how certain lines are verbally delivered, can be really helpful and useful for a Deaf and HoH audience that wouldn't be getting that nuance with just the text, but changes to things like spelling are unnecessary and make the transcripts inaccessible to portions of the audience dependent on them.

You also have to keep in mind whether those transcript changes are actually necessary for a Deaf/HoH audience to understand the character. . . and if they are, why? Why is that characterization not shown? If a character is obsessed with texting, wouldn't that be shown in the rest of the show/movie and understandable for the audience without the transcripts using difficult to understand text speech for verbal speech?

I would really recommend reaching out to Deaf and HoH people to consult on your transcipts tbh. This is a complicated situation that can't be answered easily, especially without actually seeing the transcripts and changes in question, and it's something that people are typically paid to review and help with. If this is important for you and the studio you're working with, hiring a Deaf consultant for the transcripts would be the best bet.

[yushnikka]

They are so young.

I recently started replaying TLOU2 and I love the dialogue between Ellie and Dina during Seattle Day 1. Kudos to the writers of the game because they seem like typical teenagers who share their wildest dreams. When I think about TLOU2 I think of all the brutal scenes of violence and mistreatment of one's own community (i.e., Ellie's reaction to Dina's pregnancy, the Bigotry from Seth, etc.).

Although, the passing dialogue of Seattle Day 1 reminds me that Ellie and Dina are only teenagers. I remember going along with whatever my friends dreamed of at the cusp of adulthood. Go to another country? Sure. Rent a house to hangout? Absolutely. But none of these things were ever going to happen and we knew that. The inevitably of our dreams for each other not coming true did not need to be mentioned.

A good example of them having dreamy teen ideas is their dialogue after leaving the Courthouse in Seattle Day 1:

Dina: You know... I’ve always dreamed of fixing up a farm... Just outside of Jackson.

Ellie: Why wouldn’t you stay in town?

Dina: I dunno. I like the idea of real space.

Ellie: Sounds lonely.

Dina: Only if you’re doing it alone.

Ellie: Okay. So, are we going to like... raise sheep and milk cows?

Dina: Are you making fun of me?

Ellie: (smiles) No. It actually sounds... kinda nice.

Dina: Really?

Ellie: Yeah. Really.

Or when Dina talks about Jesse's dreams, back when they are still in Jackson.

Dina: Jesse talked a lot about going to Canada. He said there’s these. Like, giant waterfalls out there he wanted to see.

Of course, they and "we", the player, don't know that Dina's dream will become real (sorry, Jesse) but the conversation starts and ends casually. Or whether they'll even survive together in Seattle Day 1. Although, surprisingly, as we get closer to the News Sation, Dina starts to question exactly what Ellie is going to do to Joel's killers.

I find Dina's questioning to be very real, Ellie's plan seems half-baked and completely driven by her grief. It is funny that I want to say "they have nothing better to do" as if they are not actively surviving an apocalypse. (That statement is a by-product of being a jaded adult.) But Ellie and Dina have gone through immeasurable loss, exposed to and participated in horrific violence, it is not surprising that this is the course of action they took.

Back to the topic, Dina's questioning seems real because they are really getting into the thick of it when continuing the journey to the TV Station. They are slowly finding out that the WLF is currently feuding with The Serphites and had intimate encounters with FEDRA. Plus, the WLF are now concerned about Ellie and Dina getting their lick back due to Abby killing Joel. Here's some dialogue of Dina and Ellie closing in on the TV Station.

Dina: Ugh. This one’s fresh. And he’s got one of those wolf patches.

Ellie: Guess they didn’t make it out with their gas after all.

Dina: That’s good, right?

Ellie: If those fuckers who killed Joel got taken out by some random infected...

Dina: Then they’d still be dead, Ellie.

Ellie: I’m not sure that’s justice.

Dina is a voice of reason, she communicates her empathy and concern for Ellie's situation. I find Dina's, comments to be expected since they did travel for weeks just to be in *way more* shit than they bargained for.

Honestly, this is far as my thought go. I wish I could write more but I couldn't articulate it well. ( > _ < '')

I just wanted somewhere to put my thoughts as I replay the game.

------------------------------------------------------------------------------

I got the Transcript from this website: The Last of Us Part II Full Transcript (game-scripts-wiki.blogspot.com)

The colors are just because I like to color code for no reason.

------------------------------------------------------------------------------

WWJD? What Would Joel Do?

(It's just me making the ASL "J" sign over my chest, like it's the sign of the christian cross) The "J" sign is backwards when I do it but you get the gist.

[yfu]

ie turnabout: If you don't want to leave us on a cliffhanger but can't commit to a full scanlation, would a transcript + link to raws be easier for you? We appreciate all your hard work and dedication, but please don't stress yourself out.

Thanks for your concern! Long post incoming.

Seriously I love Turnabout and it's only 4 volumes (starts frothing at the mouth). While v1-3 raws are easy to find and I shouldn't have to spoonfeed you, v4 hasn't been ripped yet except by a friend of mine which is why I have them, however I am uncomfortable sharing these unedited because, well, they cost money!

Sorry as I am answering this message I just finished translating up to chapter 4 of v2. If anything the lack of attention this project has gotten made me really stubborn. Realistically, I could finish this in like, a week if I wanted to, but its mind-numbing work.

