#Nuanced Concept Translation

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What is Concept Elaboration? Concept Elaboration Services

Concept Elaboration and Understanding the Importance of Clear Communication The intricacies of language often present challenges, especially when conveying complex ideas across different cultures. Concept Elaboration, a vital process in language services, ensures clear and comprehensive communication. This article delves into the origins, implementation, and significance of Concept Elaboration,…

[serpentface]

WARDI TERMS OF ENDEARMENT

emense [ɛmɛnse] (eh-mehn-say)

Has meaning close to 'beloved' or 'darling'. "Ya emense" (meaning 'my beloved'/'my darling') is often contracted "y'mense".

bubuch [bubuk] (boo-bookh)

Somewhat of a nonsense word, basically ‘big-big’. Tends to either be used for small children or flirtatiously between adults (kind in between 'baby' and 'big boy' in functionality, though without gendered implications of the latter). Sometimes instead used as a form of intense condescension.

ya mache mes [ja mɑke mes] (yah mah-kay mace)

Functionally means "my other face", using the figurative word for face describing a concept of fundamental nature rather than anatomy. Very intense term of endearment, expresses the recipient as a core part of one's identity. Kind of equivalent to 'my other half' but not exclusively romantic.

ya tsitsima [ja ͡tsi͡tsimə] (yah tsee-tsee-muh)

Means "my blood". This term is used more broadly to denote familial relations, and is more of a term of endearment when used outside of actual biological relationship (calling your sister 'my blood' is just an intense way of saying 'my [relative]', calling a non-relative 'my blood' is VERY pointedly affectionate).

ya ungande [ja ungɑnde] (yah oon-gahn-day)

Often contracted to y'ungande, dead literally means "my liver" as in the organ. Ungande alone is also used as a food-based term of endearment, similar to 'honey' except instead with delicious organ meat.

anuje [ɑnudʒe] (ah-noo-jay)

Food based term of endearment, referring to a tree sap that is the most commonly used form of sweetener. Functionally identical to 'honey' in usage.

anu tlansekoma [ɑnu tlɑnsekoʊmə] (ah-noo tlahn-say-koh-muh)

This one actually means 'honey' (dead literally 'bee sweet'). Less common than 'anuje' as a term of endearment due to general cultural preference for anuje as a sweetener and the relative rarity of beekeeping.

inyagit [injəgit] (een-yah-geet)

Diminutive form of 'sun'. 'Ya inya' (my sun) occurs as well, but is less common.

y'mit agai [j'mit ɑgaɪ] (yuh-meet ah-gai)

Contraction of 'ya amit agai', 'my blue moon'. This specification is more common than a general 'my moon(s)' and is fairly loaded, given this particular moon is the site of the afterlife for the most honored dead. The phrase both suggests a sort of celestial beauty and a sense of being honored and finding rest in the recipient. This is a VERY intense and almost exclusively romantic term of endearment.

coutomara [koʊtoʊmɑrə] (koh-to-mahr-uh)

Means 'handsome' or 'beautiful', implies masculine attractiveness. (Dead literally closer to 'strong face'/'strong featured').

jaimara [dʒaɪmɑrə] (jaim-mahr-uh)

Means 'pretty' or 'beautiful', implies feminine attractiveness (dead literally close to 'beautiful face'/'beautifully featured').

katsuy [kɑtsui] [kaht-soo'ee]

Sexually charged description of physical attractiveness, basically calling someone 'sexy'.

ya katsuymen [ja kɑtsuimɛn] (yah koht-soo'ee-mehn)

Related and also sexually charged, close in meaning to 'my desire'.

at akmatse yachouy [ɑt ɑkmɑtse jɑtʃɔɪ] (aht ahk-mat-say yah-choi )

Sexually explicit term of endearment. The dead literal translation is "one who makes me flower". The word "flower" here is not as euphemistic in context and is rather the nicest sounding possible way to say "makes me cum (HARD)". Not considered vulgar, rather cloyingly romantic if anything.

gan(ne) ama [gɑn(e) ɑmə] (gah(-nay) ahm-uh)

Means 'bull'. When used affectionately, implies masculine strength. Usually used in conjunction with an adjective (ie 'handsome bull') or more teasingly gannit ama (little/baby bull))

jaimeti [dʒaɪmɛti] (jai-meh-tee)

Means 'gazelle' (the name for the animal itself is close in meaning to 'beautiful horn'), heavily associated with grace and beauty. Also tends to be used with adjectives ('lovely gazelle' 'handsome gazelle' etc) or with a diminutive.

ansiba [ɑnsibɑ] (ahn-see-bah) or ansibit [ɑnsibit] (ahn-see-beet)

Means 'duck' and 'duckling' respectively, specifically refers to the animal and implies cuteness. Ansibit is a very common term of endearment for children.

"Wannaukoma such datse anmo" [wɑnaʊkoʊmə suk dɑtse ɑnmoʊ] (wahn-now-koh-muh sookh daht-say ahn-moh)

Means 'an ant could swallow you', implies cuteness (ie the recipient is so small and tiny an Ant could devour them whole). Usually used on children, occasionally used on adult women (in a way that feels intensely patronizing to many). 'Datse' (you) may be replaced by the recipients surname or honorific in the rare case that someone would dare calling someone this without being on first name basis with them.

wannaukomit [wɑnaʊkoʊmit] (wahn-now-koh-meet)

Means 'little ant', a term of endearment that borders on insulting even to babies.

OTHER:

-it [it] (eet)

This is a diminutive modifier, which can be added to a name or other word/term of endearment to denote affection (can also be condescending). It lacks internal meaning in everyday use and is closer to the English -y or -ie (billy johnny rosie susie puppy kitty ducky etc).

hippe [hipɛ] (heep-peh) (some dialects drop the h sound entirely)

Means 'small' or 'little', can be spoken with other words/names as an affectionate diminutive.

Other epithets-

Various epithets used in the language are not exclusively used as terms of endearment, but can be contextually. Most commonly, this will be the -machen epithet of the recipients zodiac birthsign (particularly those considered auspicious). Someone with the lion birthsign could be respectfully and/or affectionately called 'odomachen', or VERY affectionately called 'ya odo' ('my lion'). There's also a good variety of poetic epithets that have worked their way into common language as affectionate compliments/descriptors- ie ganatoche (dead literally 'cow-eye', more prettily 'ox-eyed') is a complimentary descriptor for brown eyes, anaemaitsa (dead literally 'river-haired', more prettily 'flowing-haired') compliments wavy hair.

Given name basis-

In Wardi culture, full names are spoken with the family name preceding the given name. When respectfully speaking to a stranger, peer, or authority figure, you refer to them by their family name, title, and/or an honorific. Being on an accepted given name basis with someone is generally indicative of closeness and affection.

datse [dɑtse] (dah-tsay)

This is the word for "you". Similarly to the use of a given name, actually referring to someone as 'you' (rather than a surname, title, or honorific in place of the pronoun) expresses familiarity and intimacy.

[aroaessidhe]

2024 reads / storygraph

Outdrawn

f/f contemporary romance

two cartoonist who’ve been rivals since uni, and now have competing webcomics online, have to work together on the relaunch of a cult classic at the comic press they both work at

they both struggle with art-related physical and mental health issues, and complicated families

[okitanoniisan]

no one can reach my level of petty hating about the stupid english title

[allthoseotherworlds]

Genuinely really loving the tendency of official Doctor Who stuff to now refer to the Doctor in general with they/them pronouns

[ravy-nevermore]

It never occurred to me that people might have taken her line to mean "it won't be terrible for you because I'll be there with you making it less bad for you"; I always interpreted it to be more "it won't be terrible for me because you'll be there making it less bad for me." Because, as you point out, Solas's line that she's reponding to here is warning her that it will be bad.

And maybe what you also say about Elvhen being a language of context and intent rather than meaning mapped to phonemes means I shouldn't even continue this particular train of thought, but the words they say in Elvhen are:

Solas: Ar ghilas vir banal. Inquisitor: Tel'banal ar ama.

[ as transcribed by whoever added these lines to the DA wiki ]

Or, strictly literally, if my Elvhen is up to par:

Solas: I go will be bad. Inquisitor: Not bad I you.

Yeah, the literal translation isn't as elegant as the one they put in the subtitles, and maybe that's where the whole Elvhen-is-a-language-of-vibes-rather-than-literal-translations part is supposed to come in (because lbr they didn't actually create a whole language just a lot of vocab words). But I think that understanding what they're saying in Elvhen and not just the subtitle translation adds a deeper layer of meaning to the delivery, if nothing else.

