#the subtitles are so bad

[essentiallykpopandbl]

I am enjoying Love Syndrome a lot actually. The acting is not great and the subtitles are so bad I don't understand what is being said some of the time. But you bet I wait around every weekend to watch it.

[darqx]

Do you have anymore drawings that we haven’t seen of Cain absolutely fucking up Rire? Idk about you but there’s something about Rire being put in his place by Cain that really makes makes my heart quiver 💥💳💥💳💥💳💥💳💥

I drew this to a Vengaboys compilation mix

[iristial]

"Why are you scared?!" "No, it's just - I thought I was weak..."

[youling-the-ghost]

To whoever is making the sfth subtitles: I love you and I wish you everything good in life <3

[lurkingteapot]

Every now and then I think about how subtitles (or dubs), and thus translation choices, shape our perception of the media we consume. It's so interesting. I'd wager anyone who speaks two (or more) languages knows the feeling of "yeah, that's what it literally translates to, but that's not what it means" or has answered a question like "how do you say _____ in (language)?" with "you don't, it's just … not a thing, we don't say that."

I've had my fair share of "[SHIP] are [married/soulmates/fated/FANCY TERM], it's text!" "[CHARACTER A] calls [CHARACTER B] [ENDEARMENT/NICKNAME], it's text!" and every time. Every time I'm just like. Do they though. Is it though. And a lot of the time, this means seeking out alternative translations, or translation meta from fluent or native speakers, or sometimes from language learners of the language the piece of media is originally in.

Why does it matter? Maybe it doesn't. To lots of people, it doesn't. People have different interests and priorities in fiction and the way they interact with it. It's great. It matters to me because back in the early 2000s, I had dial-up internet. Video or audio media that wasn't available through my local library very much wasn't available, but fanfiction was. So I started to read English language Gundam Wing fanfic before I ever had a chance to watch the show. When I did get around to watching Gundam Wing, it was the original Japanese dub. Some of the characters were almost unrecognisable to me, and first I doubted my Japanese language ability, then, after checking some bits with friends, I wondered why even my favourite writers, writers I knew to be consistent in other things, had made these characters seem so different … until I had the chance to watch the US-English dub a few years later. Going by that adaptation, the characterisation from all those stories suddenly made a lot more sense. And the thing is, that interpretation is also valid! They just took it a direction that was a larger leap for me to make.

Loose adaptations and very free translations have become less frequent since, or maybe my taste just hasn't led me their way, but the issue at the core is still a thing: Supernatural fandom got different nuances of endings for their show depending on the language they watched it in. CQL and MDZS fandom and the never-ending discussions about 知己 vs soulmate vs Other Options. A subset of VLD fans looking at a specific clip in all the different languages to see what was being said/implied in which dub, and how different translators interpreted the same English original line. The list is pretty much endless.

And that's … idk if it's fine, but it's what happens! A lot of the time, concepts -- expressed in language -- don't translate 1:1. The larger the cultural gap, the larger the gaps between the way concepts are expressed or understood also tend to be. Other times, there is a literal translation that works but isn't very idiomatic because there's a register mismatch or worse. And that's even before cultural assumptions come in. It's normal to have those. It's also important to remember that things like "thanks I hate it" as a sentiment of praise/affection, while the words translate literally quite easily, emphatically isn't easy to translate in the sense anglophone internet users the phrase.

Every translation is, at some level, a transformative work. Sometimes expressions or concepts or even single words simply don't have an exact equivalent in the target language and need to be interpreted at the translator's discretion, especially when going from a high-context/listener-responsible source language to a low-context/speaker-responsible target language (where high-context/listener responsible roughly means a large amount of contextual information can be omitted by the speaker because it's the listener's responsibility to infer it and ask for clarification if needed, and low-context/speaker-responsible roughly means a lot of information needs to be codified in speech, i.e. the speaker is responsible for providing sufficiently explicit context and will be blamed if it's lacking).

