#modify and sever

[iswiminnachos]

do what you want with YOU 🫵

[belfry-ghost]

My contributions to the @haunting-heroes-creative-games banner!

[ratwithhands]

I had this AU archived off my accounts for a few years, but I'm thinking about it a lot more these days so I'm digging it up for sketches.

This is Kudari from Codebreaker, functionally the starting antagonist for the story when Emmet accidentally collides with him and takes parts of his body.

For a little debrief, the main idea of Codebreaker is that Emmet discovers that he exists in a false reality, and that there is a parallel plane where all of the instructions for his reality exist. He finds his way to this plane by accident after walking back from another lonely day at work, and is hellbent on learning how to manipulate it in the hopes that he can recover Ingo with that knowledge. Kudari is his own set of instructions, who he partly dismantles, allowing him to actually interact with the code. This leaves a hollowed out shell that starts trying to find his own way to get his body back from Emmet.

I'd been thinking about the Beta Submas leaks which lead me to sketching him again. Here's the first rough warmup sketch I did with a fight between him and Emmet.

From there I just started reworking his old design to be worse 💀

Let me know if you guys want more of this freak, he's honestly really fun to sketch.

[ratcandy]

Brilliant gorgeous spectacular wonderful girl! Oh my splendid beast! Oh all the beauty and awe and love!!!!

[axperjan]

indestructible weirdo somehow still kinda underestimates how weird they really are... and Maksim naturally gets an extra panel :)

[definitelynotshouting]

Okay, so, question I've had for a while but never got around to asking, what the FUCK is up with Grian's wings?

If all physical differences in players (like those particularly ascribed to 'Hybrids' in mcyt fanon) in Hunger AU are a result of conscious altering of your own code for the express purpose of achieving YOUR IDEAL BODY(tm) then what does that mean for Grian and his wings? No one seems to regard Grian's wings as "What The Fuck, You Can DO That?!?" so presumably wings aren't so big of a change from normal biology that players can't do that. If so, why is it not more common? Man, if I could have wings I'd jump on that in seconds. Especially with the sheer utility the ability to fucking FLY gives players. Are wings (and maybe other larger alterations) just like, REALLY HARD to code in? If so, that might add a really cool layer of "Oh wow! They must be a really good coder!" to players who meet people like that.

On a related note, Grian seems to have a positive regard for his wings, which is interesting because I would be willing to bet he didn't have that before *insert sounds of worm-bursting and non-consensual body modification*. I imagine seeing his wings would likely feel like a reminder of the Watchers and what they did to him. BUT, Watchers manipulate their own code when they change like Grian did to, y'know, not be a worm anymore so Grian probably specifically chose how he looked, right? So, unless he did so really rushed and somehow made a mistake while doing so (which he might not be able to risk the structural damage of correcting), keeping the wings was a conscious decision. Does Grian just not associate his wings with the Watchers or is it something else? Does he just really enjoy having wings?

HELLO I AM SO GLAD YOU'VE ASKED THIS BECAUSE I HAVE ��️‼️‼️‼️ MANY THOUGHTS ABOUT IT ‼️‼️‼️‼️‼️‼️‼️

Okay okay so these are all SUCH valid questions, lemme go through them one by one. Wings are indeed something anyone could have if they wanted to code them in-- and in fact, i do believe many other Players have wings throughout the universe!!! As far as body mods go, i like to think of them as decently popular, so its definitely not anything too weird to see. In chapter 5, i even make a mention to Pearl having moth wings she occasionally codes in due to preference!!! So wings of many different types are definitely available-- but the catch is that they're real fiddly to code. You cant just give yourself wings, you have to code in the bone structure, the muscles, the tendons, etc etc, and then you have to change your entire body structure as well to work with and fully support them. They can be awkward and unwieldy, as ive tried to show in the fic itself, and i think that alone can be a big discouragement for Players considering coding in wings, along with the sheer coding effort needed to obtain them and make them functional

And the thing is, elytra already exist-- they're far more compact, they dont take up as much space, you can take them on and off super easily without having to mess with your coding, and they basically do the same thing. Sure, its a pain to get one, but a lot of Players really enjoy the sense of accomplishment, and i think theres a bit of cultural prestige too in that regard. Server milestones are a huge thing in Player culture, and getting your first pair of elytra is a big one!!! So it makes sense to me that people who just dont want to go through the effort of coding in wings (which can then in turn complicate how they code other future modifications) primarily stick to elytra.