Now, I admittedly did not pass an Elvhen class for my ancient languages elective in school, so forgive me if my translation is wrong, or if the wiki-adder's transcription is wrong and I can't recognize it because my fluency in Elvhen is shaky at best (/hj). I don't think "ama" is a word we see used anywhere else, but we know "ma" is either "my" or "you" (as per "Ar lath ma, vhenan" = "I love you, [my] heart") and "ar" is already a first person pronoun so "ama" is likely the "you" part.

I extrapolate from this that "ama" is either some conjugated form of "ma" and "ar ama" is literally translated to just "I you" and they skip the conjunction ("and" / "with") in this phrase in Elvhen— or that the extra a- there on "ama" is something that is added to the second word to give the meaning of "and" or "with" without using an additional word for it like we do in English. (Similar to how English modifies nouns into possessives using 's at the end instead of the separate preposition "of," or Latin uses the genitive form to denote posessives instead of even having a preposition for it, or iirc Japanese uses the preposition "to" with the second word or phrase in place of a conjunction at all.)

Or, the person who transcribed the Elvhen words made a mistake and it should be "Tel'banal ar a ma" and "a" is their conjunction and my whole point here should be discarded. (Because I don't think the game ever transcribes the Elvhen words for it, right? The person who wrote it in the wiki probably transcribed it by ear and chose where the words are broken themselves?)

But!! What I'm getting at with all of this excessive linguistic nerdery is that if Elvhen doesn't use a conjunction to say "you and I" or "you're with me" or "I'm with you," but rather has one streamlined phrase "ar ama" (or even "arama"/"ar'a'ma" maybe) then they way they conceive of the concept of "you and me" is different from how we conceive of it when we say things like "you're with me" using three whole separate words in English. (Like when Harding tries to translate that bit of Dwarven in VG but she struggles to translate its precise meaning into the common tongue because in Dwarven they have a pronoun that means "I" but also "we" but in a collective sense rather than as multiple individuals, and that concept doesn't exist as a pronoun in English/Common.) And we wedge the third word between the "you" and the "me" in that phrase in English, while the meaning spoken in Elvhen might have been closer to "us." But "It won't be terrible if us" isn't grammatically correct in English, so they went for a translation that was grammatically correct over one that doesn't follow English grammar but is closer to the Elvhen meaning, because most fans will just be reading the subtitles and not out here learning Elvhen in their spare time.

Then again, I guess they could have chosen to translate it as "if we're together" but they didn't and I could be placing way too much stock in attempting to grasp the nuances of a fictional language that they probably just didn't bother to come up with conjunctions in.

But!!

Ar ama. :) I just think it's neat.

Inflection, Context, and Elven: Lavellan’s Veilguard Ending (romance state)

Lately, I’ve seen quite a bit of criticism directed at a romanced Lavellan on my dash - particularly in the Veilguard ending, interpreting her as needy, egotistical, or entitled.

And I am wondering: Did we watch the same ending? (I find it fascinating how differently people interpret the same moments - such a reflection of the human experience.) And I couldn't help myself! I felt compelled to share my interpretations so I punched this out the last few days.

The sticking point seems to be Lavellan’s words, especially the ones spoken in Elven.

It seems like a common interpretation of Lavellan’s words here are: 

“It won’t be terrible if you’re with me.” (Implying possessiveness or entitlement - and that she alone will make it better.)

The game’s delivery offers no inflection on any word though. For me, it’s always been: 

“It won’t be terrible if you’re with me.” 

It’s subtle, but very different. This is just one micro-example of how much nuance is packed into the dialogue in the Veilguard ending. These lines shouldn’t be taken in isolation - especially not the Elven ones. They should be understood in the context of what Solas says to Lavellan in Elven just before, and beyond that, within the history established in Inquisition and Trespasser.

Indulgent Solas x Lavellan post ahead.

Still here? Excellent. (And sorry, it's another long post.)

"Elven is often a game of intents, not direct mapping of phonetic meaning." The language doesn’t rely on straightforward translations of sounds or words into specific meanings. Instead, it operates on a deeper level, where intent and context carry as much weight.

Earlier in the game, when Solas confronts Elgar’nan, he says: “I must speak to you in this tongue. It seems Elven is beyond your grasp.” This insult implies that Elgar’nan has lost the ability to understand the nuanced, metaphorical nature of the language. Elven relies on shared understanding, rhythm, intent, to convey its full meaning. By Lavellan and Solas choosing to speak Elven to each other it's an acknowledgement of their shared understanding - a connection rooted in their history going back to Inquisition.

Which is why I embrace it in my interpretations.

This is personal and expansive. On one level, she’s speaking as someone Solas has wronged, reminding him of the pain he’s caused her directly. But on another, she’s channeling the voices of countless others whose lives were affected by him and who will be shattered by his actions. It’s a challenge that blends her role as both an individual and the Inquisitor.

It’s also not a condemnation. Lavellan doesn’t lash out or accuse him of being irredeemable. Instead, she questions him, cutting through to reach the man beneath. She’s speaking to Solas (wisdom).

"Vhenan" is acknowledging his love for her but it’s also symbolic of his heart, the part of himself he’s buried and tried to ignore, suddenly reappearing. Solas has spent much of his journey detached and isolated, removing his heart metaphorically to push forward with his plans without the weight of emotional ties. Lavellan’s presence makes it impossible for him to keep it hidden. His heart is right there, exposed and speaking. And the ellipsis - so many words unsaid.

Immediately Solas looks down (I read it as shame). It’s a reaction back to what he said in Trespasser: that he would not have her see what he becomes. And yet, here she is. She sees him, the terrible path he has chosen, the blood on his hands, the awful things he has done, and what he’s about to do. In that moment, his shame is palpable - because Lavellan is one person he couldn’t bear to face in this state. 

And Lavellan doesn’t hesitate. Her next words are as much about holding him accountable as they are about reminding him that there is still another path. 

This isn’t some starry-eyed, naïve Inquisitor we’re dealing with (at least mine isn’t). Lavellan is fully aware at this point. But her stance is clear: no one is beyond redemption, not even the Dread Wolf himself. And she wasn’t the only one – this message is repeated throughout the game by others. 

Her words challenge the belief that has kept Solas shackled to his path. He’s convinced himself that his guilt and mistakes are too great, that there’s no turning back.

She doesn’t beg or demand or frame it in a way that’s grand and sweeping – she simply says “you’re wrong.”  

She’s not trying to erase his mistakes or pretend they don’t exist. She's saying, Yes, you’ve done terrible things, but that doesn’t mean you’re beyond the reach of change.

Lavellan’s journey as Inquisitor began with the Anchor - a mark born of Solas’s mistakes and choices. From the moment she touched his orb (yes, it sounds dirty), her path became entwined with his. This isn’t Lavellan selfishly claiming Solas’s path; it’s an acknowledgment that their journeys have run parallel.

Lavellan’s work to stabilize Southern Thedas mirrors Solas’s aim to restore a broken world, including the burdens of being forced to take on titles and labels. She is revealing her own struggles with devastating, blood-soaked choices - choices that, like his, have carried profound consequences.

Solas believes he’s been walking this path alone, but Lavellan shows him she's been walking alongside him this whole time. Now, as their paths converge again, this is a reminder of the power of connection and the burdens they’ve both borne. He's actually not alone.

Her words also carry an unspoken promise: she is ready to continue to bear the consequences with him. She knows the road ahead is painful and fraught with difficulty, but she is steadfast.

Why do I feel that people sometimes forget Lavellan’s role as Inquisitor? She wasn’t defined by Solas; she was the leader of a powerful military and political organization, forced to make horrible decisions. Whether you choose the mages or templars in Inquisition, you doom thousands to torment and death. The Empress of Orlais can live or die based on the Inquisitor’s choices. And if you’re like me and made the wrong calls on the Dalish clan war table operation, her own clan can be murdered and wiped out.  (Yes, I’m still haunted by that moment.) Her hands have blood on them too. This makes me wonder: does some criticism of the Solas/Lavellan romance stem from failing to see Lavellan as her own person? I love Lavellan for who she is as the Inquisitor - not because of Solas. Likewise, Solas is fascinating on his own. Their romance is one layer of the story, not the foundation of either character. Sometimes it feels like there are even some Solas/Lavellan lovers who have a tendency to overlook the depth and individuality of both characters outside of their romance.