Is this a mouse or a rat? Guess based on context clues! High-context languages can and frequently do omit entire parts of speech that lower-context/speaker-responsible languages like English regard as essential, such as the grammatical subject of a sentence: the equivalent of "Go?" - "Go." does largely the same amount of heavy lifting as "is he/she/it/are you/they/we going?" - "yes, I am/he/she/it is/we/you/they are" in several listener-responsible languages, but tends to seem clumsy or incomplete in more speaker-responsible ones. This does NOT mean the listener-responsible language is clumsy. It's arguably more efficient! And reversely, saying "Are you going?" - "I am (going)" might seem unnecessarily convoluted and clumsy in a listener-responsible language. All depending on context.

This gets tricky both when the ambiguity of the missing subject of the sentence is clearly important (is speaker A asking "are you going" or "is she going"? wait until next chapter and find out!) AND when it's important that the translator assign an explicit subject in order for the sentence to make sense in the target language. For our example, depending on context, something like "are we all going?" - "yes" or "they going, too?" might work. Context!

As a consequence of this, sometimes, translation adds things – we gain things in translation, so to speak. Sometimes, it's because the target language needs the extra information (like the subject in the examples above), sometimes it's because the target language actually differentiates between mouse and rat even though the source language doesn't. However, because in most cases translators don't have access to the original authors, or even the original authors' agencies to ask for clarification (and in most cases wouldn't get paid for the time to put in this extra work even if they did), this kind of addition is almost always an interpretation. Sometimes made with a lot of certainty, sometimes it's more of a "fuck it, I've got to put something and hope it doesn't get proven wrong next episode/chapter/ten seasons down" (especially fun when you're working on a series that's in progress).

For the vast majority of cases, several translations are valid. Some may be more far-fetched than others, and there'll always be subjectivity to whether something was translated effectively, what "effectively" even means …

ANYWAY. I think my point is … how interesting, how cool is it that engaging with media in multiple languages will always yield multiple, often equally valid but just sliiiiightly different versions of that piece of media? And that I'd love more conversations about how, the second we (as folks who don't speak the material's original language) start picking the subtitle or dub wording apart for meta, we're basically working from a secondary source, and if we're doing due diligence, to which extent do we need to check there's nothing substantial being (literally) lost -- or added! -- in translation?

[getvalentined]

Disappointed that, in spite of using a more accurate translation in Chapter 2 of Crisis Core, EC has switched over to the original English localization for Chapter 3—in spite of having Japanese audio, meaning you can literally hear that the lines exchanged between Genesis and Sephiroth are NOT WHAT THE SUBTITLES SAY if you have THE MOST BASIC UNDERSTANDING OF JAPANESE.

「いい だろう」 (ii darou) is not "come and try." It has never been "come and try." In context, it's literally "that's good" or "that would be nice."

Let me clarify this, once more: in Japanese, Genesis says "I'll be a hero too," and Sephiroth responds "That would be nice."

This fucked up no-homo English localization has utterly ruined Western fandom's perception of these two since the game first came out, and the continued refusal to fix it is one of the most infuriating things to deal with. It makes Genesis seem petty, bitter, self-absorbed; it makes Sephiroth seem arrogant, sanctimonious, like the kind of person who viciously belittles his closest friends.

That's not who either of them are, particularly not with each other. Genesis didn't want to surpass Sephiroth, he wanted to be his equal. And Sephiroth wanted that too! Sephiroth wanted an equal as much as Genesis wanted to be able to stand at his side! Sephiroth was as supportive as Genesis was determined, and both had too much respect for one another not to give these matches of theirs everything they had. Genesis would never accept a victory that wasn't genuine, and Sephiroth would never belittle him by offering such a thing.

They were playing. They were supporting each other. They were having fun working toward a mutual goal because they love each other.

It's been over 15 years and the update dropped during PRIDE MONTH and English localizers STILL HAVE NOT FUCKING FIXED IT.

[storm3326]

when do they kiss though..

[ryllen]

said wolf,

🐺

[melikes-reads]

What if we were strangers but you saved me from bullies in high school?

What if we became the best of friends?

What if I saved you from your violent father?

What if you ran away for 15 years?

What if you came back into my life, unexpectedly?

What if I told you you're the centre of the world?

What if you told me: "Of your world, maybe"

WHAT THEN? WHAT THEN?

[royalarchivist]

Fit: You know... There's a reason I'm a loner, that I'm a nomad, that I go from place to place. 'Cuz everywhere I go, people die. Fit: I'm just- I'm a walking bad omen.