And everybody is different-- some people prefer attributes that arent wings. I like to think everyone in hermitcraft generally is a mix of "jeez thats effort, i could be building my base instead of doing that" and "eh im fine how i am, i like it" and "well we have elytra shops everywhere so why bother".

So in short, yeah!! Wings are a bit complex to code in. They're still pretty popular, i think plenty of Players do choose to incorporate them, but it takes a lot of hard and thorough work to make sure they function right and wont bug you out when you use them. There are billions of Players scattered across the universe, so what you're seeing in the fic right now is truly just a drop in the ocean when it comes to Player body diversity :] and then, elytra basically already help Players achieve a form of flight without the hassle of recoding their entire body structure, so i think the majority of Players just prefer to use them instead.

AS FOR GRIAN'S WINGS IN PARTICULAR......

Well..... its complicated. Particularly his feelings about them-- in the fic, i referenced them as the only good thing the Watchers ever gave him, and thats how he sees it, i think: a thin silver lining. He's had many, many years to get used to them, and i think he goes through periods where he hates them and the memories attached, too. Ultimately, he's kinda stuck with them, so i think he hit a form of acceptance (as bitter-tinged as it may be) out of sheer necessity for his own sanity.

As for why he has them, and hasnt coded them out: i think of it as a particular quirk of biology/structural coding. Watchers have a more instinctive way of coding than Players, but a Player-minded Watcher is still going to think like a Player, and thats going to muddle things a lot. Grian essentially had to relearn how to code, in a way that satisfied both Player and Watcher-style coding, and the results at first were.... a little rough around the edges. Once he managed to finally take on his original former appearance, the wings from his true form just kind of.... stuck. I like to think it took a few increasingly desperate tries before he realized he just could not figure out how to get rid of them (bc of how different his new code was), and had to accept that this was just how he was gonna have to live for a while until he finally figured it out. And then, well.... you can get used to anything, if you're stuck with it long enough. I think after a while it just stopped being a huge priority, and then he reached a point where it would be more awkward to live without them than with them, and he eventually dropped the idea altogether. And i think sometimes, they function almost like a scar, to him-- a reminder of what he went through, yes, but a reminder that he did manage to escape. And, ofc, he also just really, really likes flying skdjskdjdj

So yeah, loads of complicated feelings there about his wings, and its stuff i do plan on exploring later in the fic!!! This got a little rambly, but i hope this makes sense and answers your questions!!!! :D its a fun little complicated knot that im glad someone has gotten curious enough to ask about!!!!

[six-improbable-things]

I had to open the ship combat rules doc I made for Rook's campaign the other day, and man, that thing was (and still is tbh) my fucking magnum opus. I put so much effort into creating rules for a type of combat that dnd doesn't naturally support, and it was SUCH a fun challenge. I'll admit it's not perfect, but it works for our campaign, and everyone seemed to like it during our one test so far, so that's good enough for me.

I think between the stat blocks, the rules themselves, and the maps of the ships, I spent easily 48 hours total on making this sailing arc happen. (No, I'm not the DM, I just like homebrewing shit, and also happen to be the one who decided to play a pirate and make that involved in the story.)

[longagoitwastuesday]

So so indebted to u for posting those lovely illustrations from Cyrano <333 & even more so for yr tags!! I'm completely in love w yr analysis, please feel free to ramble as long as u wish! Browsing through yr Cyrano de Bergerac tag has given me glimpses of so many adaptations & translations I'd never heard of before! I'll be watching the Solès version next, which I have only discovered today through u ^_^ As for translations, have u read many/all of them? I've only encountered the Renauld & Burgess translations in the wild, & I was curious to hear yr translation thoughts that they might guide my decision on which one I buy first (not necessarily Renauld or Burgess ofc). Have a splendid day & sorry for the likespam! 💙

Sorry for the delay. Don't mind the likespam, I'm glad you enjoyed my tags about Cyrano, and that they could contribute a bit to a further appreciation of the play. I loved it a lot, I got obsessed with it for months. It's always nice to know other people deeply love too that which is loved haha I hope you enjoy the Solès version, it may well be my favourite one!

About translations, I'm touched you're asking me, but I don't really know whether mine is the best opinion to ask. I have read... four or five English translations iirc, the ones I could find online, and I do (and especially did, back when I was reading them) have a lot of opinions about them. However, nor English nor French are my first languages (they are third and fourth respectively, so not even close). I just read and compare translations because that's one of my favourite things to do.