Solas’s statement is a raw admission of all the guilt he carries for his deceptions and the pain he has caused her - lying to her about his identity, betraying her trust - not just as the Inquisitor, but as a person he loves.

His words are not an attempt to seek forgiveness but an acknowledgment of the truth - no matter how painful it is for them both. He knows his choices have caused devastation to the world and to her specifically. He's exposing the full weight of his dual burden: the grand, world-altering consequences of his plans and the personal betrayal of the woman he loves, who trusted him. 

Perhaps, on some level, he hopes that reminding Lavellan of his lies and treachery will convince her to abandon him, sparing her further pain. His guilt and self-loathing are so entrenched that the idea of being forgiven - or even supported – either confounds him or terrifies him.

But Solas’s confession is not just a shield to push her away. It’s also an invitation for her to see him - not the wise, compassionate companion she knew, but the flawed, broken man beneath.

This moment to me shows that Solas still values Lavellan’s understanding (we also saw it in his letter to her). He doesn’t diminish the weight of his actions but wants her to see the cost of his deception - not just for her, but for himself. To Solas, his betrayal is unforgivable. 

And yet - this "selfish" woman dares to forgive him anyway. 

Forgiveness is an act of wisdom because it requires understanding - and she reflects that wisdom right back at him.

"All you have to do is stop" is heavy with meaning. Yes, on the surface, it’s a plea to stop tearing down the Veil, to reconsider the destruction. But it’s also a plea for him to stop running, to stop isolating himself, and to stop punishing himself for his failures. She’s asking him to step out of the shadow of his self-loathing and see that there’s another way forward, not by demanding or commanding, but by offering him compassion (forgiveness). (Cole, I miss you.) 

But Solas’s guilt and self-loathing run deep.

With these words, Solas apologizes to his heart - hardening it once more. For a moment, it had softened, cracked open. But he shuts the door.

The bow that accompanies his words is loaded. A bow carries layers of meaning depending on context - reverence, respect, gratitude, apology, greeting or farewell, a spiritual act, acknowledgment, loyalty, mourning, or even a romantic gesture. Solas’s bow can mean all of these. 

He is physically reinforcing the gravity of his apology. It’s a solemn moment. He is bowing to her strength, to all she has endured because of him. And when he calls her "vhenan," it is personal. It's an apology to her and to his own heart for not choosing the life he wanted to have with her.  “...to stay by your side as Solas...as I wanted.”  

The bow also carries guilt. He is acknowledging the pain he’s caused and humbling himself before her. And his eyes in the animation during this moment – I saw haunted, tormented, tired eyes – the eyes of a man grappling with the weight of his choices and the thought that he cannot accept redemption, even if it’s offered freely.

But, as I’ve said before, it takes a village to stop a Solas. Cue Morrigan and Mythal - but I’m not diving into that dialogue rabbit hole in this post.  

But this scene with Mythal is important. Lavellan has just watched the man she loves completely crumble in front of Mythal. He’s bent over in grief/pain, utterly vulnerable. She hears him say, in anguish, “The things that I have done.” She sees him lift the dagger - perhaps to surrender it, to shield himself from Mythal, or even as a plea to Mythal to end his torment. Whatever the intent, Lavellan is witnessing the rawest, most broken Solas. His guilt is overwhelming, and this is the first time she’s truly seeing the full weight of it laid bare (as is Rook). It’s a moment of heavy sadness for her – and for us as players. 

Solas is bent over with the emotional collapse of centuries of obligation and guilt coming to the surface. Mythal’s departure leaves Solas vulnerable, stripped of the purpose that has guided him for so long. He is alone in his pain.

For Lavellan, can you imagine the helplessness? All she can do is offer her presence, understanding, and faith in him afterward. That might feel like so little in the face of such immense pain, but it’s all she has to give. 

Where Mythal’s words, spoken in the common tongue, are authoritative and final, Lavellan’s are intimate and personal. Her choice to speak Elven reflects her desire to meet Solas where he is - connecting with him on an intimate level.

Only after Mythal has left him exposed - that Lavellan uses the Elven language. In this moment, stripped of his defenses, he is finally open to hearing and feeling the full significance of the words and their intent.

Lavellan’s words challenge the notion that fate is immutable or inevitable. When she says, “there is no fate...,” she isn’t diminishing everything else in favor of her love; she’s rejecting the tyranny of inevitability. Her words assert that choices - rooted in love, connection, and shared purpose - have the power to shape their path forward. She reframes love as a force just as powerful as fate, capable of creating meaning and direction where there once seemed to be none.

Atonement

And at this point? Lavellan has no idea what Solas will do next. None of them do. But the combined efforts of Rook, Lavellan and Morrigan get through to him. Because Solas makes a choice - a monumental choice. He binds himself to the veil, committing to atonement. Atonement is a powerful, active word. It evokes the gravity of recognizing wrongdoing and the courage to address it. His decision to seek restoration with the Titans, to deal with the Blight, to return to where it all began, reflects the depth of his remorse and his willingness to rebuild the balance he disrupted – from the beginning. 

Solas equates atonement with isolation, believing that his punishment must be borne alone. To him, atonement requires severing ties, including the possibility of love. He doesn’t ask Lavellan to join him because he cannot conceive of burdening her with the weight of his choices and the path he must walk.

But Lavellan’s words - once again - challenge that. She offers him the possibility that his actions, no matter how devastating, do not erase the love and faith others still have in him. This is an invitation.

She's also being vulnerable here. She’s offering herself to him, knowing full well that he still might say no. A risk she’s willing to take. 

He doesn’t try to shut her out or push her away this time. Instead, he shifts the focus - he needs her to understand the gravity of the path they are about to walk. His response reflects his own vulnerability as well, he wants her to know what she’s choosing, but he can’t bring himself to reject her offer outright. 

Solas responds in Elven - his acknowledgment of their shared understanding and their entire relationship and journey that has shaped them.

His words also mark a turning point: for the first time, Solas allows Lavellan her agency. Throughout their relationship, he has taken her choices away. He broke off their relationship in Inquisition. He vanished after Corypheus’s defeat, leaving her no say in it all.

Lavellan is asserting her choice. And this time, Solas doesn’t take it from her.

By framing his destination in such stark, "terrible" terms, Solas isn’t pushing her away out of cruelty. He’s laying bare the enormity of what lies ahead, warning her of the peril while giving her the freedom to choose for herself. It’s his way of ensuring she understands the stakes.

Solas is doing what she requested long ago - trusting her - and what a choice to place that trust in. He’s entrusting her to make an informed decision about stepping onto a path that could shape the future of Thedas. He is trusting Lavellan’s strength and resiliency. And in trusting her, Solas reveals a quiet, unspoken truth: he doesn’t want to face this journey alone. By even presenting the choice, he reveals a quiet hope that she might go with him, despite everything.

To me, what makes this moment so achingly beautiful is the duality in his expression. His eyes seem to plead two things at once: “I don’t want to put you in harm’s way,” and “I can’t deny wanting to be with you.” There’s a raw vulnerability in the way he looks at her.

“It won’t be terrible if you’re with me.” 

Lavellan’s response is a direct challenge to Solas’s warning. He tells her the path ahead will be awful - because of him. But she counters, saying that it’s because of him that it won’t be. This isn’t her forcing herself into his journey or suggesting that she alone will make it better. Instead, it’s her way of expressing that his presence will give her the strength to face whatever lies ahead - he's fucking worried about her! She’s trying to ease his mind, while also signaling her willingness to trust him again.

At the same time, her words acknowledge the weight of Solas’s suffering, offering herself as a partner to bear that burden together. She isn’t dismissing the risks or downplaying the severity of what’s to come - she’s choosing to stand beside him, fully aware of the challenges ahead.

It’s not about personal gain; it’s about shared resilience. Lavellan’s focus is on what they can endure together, not on what she might receive from the journey.

And since the Fade reflects emotions, as many have pointed out, their combined trust and love could manifest in ways neither of them can predict. Their bond has the power to shape not just their path but the very world around them.

This declaration is past, present and future; it’s a reaffirmation of their bond, a recognition that they’ve been walking the path of the dinan’shiral together all along. It’s future focused - she is offering to shoulder the burden with him going forward.  

She’s also telling him that she won't abandon him, no matter how hard the road ahead may be. 

And at the end of the day, she's a woman who still loves him. What does Prince Lir say in The Last Unicorn? "I love whom I love."