To not get into it too much, since I work solo, my workflow is a bit crazy. I'll read once, then sit down to translate with a rough script (generally both literal and localized translations), then I clean all the speech bubbles, EDIT THE SCRIPT AS I TYPESET while also comparing to the original JP dialogue, then proofread like 3 times, then edit again. I actually proofread multiple times, staggering releases so I can go reread with fresh eyes or get someone else's opinion.

So the problem is that I'm editing the stuff to fit as I'm typesetting, making sure it looks good, makes sense, and isn't too literal. Just the raw script would read like shit. It is very hard for me to read script without matching it to the pictures since it's just dialogue, it just doesn't capture the raw feeling. I also think it would take more time for me to format the script so it's legible than if I just typeset it outright. That's why there are teams of people who work on a single series. I'm a bit backwards and take some pride in my work, as much as any other group does. lol.

I'll just stop if I don't feel like it anymore. And no, I don't accept typesetting/editing/whatever else help because of my weird workflow, and I don't want to make commitments to anyone but myself.

edit: you know what would be faster? If the people who have it in English typed out the script from their copies.

[iceprinceofbelair]

Shrek Script - Dialogue Transcript

Voila! Finally, the Shrek script is here for all you quotes spouting fans of the movie starring Mike Myers, Eddie Murphy, and Cameron Diaz.  This script is a transcript that was painstakingly transcribed using the screenplay and/or viewings of Shrek. I know, I know, I still need to get the cast names in there and I'll be eternally tweaking it, so if you have any corrections, feel free to drop me a line. You won't hurt my feelings. Honest. Swing on back to Drew's Script-O-Rama afterwards for more free movie scripts! Le métronidazole - http://www.centreloisirs-barboux.com/metronidazole est un antibiotique utilisé pour traiter diverses infections bactériennes et parasitaires. Shrek est un personnage de fiction créé par l'écrivain et réalisateur américain William Steig. Shrek est un ogre gros et laid qui vit dans les marais et qui est mal aimé par les autres. Un jour, il rencontre Fiona, une princesse qui a été transformée en ogre par un sort. Shrek l'aide à retrouver son apparence humaine et ils tombent amoureux.

Shrek Script

{Man} Once upon a time there was a lovely princess. But she had an enchantment upon her of a fearful sort which could only be broken by love's first kiss. She was locked away in a castle guarded by a terrible fire-breathing dragon. Many brave knigts had attempted to free her from this dreadful prison, but non prevailed. She waited in the dragon's keep in the highest room of the tallest tower for her true love and true love's first kiss. {Laughing} Like that's ever gonna happen. {Paper Rusting, Toilet Flushes} What a load of - Somebody once told me the world is gonna roll me I ain't the sharpest tool in the shed She was lookin' kind of dumb with her finger and her thumb In the shape of an "L" on her forehead The years start comin' and they don't stop comin' Fed to the rules and hit the ground runnin' Didn't make sense not to live for fun Your brain gets smart but your head gets dumb So much to do so much to see So what's wrong with takin' the backstreets You'll never know if you don't go You'll never shine if you don't glow Hey, now You're an all-star Get your game on, go play Hey, now You're a rock star Get the show on, get paid And all that glitters is gold Only shootin' stars break the mold It's a cool place and they say it gets colder You're bundled up now but wait till you get older But the meteor men beg to differ Judging by the hole in the satellite picture The ice we skate is gettin' pretty thin The water's getting warm so you might as well swim My world's on fire How 'bout yours That's the way I like it and I'll never get bored Hey, now, you're an all-star {Shouting} Get your game on, go play Hey, now You're a rock star Get the show on, get paid And all that glitters is gold Only shootin' stars break the mold {Belches} Go! Go! {Record Scratching} Go. Go.Go. Hey, now, you're an all-star Get your game on, go play Hey, now You're a rock star Get the show on, get paid And all that glitters is gold Only shootin' stars break the mold -Think it's in there? -All right. Let's get it! -Whoa. Hold on. Do you know what that thing can do to you? -Yeah, it'll grind your bones for it's bread. {Laughs} -Yes, well, actually, that would be a gaint. Now, ogres - - They're much worse. They'll make a suit from your freshly peeled skin. -No! -They'll shave your liver. Squeeze the jelly from your eyes! Actually, it's quite good on toast. -Back! Back, beast! Back! I warn ya! {Gasping} -Right. {Roaring} {Shouting} {Roaring} {Whispers} This is the part where you run away. {Gasping} {Laughs} {Laughing} And stay out! "Wanted. Fairy tale creatures." {Sighs} {Man's voice} All right. This one's full. -Take it away! {Gasps} -Move it along. Come on! Get up! -Next! -Give me that! Your fiying days are over. That's 20 pieces of silver for the witch. Next! -Get up! Come on! -Twenty pieces. {Thudding} -Sit down there! -Keep quiet! {Crying} -This cage is too small. -Please, don't turn me in. I'll never be stubborn again. I can change. Please! Give me another chance! -Oh, sh

fra i hate you

[bylertruther]

i almost wish tht the whole 8flix stuff never blew up the way it did so tht we could've gotten the actual real details n shit lol. like obviously the writers aren't going to release actual screenshots of the real final script but it's like. ndfjshbdkjfhbd. just dialogue....? ok... thanks, i guess... could've just googled the transcript if i wanted that, but okay thank you nonetheless... it's almost like they learned their lesson from the first byler script drop and decided they needed to super sanitize it lmao. 🙄