The fact is that no translation is perfect, of course. I barely remember Renauld's, but I think it was quite literal; that's good for understanding the basics of the text, concepts and characters, but form is subject, and there's always something that escapes too literal translations. Thomas and Guillemard's if I recall correctly is similar to Hooker's in cadence. It had some beautiful fragments, some I preferred over Hooker's, but overall I think to recall I liked Hooker's more. If memory serves, Hooker's was the most traditionally poetic and beautiful in my opinion. Burgess' is a whole different thing, with its perks and drawbacks.

Something noticeable in the other translations is that they are too... "epic". They do well the poetic, sorrowful, grief stricken, crushed by regrets aspects of Cyrano and the play in general, but they fall quite short in the funny and even pathetic aspects, and that too is key in Cyrano, both character and play. Given the characteristics of both languages, following the cadence of the French too literally, with those long verses, makes an English version sound far too solemn at times when the French text isn't. Thus Burgess changes the very cadence of the text, adapting it more to the English language. This translation is the one that best sets the different moods in the play, and as I said before form is subject, and that too is key: after all, the poetic aspect of Cyrano is as much true as his angry facet and his goofy one. If Cyrano isn't funny he isn't Cyrano, just as he wouldn't be Cyrano without his devotion to Roxane or his insecurities; Cyrano is who he is precisely because he has all these facets, because one side covers the other, because one trait is born from another, because one facet is used as weapon to protect the others, like a game of mirrors and smoke. We see them at different points through the play, often converging. Burgess' enhances that. He plays with the language itself in form and musicality, with words and absences, with truths masking other truths, with things stated but untold, much like Cyrano does. And the stage directions, poetic and with literary value in their own right in a way that reminded me of Valle Inclán and Oscar Wilde, interact with the text at times in an almost metatextual dimension that enhances that bond Cyrano has with words, giving them a sort of liminal air and strengthening that constant in the play: that words both conceal and unveil Cyrano, that in words he hides and words give him away.

But not all is good, at all. Unlike Hooker, Burgess reads to me as not entirely understanding every facet of the characters, and as if he didn't even like the play all that much, as if he had a bit of a disdainful attitude towards it, and found it too mushy. Which I can understand, but then why do you translate it? In my opinion the Burgess' translation does well bending English to transmit the different moods the French text does, and does pretty well understanding the more solemn, cool, funny, angry, poetic aspects of Cyrano, but less so his devotion, vulnerability, insecurities and his pathetism. It doesn't seem to get Roxane at all, how similar she is to Cyrano, nor why she has so many admirers. It does a very poor job at understanding Christian and his value, and writes him off as stupid imo. While I enjoyed the language aspect of the Burgess translation, I remember being quite angry at certain points reading it because of what it did to the characters and some changes he introduces. I think he did something very questionable with Le Bret and Castel-Jaloux, and I remember being incensed because of Roxane at times (for instance, she doesn't go to Arras in his version, which is a key scene to show just how much fire Roxane has, and that establishes several parallels with Cyrano, in attitude and words, but even in act since she does a bit what Cyrano later does with the nuns in the last act), and being very angry at several choices about Christian too. While not explicitly stated, I think the McAvoy production and the musical both follow this translation, because they too introduce these changes, and they make Christian as a character, and to an extent the entire play, not make sense.

For instance, once such change is that Christian is afraid that Roxane will be cultured (McAvoy's version has that infamous "shit"/"fuck" that I detest), when in the original French it's literally the opposite. He is not afraid she will be cultured, he is afraid she won't, because he does love and appreciate and admires those aspects of her, as he appreciates and admires them in Cyrano. That's key! Just as Cyrano longs to have what Christian has, Christian wants the same! That words escape him doesn't mean he doesn't understand or appreciate them. The dynamics make no sense without this aspect, and Burgess (and the productions that directly or indirectly follow him) constantly erases this core trait of Christian.

Another key moment of Christian Burgess butchers is the scene in Arras in which Christian discovers the truth. Burgess writes their discussion masterfully in form, it's both funny and poignant, but it falls short in concept: when Cyrano tells him the whole discussion about who does Roxane love and what will happen, what they'll do, is academic because they're both going to die, Christian states that dying is his role now. This destroys entirely the thing with Christian wanting Roxane to have the right to know, and the freedom to choose, or to refuse them both. As much as Cyrano proclaims his love for truth and not mincing words even in the face of authority, Cyrano is constantly drunk on lies and mirages, masks and metaphors. It's Christian who wants it all to end, the one who wants real things, the one who wants to risk his own happiness for the chance of his friend's, as well as for the woman he loves to stop living in a lie. That is a very interesting aspect of Christian, and another aspect in which he is written as both paralleling and contrasting Cyrano. It's interesting from a moral perspective and how that works with the characters, but it's also interesting from a conceptual point of view, both in text and metatextually: what they hold most dear, what they most want, what most fulfills them, what they most fear, their different approaches to life, but also metatextually another instance of that tears/blood motif and its ramifications constant through the whole text. Erasing that climatic decision and making him just simply suicidal erases those aspects of Christian and his place in the Christian/Cyrano/Roxane dynamic, all for plain superficial angst, that perhaps hits more in the moment, but holds less meaning.