I've never interpreted Lavellan as someone sitting by a window for ten years, writing sad poetry and sighing into the wind, longing for Solas. She’s been busy - rebuilding a fractured world, navigating political fallout, and seeking understanding. Lavellan’s love for Solas isn’t blind devotion; she’s holding onto the possibility of redemption and the deep impact he had on her life. In my world state, Lavellan’s clan is wiped out. The people of the Inquisition have become her family, the ones she fights for and protects. And indirectly, Solas gave her that family. Despite the pain he’s caused, her love for him reflects the complexity of her journey - one defined not by a single relationship, but by hope, resilience, and the connections she’s forged along the way.

Lavellan then leans in to kiss him, and Solas allows himself to be drawn in. This moment is acceptance - a silent vow, a promise sealed in their shared vulnerability. It’s an intimate connection forged in front of those who have just witnessed the emotional storm that brought them to this point, as if to say, “This is where we stand, together.”

And then Solas turns to Rook and says, “Thank you.”

Solas doesn’t thank Rook when he hands them the dagger, nor when he’s preparing to walk into the Fade. He says it after the kiss.

In thanking Rook, Solas acknowledges not only their actions but also their understanding of the connection he shares with Lavellan. Rook, transformed by their own relationships and the bonds they’ve formed throughout their journey, embodies the themes that have always defined Dragon Age to me: connection, fellowship, community, love, and redemption. These games (again, for me) have always been about how people, despite their flaws and struggles, can come together to make the impossible possible.

Rook’s symbolism in the redemption ending feels like the culmination of this ethos. They represent how even those who begin on the periphery of great events can become central to forging bonds and creating change. Solas’s gratitude is for Rook's empathy, their recognition of the importance of connection, and their role in bringing these threads of love and redemption together. I'll go cry now.

And off they go into the Fade.

The Final Translation 

"With Elgar'nan and Ghilan'nain dead, and the Inquisitor finally reunited with her true love, it looked like one of the biggest stories the world had ever seen was finally drawing to a close."  

Varric’s narration ties the ending image back to the connection between Inquisition and Veilguard. Inquisition is the Inquisitor’s story; Veilguard is Rook’s. Solas serves as the thread linking them. Varric frames this moment through Lavellan’s perspective, narrating the story like one of his novels - not to diminish Solas, but to highlight the Inquisitor’s journey. After all, Veilguard wouldn’t exist without Inquisition. Rook wouldn’t be working with Varric or searching for Solas if not for the Inquisitor.

As much as I would have loved a deeper focus on Solas, Veilguard wasn’t his story. If Inquisition is the Inquisitor’s story and Veilguard is Rook’s, this ending is a shared culmination: for a romanced Lavellan, it’s the personal resolution of her journey; for Rook, it’s recognition of their critical role in saving Thedas.

Okay, indulgence over - whew, that was long! I really need to practice shorter posts.

In the end, those who dislike this romance or this ending probably always will. That’s fine; I just wanted to share my interpretations because I genuinely love this story for all its complexity.

To everyone who made it to the end of this post - thank you for joining me in my indulgence. May your own Solas ships continue to bring you joy and inspiration.

[haru-dipthong]

Did you know that the english word “star” and the japanese word 星（ほし）don’t actually mean the same thing?

Language does not simply name pre-existing categories; categories do not exist in 'the world'

— Daniel Chandler, Semiotics for Beginners

I read this quote a few years ago, but I don’t think I truly understood it until one day, when I was looking at the wikipedia article for “star” and I thought to check the Japanese article, see if I could get some Japanese reading practice in. I was surprised to find that the article was not titled 「星」, but 「恒星」, a word I’d never seen before. I’d always learnt that 星 was the direct translation for “star” (I knew the japanese also contained meanings the english didn’t, like “dot” or “bullseye”, but I thought these were just auxiliary definitions in addition to the direct translation of “star” as in "a celestial body made of hydrogen and helium plasma").

To try and clear things up for myself, I searched japanese wikipedia for 星. It was a disambiguation page, with the main links pointing to the articles for 天体 (astronomical object) and スター（記号）(star symbol). There was no article just called 「星」.

It’s an easy difference to miss, because in everyday conversation, 星 and star are equivalent. They both describe the shining lights in the night sky. They both describe this symbol: ★. They even both describe those enormous celestial objects made of plasma.

But they are different - different enough to not share a wikipedia article. 星 is used to describe any kind of celestial body, especially if it appears shiny and bright in the night sky. “Star” can be used this way too (like Venus being called the “morning star”), but it’s generally considered inaccurate to use the word like this, whereas there is no such inaccuracy with 星. You can say “oh that’s not actually a star, it’s a planet”, but you CAN’T say 「実はそれは星ではなく惑星だよ」 (TL: that’s not actually a hoshi, it’s a planet). A planet IS a 星.

星 is a very common word, essentially equivalent to “star”, but its meaning is closer to “celestial body”. I haven’t looked into the etymology/history but it’s almost like both english and japanese started out with a simple, common word for the lights in the sky - star/星 , but as we found out more about what these lights actually were, english doubled down on using the common word for the specific scientific concept, while japanese kept the common word generic and instead came up with a new word for the more specific concept. If this is actually what happened, I’d guess that kanji probably had something to do with it - 星 as a component kanji exists inside the word for planet, 惑星, and in the word for comet, 彗星, and in the scientific word for “star”, 恒星, so it makes sense that it would indicate a more general concept when used standalone.

This discovery helped me understand that quote - categories don’t exist in the world, we are the ones who create them. I thought that the concept of “star” was something that would be consistent across all languages, but it’s not, because the concept of “star” is not pre-existing. Each language had to decide how to name each of those similar star-like concepts (the ★ symbol, hot balls of gas, twinkling lights in the sky, planets, comets, etc), and obviously not every language is going to group those concepts under the same words with the same nuance.

Knowing this, one might be tempted to say that 恒星（こうせい） is the direct translation for “star”. But this isn’t true either. In most of the contexts that the word “star” is used in english, the equivalent japanese will be simply 星. Despite the meanings not lining up exactly, 星 will still be the best translation for “star” most of the time. This is the art of translation - knowing when the particulars are less important than the vibe or feel of a word. For any word, there will never be an exact perfect translation with all the same nuances and meanings. Translation is about finding the best solution to an unsolvable problem. That's why I love it.

[ill-kidnap-all-the-stars]

Azula

[ image description: a digital drawing of Azula from Avatar: the Last Airbender in my style. She is a light-skinned woman with gold eyes and black hair, the top part tied in a top knot. She is wearing a red cheongsam dress with a wide skirt, a dark red/brown sash and a matching shawl around her arms. Her upper cheongsam has gold hibiscus embroidery, while her sash has gold phoenix embroidery. Whisps of blue fire are coming from her fingers. She is standing in front of a brown Fire Nation sign ]

prints ✨ commissions

I honestly feel like this Azula might be close to my magnum opus 🔥 influences and inspiration under the cut, but the usual warning that it's nigh impossible to condense thousands of years and miles worth of culture into one post so there is 100% nuance and detail missing. Also, I tried my best with the Chinese, but I honestly don't speak a lick of it so I put my faith in strangers on the internet :/ anyway, enjoy:

A Bit of Background:

The Fire Nation is visually and geographically inspired by volcanic islands such as Iceland, Hawaii and Polynesian islands, while the culture of the Fire Nation is primarily inspired by East, South and Southeast Asia, as well as sun-worshipping cultures (such as the Ancient Egyptians and Mesoamericans). For example:

the Confucian concept of ‘filial piety’ (孝顺 or ‘xiao shun’) is central to the Fire Nation too;

the agni kai is a form of honour duel commonly seen in warrior societies of South Asia, and literally translates as ‘Duel of Fire’ or ‘Fire Quarrel’;

the Fire Nation propaganda justifying the war is reminiscent of the Japanese Empire during the Second World War;

the architecture draws on that of Ancient Egypt, different Chinese dynasties, and historic Southeast Asian kingdoms;

the food typically resembles the Sichuan food, particularly in the spiciness and quantities of meat.

Fire Nation Clothing:

The clothing of the Fire Nation draws from many East and Southeast Asian clothing. For example, the armour the military wears has influences from traditional Thai armour, the shoulder pieces the Royal Family wears come from Burmese court wear, the school uniforms are inspired by traditional Thai clothing, and the Royal Family's top knot appear to come from Qin Dynasty China.