I know Fit probably said this as a joke and it wasn't meant to be that deep, but I've got a shovel and I'm ready to dig, because this comment fits his QSMP cubito way too well.

[ Subtitle Transcript ↓ ]

–

Fit: I had nothing to do with any of this! I had nothing to do with any of this! [He notices the Allays trapped in a room and gasps] Ohhh– C'mon, get out of here– You're gonna burn to death! Get out of here.

Fit: This is why I don't walk into churches. This is why I don't walk into churches, for this reason. You know– 'cuz it- it would just burn down. It would just burn down if I walked right in. This is what happens. I'm an unholy man.

[The sound of villagers dying]

Fit: Oh yeah, they're all dead. They're f- they're doomed. They are DOOMED.

Dono: You showed up and the mansion burned itself down, made a crack about never walking into churches, then thunder happened? Your manifestation skills are too damn high dude.

Fit: You know– ok, I'm a little cursed. I'm a little cursed, as you can clearly see. You know... There's a reason I'm a loner, in Minecraft, that I'm a nomad, that I go from place to place. 'Cuz everywhere I go, people die. Ehh... you know? I'm just- I'm a walking bad omen. I'm a walking bad omen. Look at this sht. It's- it- ugh...

Fit: These things happen.

[lorephobic]

literally nobody asked for it, but here's my list of saltburn essays that i've slowly been drafting over the course of the last week which WILL be required reading for anybody trying to engage with me about this movie. my very personal saltburn 101 syllabus just dropped

A Wolf in Deer's Clothing: Saltburn's Attempt at Innocence

an examination of party costumes and our character's last attempts to masquerade as something they're not: felix—an angel, all-forgiving and all-knowing, something to be worshiped; and oliver—a prey animal, prey to class-divide, prey to saltburn, prey to felix.

thoughts about oliver specifically are loosely organized in my #bambi tag

A Midsummer Night's Mare: Farleigh Start as the Ultimate Victim of Saltburn

a farleigh character study, about the ways he was mistreated and manipulated at saltburn, about fighting to stay alive and the scars left behind by knowing when to give in

alternatively titled "QuickStart", may be adapted into a conclusive essay specifically focusing on oliver and farleigh's relationship

The Eye of the Beholder: On Saltburn's Voyeurism & Violence [working title]

how wealth and class pushes the catton's toward the volatile reality of being able to look, but not touch. on desire and the lack thereof, and portraying yourself as an object to be desired

may end up as two separate essays on wealth and aestheticism but i'm pushing toward a conclusive essay about the intersection of the two, which i feel is at the heart of saltburn

alternatively titled "Poor Man's Pudding: A Melvillian Approach to Saltburn's Class", again, may be adapted into it's own essay

Gender-Fluid: A Study in Sexuality and Saltburn's Desire to be Dry

a deep dive into the bodily fluids of saltburn and how oliver upsets the standard of men who are just so lovely and dry. on the creative choice to lean into the messy wetness of sex and desire and the audience's instinct toward repulsion

a celebration of the grotesque and an examination of why we would label it as such

least developed of the four, heavily inspired by @charnelpit's lovely post about the fluids in saltburn

if anybody is actually interested in any of these, i can work toward something closer to a finished piece instead of just bullet points and quotes in a google doc, but mostly this is so i can share my very brief takes on a multitude of themes in saltburn that have been haunting me

edit for people seeing this in the future: all posts about my essays are being organized into my #saltburn 101 tag if you’re interested in following these through to development!

[riotwizard]

Merlin: suns bright

Arthur, with full sincerity, looking directly at the sun: yeah, yeah, so it is.

they're stupid your honour

[lambygoat]

From 'Dark Harvest' EP4S1, second segment.

[jasonsbruce]

BATMAN: ARKHAM KNIGHT

[moeblob]

Lil warm up doodle because I'd been playing some Thropes and then watched some dubbed DunMeshi and am a Damien Haas enjoyer so. Enjoy a Shez.

[mourningmaybells]

i always forget new york is a real place and those accents in little shop of horrors or whatever 80s movies people associate with america were real and still get used to this day