Being more literal, and more solemn, Hooker's translation (or any of the others, but Hooker's seems to love the characters and understand them) doesn't make these conceptual mistakes. Now, would I not recommend reading Burgess' translation? I can't also say that. I had a lot of fun reading it, despite the occasional anger and indignation haha Would I recommend buying it? I recommend you give an eye to it first, if you're tempted and can initially only buy one.

You can read Burgess' translation entirely in archive.com. You can also find online the complete translations of Renauld, Hooker and Thomas and Guillemard. I also found a fifth one, iirc, but I can't recall it right now (I could give a look). You could read them before choosing, or read your favourite scenes and fragments in the different translations, and choose the one in which you like them better. That's often what I do.

Edit: I've checked to make sure and Roxane does appear in Arras in the translation. It's in the introduction in which it is stated that she doesn't appear in the production for which the translation was made. The conceptualisation of Roxane I criticise and that in my opinion is constant through the text does stay, though.

[strxnged]

i doubt i'm on the spectrum but since i'm in an abnormal psyc class i've been watching videos on the history of diagnoses and different theories and i stumbled across "monotropism" and then did a random questionnaire for it and was scored higher than 57% of autistic people

[cesium-sheep]

one time after I'd gotten sick but before I'd gotten out (so long before I realized I was sick), I was sitting in a wheeled chair when it was time for lunch and tried to scoot my way through the line in the chair. drill sgts that had been smiling and laughing moments before turned on me on a dime, like I was embarrassing them somehow. that seems to have stuck with me. it contributed to a pattern that predated the military. (thanks mom)

[keendaanmaa]

🥘

[pose1dson]

Citizens of Panem, behold: Perseus Odair, the victor of the 67th Annual Hunger Games and Panem's youngest victor to date!

Perceus Odair caused quite a stir when his name was announced at the 67th Reaping Ceremony , as his brother Capitol darling , Finnick Odair was the victor of the 65th Games only two years earlier . He showed incredible swordsmanship skills , his sword being the key to his victory . He also caused quite a commotion , as he seemingly had a reputation for having a sharp tongue . We sat down with the boy to ask him about his victory .

INTERVIEWER. Perseus Odair , I believe we should start with congratulations for emerging as not only the victor , but the youngest victor that Panem has ever seen . This was a record previously held by your brother , Finnick . How does it feel to take this title from him ?

PERSEUS. I mean , I'm just thankful to be alive , really . I'm thankful that we're both alive .

INT. Oh , come on , Mr . Odair . You must be quite proud of yourself !

PERSEUS. Not really ?

INT. Why not ?

Perseus Odair was overcome by emotion , unable to answer the question .

INT. Let's move on to a different question , then . We all witnessed your brother filling the role of being your mentor for the games . How was that for you ?

PERSEUS. I wouldn't have made it without him . If there is one thing I'm thankful for , it's that my brother was with me every step of the way until I was sent into the arena .

We attempted to reach out to Finnick Odair for a statement , but was told that he was unavailable at this time . Citizens of Panem can catch Perseus on his Victory Tour through the districts .

The content of this interview was moderated and modified to comply with President Snow's policies .

credit to gamehaunt for the template

[coquelicoq]

the thing about the prescriptive grammar rules of written french from my perspective as a non-fluent reader is that they are very helpful to me in figuring out what a sentence means (e.g., if a participle does or does not end in -e or -s, it gives me an important and sometimes essential clue as to which noun the participle is related to). but the other, equally relevant thing about the prescriptive grammar rules of written french from my perspective as a non-fluent reader is that there are a lot of them and i do not always know what they are. lol.

[ursinetwink]

sometimes I think I'm not that into anal and then I read a scene where the character gets fucked with something deep into their guts and. well.

[djsangos]

//OH YEAH FINALLY UNLOCKED EIGHT'S PALLETTE IN SIDE ORDER

THAT SHIT'S GONNA BE A DOOZY SO WE'LL SEE HOW THAT GOES THIS WEEKEND JFKLDAFJKL