The Royal Court are often seen wearing changshan, a traditional clothing of the Han Chinese, although that is not the only influence. For example, Azula's skirt comes from the wraparound trousers worn in Laos, Cambodia and Thailand, while Ty Lee and Toph's jewellery comes from the Thai mongkut.

My Design:

While Azula (and, in fact, many other Fire Nation characters) originally had a distinctly Japanese-influenced design, I decided to roll with the overarching Chinese aesthetic that she and the Royal Court ended up with. I think it's well-established that Azula's obsession with perfection extends to her appearance, not just her bending, so I decided to draw her as the perfect Fire Nation princess.

My starting point was the Chinese phoenix (鳳凰 or ‘fenghuang’), which symbolises, among other things, feminine beauty and good fortune, and is traditionally associated with the Empress in Imperial China. In addition, the phoenix and the dragon are often seen as representative of the yin and yang, the two complimentary and opposing forces in Chinese philosophy, and I think the two nicely symbolise Azula and Zuko's contentious relationship. I also embellished her dress with hibiscus flowers, as they symbolise glory, grandeur and fame, which I believe Azula desires greatly.

[unforth]

As I deepen my study with Chinese, the more I'm struck by how word meanings work. The monolingual USAdians I know or encounter online, who studied only as much as needed to get through school, really do seem to think languages are plug and play: know the word in both languages, and swap.

But that couldn't be further from the truth. There's on Chinese word, 稳当 (wĕn dang), that's really struck me for that. Because my flashcards give three translations for 稳当: reliable, secure, and stable. And in English these words are all fairly different! Clearly related but very much do not mean the same thing. How can one Chinese word mean these three different concepts? Well, of course, it doesn't. 稳当 means 稳当, some fusion of those three concepts we have words for in English but not quite any of them, that makes it appropriate to use in places where English would use any of those three. There are surely shades of meaning, and which interpretation of the meaning is most appropriate to a given context will be understood upon reading.

Now, expand this understanding - that a word doesn't mean (exact direct swap in English) but rather the word means the word, and we approximate it to the closest English equivalent we can - to *every single word in every single sentence in an entire book.*

Then translate that book.

Translation is an art, not a science, requiring tremendous verisimilitude in *both* languages, and an understanding of the story, and a deep familiarity with the culture (social, historical, linguistic, etc.) of the original work, and often knowledge of the authors intent (if possible to ascertain), and a range of other skills. Translation will always be interpretive and transformative, because (word in one language) doesn't precisely mean (word in another language). They're not "the same." If I present you a sentence with 稳当 in it, does it mean stable, reliable, or secure? Well that depends. On what? How it's being used, the surrounding context, other factors, and of course... the reader or translators interpretation.

It drives me insane when I see people present alternate translations as some kind of "gotcha" that one translator got things wrong. And don't get me wrong - of course some translations ARE just wrong, obviously if I translate 稳当 to mean "goldfish" I'm not interpreting I'm just incorrect. But beyond obvious mistakes, a world of nuance exists, and different translators can in good faith reach different conclusions on the most appropriate translation. This is WHY famous books not in English get translated repeatedly by different people, and why a reader would want to read multiple translations of the same work - to see, in different translations, some shadow of the wonderful nuance embodied by the original words that do not, and cannot, simply be swapped 1 to 1 for a perfect English translation. And this is *especially* true of a language like Chinese, which is ancient and beautiful and deeply steeped in understandings of Chinese history and literature.

Why do you think I and many others are studying Chinese for years? For me, it's all so I can read the actual books myself and get that much closer to the story, that much closer to my own interpretation. I'll never have the skills of a knowledgeable translator - this isn't my profession, it's my hobby - but I'll gleen things nonetheless and it's important to me to try.

Too many of yall disrespect those skills so much that you'll throw a sentence of a language you know nothing about into Google translate and then declare the translator Wrong (and sometimes Bad and Malicious) based on that.

稳当 means 稳当. It doesn't mean "reliable." It doesn't mean "the exact translation of 稳" plus "the exact translation of 当". It's a Chinese word with a Chinese definition that we retrofit English on to.

And the hardest part? Look, I'm still a Chinese novice. For all I fucking know, 稳当 actually MIGHT have three distinct definitions. Everything I said about it above might be wrong. I don't know enough Chinese yet to know for sure, and that's a level of nuance and understanding I'll only reach by reading more.

Multiply that by *every single word in both the original language and the language it's being translated into.*

That's what translation is.

Good luck.

[thewriteadviceforwriters]

Hello! I've been getting more and more tips for writing thanks to your post about character flaws in my FYP. I was wondering, do you have any posts about character strengths/virtues? Thanks!

Rin's Character Strengths Masterpost ✨

Hey there, fellow writer! 💖 So glad my character flaws post found its way to you! You've asked about one of my FAVORITE topics to explore - character strengths and virtues! And guess what? I've been meaning to write this companion piece for ages, so THANK YOU for the nudge!

Let's dive DEEP into character strengths that go beyond the basic "brave protagonist" or "loyal sidekick" tropes we see everywhere in fiction. Because memorable characters need memorable strengths!

Why Character Strengths Matter Just As Much As Flaws

We often focus SO much on giving characters interesting flaws (which, yes, super important!), but their strengths are what make readers root for them and fall in love with their journey. Strengths are what make your character SHINE in those pivotal moments! ✨

The key is making these strengths SPECIFIC, NUANCED, and sometimes even PROBLEMATIC. Yes, strengths can cause problems too - that's where the juicy storytelling happens!

Beyond-Basic Character Strengths for Your Characters

1. CONTEXTUAL COURAGE 🔥

Not just "bravery" but courage that manifests in specific contexts:

Social courage (standing up to peer pressure)

Intellectual courage (questioning deeply held beliefs)

Physical courage despite specific fears

Quiet courage (the kind that doesn't look heroic but IS)

Moral courage (doing the right thing when it costs them personally)

Creative courage (risking failure and ridicule for their art/ideas)

2. RADICAL EMPATHY 💭

Not just "understanding others" but:

The ability to understand even villains' motivations

Cross-cultural empathy that bridges different backgrounds

Empathy that extends to those completely unlike themselves

Empathy that causes them to make difficult choices others wouldn't

Empathy that allows them to anticipate others' needs before they're voiced

Empathy for those society has taught them to fear or distrust

3. ADAPTIVE INTELLIGENCE 🧠

Not just "being smart" but:

Pattern recognition in chaotic situations

Intuitive problem-solving under pressure

Cultural adaptability when thrust into unfamiliar environments

Emotional intelligence that helps navigate complex relationships

Street smarts that complement (or replace) formal education

The ability to translate complex concepts for different audiences

4. CREATIVE RESILIENCE 🌱

Not just "bouncing back" but:

Finding unconventional solutions to setbacks

Using humor as a coping mechanism during dark times

Transforming trauma into strength without romanticizing it

Building community resilience, not just personal

Learning from failures rather than being crushed by them

Maintaining hope in seemingly hopeless situations

5. PRINCIPLED FLEXIBILITY 🌊

Not just "having values" but:

Knowing which principles to bend and which to hold firm

Adapting moral frameworks to new information

Navigating ethical gray areas without losing their core

Growing their values through experience rather than rigidity

Finding compromise without betraying essential beliefs

Recognizing when rules must be broken for a greater good

6. DISRUPTIVE KINDNESS ❤️

Not just "being nice" but:

Kindness that challenges systems of oppression

Unexpected kindness that changes enemies' perspectives

Kindness as a radical choice in brutal environments

Kindness that requires genuine sacrifice

Kindness that sees beyond surface behaviors to underlying needs

Kindness that doesn't expect recognition or reciprocation

7. CONSTRUCTIVE SKEPTICISM 🔍

Not just "questioning things" but:

The ability to discern truth from manipulation

Healthy doubt of authority without cynicism

Critical thinking that leads to solutions, not just criticism

Questioning their own assumptions first

Seeking multiple perspectives before forming judgments

Recognizing patterns of deception or misinformation

8. STRATEGIC VULNERABILITY 💧

Not just "being open" but:

Knowing when vulnerability creates connection

Sharing weaknesses to build trust at critical moments

Using personal stories to help others feel less alone

Admitting mistakes to model growth for others

Asking for help when independence would be destructive

Showing emotion strategically to influence outcomes

The Strength Spectrum: Make It Complex!

Remember that any strength exists on a spectrum! The most interesting characters have strengths that sometimes function as weaknesses depending on the context.

