#why do i ramble so much ugh

[teaboot]

Sometimes at work it's not my place to tell people the things I want to say, and I find I often go home at the end of the rougher days to stand blankly in my shower and tell myself over and over what I wish I could pass on.

This accomplishes very little, and mostly just gives me a tension headache, but through it all I think I've narrowed myself down to a few solid things I'd like to tell people the most.

You can't change people. Not permanently, not for anythig. You can support them, encourage them, love them, give them tools and opportunities and resources, but you can't make them change. They can change themselves if they want to, but they have to want to, and they have to want it for themselves, because they're the only one that's certain to be with them forever.

For better or worse, you make your own choices, and blaming bad choices on others doesn't only work to absolve you of responsibility- it also robs you of control. Because if you say you only did something because I did something, then you arent only shifting blame- you're admitting that you cannot control yourself, that you cannot truly make choices for yourself, that other people can control you- and as long as you truly beleive that, you'll keep facing the same problems over and over. You'll keep letting others dictate your choices, because you'll beleive that they can, and you'll never be free.

White knights on horseback are from fairytales. Nobody can help you if ou're not willing to help yourself. To try, to put the dirty work in, to belive you're worth that effort- Act as though nobody is coming to save you. From a struggle, from pain, from bad relationships, from yourself. And when you do save yourself, because you will, because failure here isn't an option if you want to survive, you'll never find another dragon that can keep you prisoner.

Don't say anything to anyone that you wouldn't want them remembering forever.

Doing the right thing in bad circumstances is hard. It's the hardest thing. But if you make the choice to do that hard thing anyways, despite your fear, you'll go on the rest of your like knowing that you're the sort of person who did something.

The present only seems the hardest because the past I over and the future hasn't happened.

There's so much joy ahead of you, the kind you can't possibly understand until you see it yourself.

The responsibility of consequences is often disguised as the power of permission. "I won't do this if you help me", "I'll work on my anger if you do this for me", "I promised you I'd quit, but can I have just one?". The unspoken question is, "Can it be your fault if this goes badly?"

You cant make someone love you the way you need to be loved. Someone can love you very much and still be bad for you, even if you love them very much in return. Two people can love each other very, very much, and try their very best, and still be wrong for each other.

Sometimes being near to someone changes you, even in good ways, and the people you become don't fit together as well as the people you were.

Caring takes work. Even if it's real. Especially if it's real. And the most important gestures aren't the grand, poetic, songs-and-flowers-and-tears moments; they're getting out of bed even though you don't want to. Paying attention to things you don't enjoy. Scrubbing pans, or opening a window, saying "thank-you", or helping carry groceries into the house. The small things fill the big things- without the small, boring, mediocre things, big things feel hollow.

Thrre is honour and dignity in humble work.

If you are a cruel and spiteful person, then you will find every place you visit to be full of the same cruel, spiteful people. This is not because the world is as cruel as you, but because everywhere you are, you will be disliked. This is the curse that comes with being persistently cruel and spiteful.

If you are a kind and ppsitive person, you will repeatedly encounter kind and positive people, because as they grow familiar with you, they will be happier to have you near. This is the reward of being a kind and positive person.

When splitting paths with loved ones, briefly or forever, aim for your last words to always be "I love you".

[triglycercule]

horror's about to get his shit rocked i guess but its ok he got to say a cool line. anyways i had this silly little idea :3 horror deserves to be the one inflicting pain onto killer sometimes anyways it can't ALWAYS be killer being sadistic 😒😒😒

[skyloftian-nutcase]

Gosh, listening to beautiful, epic music makes me want to go on an adventure, why can’t I be a resistance member or go on missions and difusiqqowhf

I’ve definitely been away from work too long lol

[pangzi]

can we just talk about how incredible wandee goodday is with their narrative devices though? the foreshadowing is incredible. there's symbolism everywhere. the oyeicher/yakdee juxtapositions are so good. even though their words and actions might contradict each other, everything gets spelled out for us so clearly, it's beautiful.

[smilesrobotlover]

Sometimes when I’m writing my lbl au I get nervous and self conscious about how the different Link’s are written and I’m afraid that people won’t like it, but then I remember that it’s my au and I shouldn’t care what other people think and that they can suck it

[aeligsido]

okay but Sirius who has a blind spot the size of Russia for Regulus. Like, guys it's not his fault if he's supporting Voldemort, it's our family's. It's not his fault if he's turning into a Death Eater, it's because of who he's hanging out with. It's not his fault if he's getting sucked into a blood purist cult, it's because he's too soft, too kind, too naive, too stupid to push back against what they've been taught. He's a good person at heart, Sirius swears, and makes excuses.

But also, Regulus having an equally Russia-sized blind spot for Sirius. It's not his fault if he's getting distant, it's because he's alone in Gryffindor without support. It's not his fault if he's questioning everything they know is true, it's because of his so-called friends. It's not his fault if he's becoming a blood traitor, it's because of the mudbloods and the half-breeds and the blood traitors and fucking Potter. Regulus arguing with his parents for the first time because they can't disown Sirius it's just letting them win and we can't let them keep Sirius.