For example:

Loyalty becomes enabling when taken too far

Curiosity becomes recklessness in dangerous situations

Honesty becomes cruelty without empathy

Ambition becomes destructive when ethics are compromised

Compassion becomes self-destruction without boundaries

Independence becomes isolation when connection is needed

Confidence becomes arrogance without self-reflection

Cautiousness becomes paralysis when action is required

Strengths in Character Arcs 📈

The MAGIC happens when you show how strengths evolve throughout your story:

The Dormant Strength - A character doesn't know they possess it until circumstances force it out

The Misused Strength - They have the strength but are applying it in harmful ways

The Costly Strength - Using this strength requires genuine sacrifice

The Transformative Strength - This strength fundamentally changes who they are

The Shared Strength - They teach/inspire this strength in others

The Rediscovered Strength - A strength they lost faith in that returns when most needed

The Evolving Strength - A strength that changes form as the character grows

The Collaborative Strength - A strength that only emerges when combined with another character's abilities

Writing Exercise for You! 📝

Take your protagonist and identify:

One strength they've always had and rely on

One strength they don't know they have yet

One strength that's actually causing problems

One strength they'll need to develop to overcome the main conflict

One strength they admire in someone else

One strength they've lost and need to reclaim

Genre-Crossing Character Strengths

These strengths work across ALL genres:

Perceptive Pattern Recognition - Seeing connections others miss

Adaptive Authenticity - Remaining true to themselves while evolving

Constructive Conflict Navigation - Using disagreement to build stronger relationships

Radical Responsibility - Owning their part in problems without self-flagellation

Generative Listening - Hearing beyond words to underlying meanings

Intentional Impact Awareness - Understanding how their actions affect others

Courageous Vulnerability - Risking rejection for authentic connection

Principled Pragmatism - Finding workable solutions that honor core values

Remember that in ANY genre, your character strengths should connect to their internal journey as much as their external conflicts. The most compelling characters have strengths that are tested, lost, rediscovered, transformed, and ultimately deepened through their story arc. 🌟

The most powerful character strengths aren't superpowers or extraordinary abilities - they're deeply human qualities taken to their most compelling expression. They're the things we recognize in ourselves but rarely develop fully. That's why they resonate so deeply with readers across all genres and age categories.

Hope this helps you craft characters with rich, nuanced strengths! Let me know if you want me to dive deeper into any of these - I could talk character development ALL DAY! 💖

~ Rin. T.

[sunderedstar]

good books of 2024

according to meeee.

there is no order here, at least one of these was published ages ago, I'm just working my way through my 2024 timeline, godspeed spiderman. 🫡

Metal from Heaven

surprise hit of 2024. top of the charts. stunning, spectacular. gorgeous. Metal from Heaven FUCKS. almost every single main character is an explicit spicy toxic hot mess of a lesbian committing literal highway/train robbery, the bad guy is literally named Industry, leading to such peak sentences as "I am going to kill Industry." the prose is synesthetic in a way that most writers cannot sustain for a full novel but which here culminates in a moment of pure blissful Neon Genesis Evangelion that I will not elaborate on due to spoilers. the author pulls out the FUNNIEST lines, and also the most abrupt and heartbreaking tragedies. we're not here to be subtle, we're here to put the pedal to the metal until the engine explodes. such a damning, whip smart condemnation of industry, capitalism, power. all in the form of Lesbians. also the phrase 'clown orgy' is mentioned. this shit is like gideon the ninth with CRUNCH. NSFW.

but don't take my word for it. take amal el-mohtar's.

Absolution

Absolution is a hard book. requires thought and rigor at all times to absorb what's going on - and also a reread of the entire trilogy beforehand, because there's time travel nuance involved, which makes it next to impossible to sum up the plot coherently on its own without spoiling things. jeff vandermeer described it partially as 'fuck that alligator from the movie' and - valid. the first 60% had me; the later section...swapped gears drastically, which meant it took a while to hit its stride (aka until it reached Area X again). in hindsight I was just not prepared for one of the POVs to be the Freudian, violently stoned, unreliable narrator love-child of Karkat and Dave Strider whose perception/conception of the heart of the Southern Reach is extremely phallic. and then suddenly cannibalism happens. I liked Annihilation and Acceptance better, but damn. it almost feels like this should be the set up to another trilogy. much 2 think about.

Yield Under Great Persuasion

I don't know why I didn't hear anything about this one before it came out! (instead, I only saw posts about rowland's other book released this year, running close to the wind - which sadly did not hit for me at all). Yield Under Great Persuasion is just ridiculous enough to be fantastic. stubborn little gremlin man, big mad about Pumpkingate years after the original inciting incident that set him at odds with his love interest, attempts to pack his little rucksack and run away from all his self-inflicted gay problems, fails, is forced to deal with said personal problems by direct goddess-intervention. you know it's gonna be good when the guys are hate-banging by page 2. a short, delightful mix of (extremely silly and low-stakes) enemies to lovers and hurt/comfort and working out your emotional and communication issues on page style comfort food. self-indulgent in a fanfic way that is rowland's trademark in a taste of gold and iron (which was also fantastic and probably deserves a reread now.) NSFW.

The Spellshop

between this and yield under great persuasion there's an odd cozy fantasy pairing here. a self-isolated shut-in spellbook librarian who lives for her work escapes the fall of her city and sets up shop back in her old hometown on a severely magic-deprived island. there's some internalized trauma being worked through, against a simply charming backdrop of community and solidarity and magic spells. really. I was. charmed. which is a rare reaction on my part.

The Hunter's Gonna Lay Low

the curveball of the list, The Hunter's Gonna Lay Low is a translated (gay) Korean web novel, and it's the perfect intersection of a decent translator meeting an author who knows what they're doing. notorious tumblr user @spockandawe has a write up of the plot and its major themes here, but in essence it hooked me with its hunter/super-hero meets Pacific Rim setting, its themes of gifted kid burnout and unacknowledged trauma with the weight of the world on his shoulders, and the fact that the author clearly plotted out all of this in advance, with minor details from the opening chapter being extremely plot relevant a hundred chapters later. also, the characters are FUN! the relationship compels me. clownery abounds in all the best ways, while the world-ending stakes are also scarily sky high. its translation is currently incomplete as far as I'm aware, which is literally this story's only downside right now, since you can read it online for free - but so much of the main story is up and translated already that it's hard to imagine how much higher the stakes can go, and I'm dying to know if these two make it through and get the happy ending they deserve. a delicious repast.

Apostles of Mercy

I'm gonna rant here. this is the story of a series that got the redemption arc it deserved.

if you don't know, axiom's end is lindsay ellis's blatant Bayverse Transformers female lead alternate history fic. period. she has openly admitted this. you can easily and clearly pick out the Optimus/Megatron/Starscream expies. and that first book was GOOD. it understood the assignment. loved it.

then...truth of the divine happened. book two of the series. was frankly. god awful. it was like twilight's new moon, where the main character's depression saturates and therefore stagnates the entire narrative, in this case to its detriment. it dragged. the entire appeal of first book of the series is the bond between the main character and her new definitely-not-a-Transformer life partner, and book two managed to both sideline that - the entire point!!! the main thing you're reading it for! the alien time! - and introduce the most skeevy and (for me) unpleasant to read human hetero romance of all time. it was so unpleasant I actually forgot how bad it was.

somehow. somehow. palpatine returned. after I spent three years mourning what could have been. book three saved it. Apostles of Mercy addresses the whole damn skeevy toxic mess that was book two and refocuses on what matters - the alien love interest and a LESBIAN love interest. yes. it's true. once again the sapphics won. we now have a book where the main character is reliving lesbian sex memories as an alien-robot-insect-definitely-not-a-Transformer mindmelds with her so I mean. good job team? her love interest also acquires an alien life partner of her own to expand this into potential alien foursome range? the assignment is once again UNDERSTOOD. in terms of the action scenes, to quote myself while reading it, "I can't believe I'm saying this but you needed to channel far more Bayverse" [for book 2], and doing so for book 3 has produced a work of art. I would say skip book 2 entirely and thank me later, but experiencing how bad the series got at its darkest point is part of what made book 3 such an exhilarating high in comparison. possibly that was the goal all along, impossible to appreciate until now. I just need lindsay ellis to get the contract to write the currently-in-publication-limbo books 4 and 5. because the series deserves it. it only just got good again! NSFWish because I can't remember currently how explicit they got all these months later, forgive me.

The Deep Sky

yume kitasei is new to me, but this book hit some interesting notes as a sci fi debut. it too is about gifted kid burnout and imposter syndrome, funnily enough, in a thoughtful take on the standard sci fi concept of 'a bunch of rigorously trained young adults are sent out into deep space as an ark to save a dying humanity' that actually does discuss how fucked up that is as a concept, both for the kids as they grow up under enormous pressure to win a spot on the mission and for all those people being left behind, in what might just end up being an overhyped waste of resources, since civilization sure is still kicking when they leave. the summary on the book is somewhat misleading - asuka, the main character, doesn't fall under suspicion until wayyyy late in the book, and spends the majority of it in a pseudo-detective role that is absolutely sanctioned by those in charge. she's not 'an immediate suspect' like the book blurb insists. go figure. it didn't knock me out of the park like most of the books above, but it was an engaging little read.

The Bees

a weird one from 2014, picked up on a whim - it's literally about bees! fictionalized bees! with personalities and priesthoods and caste politics and everything! I cried about it to be honest. very plotty, somehow all of it neatly taking place within the Lifecycle of A Bee™️, which takes some real craftsmanship to pull off and make compelling as a narrative. since I'm an unrepentant Raksura fan, I was like 'wow...how Raksura coded...' knowing full well that Raksura are dragon bee people, not the other way around. also the Raksura could never be as toxic (complimentary) as these bees are. 😂 it's just good literature your honor.

honorable mentions:

Heavenly Tyrant

has not come out yet. but let's be real. it's on the list in anticipation. it's what she deserves.

The City in Glass

I love nghi vo's work, have read and adored all of the singing hills cycle novellas. it took a month for my library hold on this book to be available. and then I promptly got distracted by metal from heaven and the hunter's gonna lay low 😂 I will read it!!! the first eight pages were good! vitrine's voice is very good! I've just had a very busy end of the year interrupting my everything. (update: I read two more pages and it immediately and promptly popped off. whoops. guess I'm reading that next. whenever I have free time again...)

[mayoi-inu]

Surprise surprise, this translation is wrong

As many of you already know I’m in a crusade against bad translations. I see this panel going around very often but the translation makes me cringe so bad everytime. I'm sure many people are already aware of the mistranslation but I have never seen it explained anywhere so I decided to do it myself.

Disclaimer, English is not my native language.

Let’s start from the previous panel, because ✨context✨ The order is Japanese -- the fan translation I found -- and the official translation.

I will write down the literal, weird, almost word for word translation for comparison purposes:

判った　答える　答えるから近くに寄らないでくれる？連れだって歩いてると思われたくない

Understood I’ll answer. I’ll answer so, could you not come any closer? I don’t want it to look like we are walking together (I don’t want it be thought we are walking together)

はっ　心配すんな　俺もおもわれたくねえから

Ha, don’t worry. Because I don’t want it either (I also don’t want it be thought)

うふふ　気が合うねえ

ufufu ki ga au nee

Ok first explanation needed. First, the Japanese definition of ki ga au

気が合う -- 考え方や感じ方が通じ合う (kangaekata ya kanjikata ga tsuujiau)

way of thinking and feeling mutually understood.

"Ki" means mind, spirit, "au" means to meet. The English definition in many dictionaries and google is “to get along” and that’s what the fan translation uses (friendly reminder to ALWAYS use a monolingual dictionary once you reach a level high enough), but the "so well" comes from nowhere. The official translation uses "to see eye to eye". IMO it's more accurate in this context than to get along. But the “glad” also comes from nowhere.

Anyway, now you get the feeling of what it means. I think it's more like Dazai commenting how Chuuya shares with him the same feelings about the situation.

“fufu you agree, I see…”

そんな君が大好きだよ

sonna kimi ga daisuki dayo

And we got to the important part.

We have "sonna" that means “such”, “that kind of”. It's a spoken synonym of "sou iu" ("such, like that, that sort of"). As a pre-nominal adjective that goes with kimi, "sonna kimi" it means that you. It has a nuance of surprise when used in sentences like this.

And then "daisukidayo" that of course means I like so much, I love.

What does he loves? "sonna kimi", that is, a specific Chuuya, the Chuuya who is of the same mind that he is about not wanting people to think they were walking together. Or maybe simply the Chuuya that agrees with him, generally speaking.

In both translations the concept is all wrong. It’s presented as if loving Chuuya was the fact and Dazai was explaining the why. But in Japanese, Dazai is singling out the kind of Chuuya he likes/loves if you wish.

Now ask yourselves why specially the official translation chooses to make up the dialogue like that. I'm sure the translators knew enough Japanese to understand it correctly and I don't think it's a matter of cultural adaptation because it never justifies chaging the meaning. The correct answer is fanservice, sales and money 😭

If I had to translate it, I would say “oh I love/like so much that Chuuya!”.

It’s VERY in character for Dazai to say that. And the protest that follows is VERY in character for Chuuya.

うわ……やめろ！気色悪くて死ぬ！

Uwaa… stop it! It’s so disgusting I am going to die!

僕もだ

Me too.

Yes, Dazai sounds crestfallen.

This is getting too long, so my personal non-grammatical opinions under the cut

I have two, even three theories.

First case, Dazai was honest when he said that.

But he didn't register that's not something you go saying around like that, and he was hit with Chuuya's reaction. Because Chuuya had lived with other kids, so he understood social interactions. But Dazai didn't understand.

I've seen infinite analysis about Dazai and ND, mentall illnesses but not even one analyze this scene. So what if he really loved when Chuuya agreed with him, expressed it without any filters and recoiled when he was met with Chuuya's reaction and realized "that was not a normal thing to do". Remember the scene when he shoots the dead soldier? He seemed to be taking notes of what is and isn't normal. This option breaks my heart.

The criticism would be that what Dazai says doesn't sound so honest. This theory would fit better with the English translations but in Japanese he's very clearly informing Chuuya of the kind of Chuuya he likes, which is a twisted thing to say in any language. So maybe Chuuya's reaction is a response to both the nasty observation and the words chosen.

Second option, Dazai knew what he was doing

He used daisuki to provoke Chuuya, to mess with him and make him angry.

That's something 22!Dazai would do easily but I don't know if 15!Dazai was already so good at it. Anyway in this case the surprise would come from the genuine disgust in Chuuya's reaction instead of the expected anger. Chuuya is Chuuya, and he is immune to Dazai's manipulation schemes, except Dazai didn't know it yet. Also once he said it, daisuki was so cringe (and he was 15 😂). Absolutely in character for both of them.

Third option. Dazai said he wanted to make Chuuya his dog.

Dazai was a very messed up kid at that point. The first thing he thinks when he meets another (very powerful) boy his age is to dominate him and make him obbey his orders as his dog. The way he says that to Chuuya can sound very domineering, oh you agree, that's the Chuuya I love. That's a good boy 🐕. And then he felt down when Chuuya rejected that praise with disgust. In the manga it really looks like this option, with a very close and pushing Dazai and an uncomfortable looking Chuuya. I hate that vibe.

Or... possibly it's a bit of all three because after all, nobody knows what's in Dazai's mind 😌

[stephexmachina]

https://www.tumblr.com/stephexmachina/780723426815082496/tim-and-damian-need-to-go-back-to-hating-each <- could i very kindly ask you to elaborate ? im. Very Interested :P

so the short answer is that i need those two to be at each other's throats for my own entertainment 🙏😌

and the long answer is that i truly believe what's missing from the modern batfamily is the awareness that familial bonds are incredibly complex.

viewing someone as a family member does not automatically translate to being close to them emotionally. for many, many people, "family" means the opposite – it's something that binds you to people you wouldn't otherwise have chosen. the batfamily is NOT a found family because not all of the bats chose each other!! tim didn't choose jason or damian; dick only chose tim and bruce; cass only really chose bruce and babs; and damian took a long time to warm up to even dick. nevertheless, they have each other now, and they make the best of it.

that nuance is largely missing from rebirth. nowadays, someone is included in the batfamily and suddenly they have to have equally positive and meaningful bonds with everyone. two characters are family, thus in the eyes of the writers and the fans they must necessarily be ride-or-die. they have to willingly hang out together and enjoy each other's company. if they bicker it has to be light-hearted and they have to forgive each other afterwards. eugh.

and the thing is that this wasn't always the case!! the appeal of the preboot batclan to me was that their bonds weren't all homogenous. there was no central batfamily unit. take tim. he considered dick to be his brother, but the concept of brotherhood wasn't transitive – jason and damian weren't his brothers initially, they were the brothers of his brother, just as bruce wasn't his father but the father of his brother. those bonds came about much, much later.

damian, on the other hand, considered dick his batman before he truly considered him a brother – his understanding of family was firmly rooted in blood and heritage. cassandra was much closer to steph and babs than she was to any of her brothers, and dick was much closer to the titans than he was to either jason or cass. jason's hang-ups with his family predominantly revolved around bruce, who was unquestionably his father, and to a lesser extent dick, who was more or less his brother. the batfamily did not exist before jason died and it wasn't really something that factored into his thinking.

damian as i see him is significantly closer to dick than to anyone else in the batclan, and he is much closer to steph and duke than he is to jason, cass, or tim. and what interests me most about his and tim's dynamic is that it has always been a matter of competition. from day one they were vying for attention, acknowledgement, and security— particularly when it came to dick.

tim and damian will never be each other's favourite brother, and they shouldn't be. the most compelling thing about their dynamic imo is that they don't like each other, but they share a deeply meaningful bond with the same brother. and in two people with a history of viewing love as a finite resource, the fact of this commonality should realistically put them in direct opposition to each other. we saw a microcosm of this with the robin feud, and we're expected to believe it would simply get better with time, but i honestly wish it hadn't.

which isn't to say that i don't think tim and damian should care about each other!! in my eyes they care about each other the way you care about people who are yours, for better or for worse. but the fact of their being brothers is only one facet of their dynamic, not the determiner, and under certain circumstances it could even serve to drive them further apart.

[doomdoomofdoom]

Thwomps seem to reproduce sexually, as they display sexual dimorphism (there is exactly one explicitly female Thwomp in the entire franchise), and Thwimps are referred to as their children. Which implies they grow as they mature??

They also have the concept of marriage.

I like to think that the Thwomps from the Mario games are quarried out of an open pit mine, and there's a bunch of Koopa slaves forced to carve them and carry them to the castle, Prince-of-Egypt style

[ikeoji-subs]

Zettai BL Ni Naru Sekai VS Zettai BL Ni Naritakunai Otoko 2024 - Episode 1 Eng Sub

VS PHYSICAL CONTACT and VS HALLOWEEN

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translation notes:

about Mob’s eyebeams (3:47)

Maybe I just think I see tokusatsu references everywhere, but I think there’s an Easter egg of sorts in episode 1. After Mob comes back to himself and celebrates having escaped L’ing a B, he runs through a field beside the airport and some sort of laser beams shoot out of his eyes. The beams are two different colors: red and blue. I suspect this is a reference to Kamen Rider Build, in which Inukai Atsuhiro played the lead rider (also called Kamen Rider Build). Build had a number of forms (different suits, basically) that had different colors and features. The one he’s best known for (the one that comes up at the top of your results if you google “Kamen Rider Build,” among other things) is his “RabbitTank” form, which is half blue and half red, with one blue eye and one red one. 

Kamen Rider Build in RabbitTank form

It’s particularly appropriate for them to reference Build in this show since Inukai’s character on that show, Kiryu Sento, had a pretty ship-y relationship with Banjou Ryuga, a character played by Akaso Eiji from Cherry Magic. At the time, the phrase “a heated relationship between men” was used to describe how they related to each other, and Kamen Rider fans have referenced it ever since when things between two Kamen Rider dudes seem “heated.” The fact that both actors went on to be BL legends is very fitting. And it makes this reference even more appropriate for Zettai BL.–Towel

Inukai Atsuhiro and Akaso Eiji as Kiryu Sento and Banjou Ryuga, toku boyfriends

about “pretending to be possessive” (07:08)

Mob actually says that Ayato is pretending to have a “brother complex,” sometimes abbreviated (as Mob does here) as “brocon.” While this concept is somewhat Western due to its roots in psychoanalysis, it has a specific meaning in Japanese culture that you don't find elsewhere. It describes an obsessive attachment to one’s brother that may include possessiveness and jealousy toward the brother’s romantic partners. Brother complexes are classically associated with sisters, but it’s no surprise that a brother might be expected to have a brother complex in BL World. 

To be clear, though, Mob doesn’t believe that Ayato actually has a brother complex. He thinks he’s pretending to have one so that he’ll have an excuse to act out his actual possessive feelings about Toujou, brought on by Toujou touching Mob. 

Instead of assuming all viewers would be familiar with the idea of the “brother complex,” we decided to describe what Mob is saying in terms of Ayato’s pretending to be possessive. But knowing the specific reference Mob was making here should help to get a more nuanced sense of the meaning of this line.–Towel

It's also relevant to say that in spoken Japanese almost anything can become a "con". Such as brocon, siscon, lolicon, etc.–Snow

about “fair prince” (6:18)

Snow explained to me that Toujou was described here using a word that's associated with classical and poetic Japanese. Historically, it was used to refer to lords and ladies, and it's particularly common in classical Japanese literature. In modern media, it's often used in period dramas and may be used in contemporary settings to describe the person being referred to as admirable in some way. Since it has multiple meanings with specific connotations and various points of reference in Japanese culture, there was no direct equivalent of this in English. Translating it literally word-for-word wouldn't get the point across at all.

I tried to think about what an equivalent type of literature would be in an English-speaking context and what sorts of words or phrases would bring those things to mind. I tried to see if I could get one or two Early Modern English words in there (the kind of English Shakespeare spoke). I also looked for a link to Toujou’s rose motif by checking some famous rose-related quotes from older literary periods. But neither of those methods yielded anything that fit.

Then I started to think about fairy tales, which gave me the idea of calling him a “prince.” I added “fair,” not for any reason related to his coloring (though it’s somewhat appropriate given his blondness) but because it made the description sound a lot more antiquated and fairy tale-ish. Later in the episode, when a similar description was applied to Toujou in his vampire costume, it made perfect sense to make him a “dark prince” instead.–Towel

Tag list: @c1nto @my-rose-tinted-glasses @twig-tea @sorry-bonebag @porridgefeast @bengiyo @lurkingshan @wen-kexing-apologist

[what-even-is-thiss]

In English, North America and South America are two different continents but in Spanish they’re just one continent and continents are a made up concept and what constitutes as a continent has no useful definition that fits all of our regular lists of continents and why are Europe and Asia and Africa three different continents in the first place and is Australia actually just a very big island?

Anyways that’s why I don’t type things like USAmerican because in English they’re just Americans but I understand why some people do get annoyed with that but at the same time I’ve seen zero Spanish speakers in my personal life argue for speaking that way in English and I guess my point is that we should probably be more aware of how certain people see themselves and be respectful of that but also at the same time I’m an English speaking person in an English speaking country and if I use America to refer to what we call The Americas in my everyday life people will assume I’ve made a mental typo or that I’m being contrarian and if I tried to make that a thing in my everyday speech patterns I’d come off as a pretentious idiot. If I’m speaking Spanish that’s a different story. Then yeah there’s other words for US Americans like estadounidense. Or famously gringo, more colloquially.

I’m not looking to start arguments here. Like I said I totally get why people make that distinction. But there’s also like the nuances of the lived reality of living in certain cultural contexts that I think people forget about.

I’m not here to tell you to not make that distinction in your speech. I’m not even here to tell you that you’re not allowed to be frustrated about it. I’m just here to explain why I don’t do that and why most English speaking people don’t and why it’s not inherently malicious when people do. Like if someone fully dismisses your perspective on the issue and how you view your own identity yes they’re the asshole. But also generally in English it’s The Americas or North, Central, and South America. And yes maybe that’s stupid but so is the existence of Europe as a concept and we all seem to believe that Europeans are a real thing.

And to reiterate. I’m not trying to tell anybody how to speak or how to feel here. Just trying to insert some nuance into this conversation. Because people I call Americans and you might call USAmericans are only gonna call ourselves Americans. That’s just how we view ourselves, how we understand our own identity as a nation. And some people will be jerks about it. But many of us are also just living in the world we live in, referring to ourselves in the way we always have, not aiming to tell anyone else how they ought to view themselves.

I’m American. Soy estadounidense. Some stuff unfortunately gets lost in translation.

Also continents don’t exist. If we try to get rid of the concept of continents we’d all be too confused at all times to have these disagreements. Confusion superiority. We go by tectonic plates. California is on the same continent as Japan now.