Sirius distancing himself more and more from his family the more hateful Regulus gets (look at what they're doing to his brother!) and Regulus growing into more and more of a blood purist the more Sirius distance himself (they're stealing his brother, they need to get rid of them!).

And neither of them realizes it either.

[hearts401]

i miss roleplaying on scratch nothing will ever compare

[p1x1x]

me pushing myself further with my art drawing really cool perspectives and whatever with the Duo and then i turn around and make lame cutesy ship art waaahhah 😭😭😭

dont read the tags on this if you havent watched gbc i just ramble spoilers 😭 just uhh screaming yknow. mostly mmnn but i like the other characters i swear its just these guys are making me insane

[ratshells]

it’s like… what… 12 days before con and I literally just realized FROM THE HOLIDAY ART, that vere has way more going on than I thought… LORDDDDD

cosplaying from visual novels is so… like you don’t realize how much a character actually has going on until you have to study them for days on end.

[nina-ya]

do yall ever have a friend who's making the stupidest mistake and you can't do anything but watch the inevitable car crash just happen

[lilaccatholic]

So! Much!! Weight talk!!! At!!!! Thanksgiving!!!!!!

[seventh-district]

not even gonna tag this properly bc i don't wanna get Involved but i do have some Thoughts i need to get out into the void so here we go

(aaa quick edit: CW for mention/discussion of Boothill leaks)

[triglycercule]

What do you think the types of drunk would the murder trio be? Im pretty sure ask dusttale already answered this question about dust but i have to ask the mtt expert

see now askdusttale DID answer the question. but they didn't ANSWER the question when asked what dust is like drunk. they just said that dust is the type to drink himself blackout drunk. so that mean i have total freedom on deciding what the mtt are like drunk hehehe (rubs hands together in a villanous way that you would imagine nightmare doing or something idk)

i already have an absolutely hilarious idea for horror and it might just because i'm on the guilt section of his character analysis but i could TOTALLY imagine him being an emotional drunk. like he CRIES. horror sans man known for being incredibly guarded and private with what he feels bawling his eye out. he gets mad he gets sad he does not get happy because horror doesn't have the right to be happy. he is too upset over the fact that he fucking DOOMED all of horrortale because of his selfishness and nothing can stop him from being incredibly vocal about that fact so much so that killer had to tape his mouth shut because he wouldn't stop crying so loud. and then he just silently cries until he passes out from exhaustion. the alcohol has an incredibly strong effect on him because i dont think he would drink regularly plus he definitely hasnt drinken anything in those 7 years of starvation. it hits like a fucking plane crashing into him. or like getting his eye taken out again. either one!

another funny idea i had for killer would be like the alcohol affecting him but he SWEARS that he's still sober. he is very confused when he starts stumbling because wtf he doesnt FEEL drunk??? why is he bumping into walls and tables HELP WHY DOES HE SOUND FUCKING STUPID???? the alcohol is definitely effecting him but he swears he swears he doesn't feel drunk. hes not drunk its just the damn body doing this stupid bullshit!!!! he's still very aware of what's going on and is basically the same as sober but just like. he's wiggly he's wobbly and oh shit he just fell head face first into a tv whoops. he'd also have a high tolerance because just because. he can drink without feeling like shit until he just blacks out mid conversation with someone because his body couldn't take the toll of all the beer or whatever. hilarious idea triglycercule thank you triglycercule i know

dust in the context that we already know that he drinks AND he can fight against the human while like partially drunk.... i feel it would be kinda like a giggly drunk situation. except dust doesn't laugh at anything that's funny he only laughs when someone gets hurt or something. SADISTIC giggly drunk. because i can already imagine a half drunk dust laughing his ass off after killing the human and its a beautiful sight to me.

anyways imagine how it goes when you pair this sadistic giggly drunk with another that wont stop going through the 5 stages of grief and another that keeps on fucking falling over for no reason in his eyes. dream blunt rotation but the blunt is a bottle of vodka. i can already imagine it in my head and its fucking HILARIOUS. horror going on about how he caused the deaths of others and manipulated and tricked papyrus while killer is just trying his best to keep his eyes open because for some reason they won't stop trying to close. he is surprisingly getting frustated. dust has long since lost his voice laughing at this and he's just silent wheezing at everything. also phantom papyrus is only making the laughter worse because he keeps on making rude comments towards horror and killer and only he can hear him and its guffaw inducing. mtt amazing friend group you dont get shit like this anywhere else

[opens-up-4-nobody]

Me, decorating my room: ...should I get a naruto poster?

Also me: If I search for naruto posters... they'll all make me angry in a way that's fucking unhinged

[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.

[the-one-who-lambs]

Me: I don't know if my ideas are worth sharing, I'm losing engagement from my readerbase these past few months so I must be doing something wrong, I don't think I've really accomplished anything as a writer.

Some person in my AO3 comments hyped as FUCK for the Risen Lamb/Fallen God rewrite: