#Personalized Phone Cases

[l337gamingapparel]

Resurrected | Gaming-Themed | Slim Phone Case

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[fure-dcmk]

Hattori Heiji wardrobe part 4

[part 3] [part 5]

[kara-zor-els]

Dick Grayson (Nightwing) and Jason Todd (Robin) in Batman (1940) #416

Bonus:

[silverlistenstothings]

in light of recent events

[coquelicoq]

actually natori has some kind of tracking talisman on matoba at all times. that's how he knew where to abduct matoba from for Operation: Kitty Cat City. matoba fully knows about it; it's why he wasn't at all surprised to find a paper doll in natsume's hair after the mask youkai debacle (matoba internally as he watched it fly away: classic mother hen shuuichi-san momence 🥰). because this is matoba "boundaries? what are those? can you eat them?" seiji we're talking about, he's not bothered by this "violation" of his "privacy"; rather, he finds it fittingly clingy (it is, after all, only right that natori should be keeping tabs on him obsessively). sometimes the talisman gets confused and sticks to yesterday's outfit, so he always checks to make sure he has it on the way out the door (his pocket patdown is "keys, lighter, wallet, exorcism supplies, shuuichi-san's cute lil tracker he thinks i don't know about <3"). i wouldn't be surprised if he's figured out how to uno reverse it and now uses it to track natori's location as well. this may not technically be canon but it is probably all 100% true in an important way that transcends canon, we just never hear about it because it isn't relevant to natsume's journey 😌

[mistress-light]

In how much should I take a job offer seriously when the guy asks me if I am good with a computer and speak normal Dutch?

[goldenimpact]

So I just thought of a modern AU where Xiao is an idol who is actually very introverted and is often stressed since he’s famous, and Aether is his best friend who is his emotional support and is head over heels for him but doesn’t say anything because he thinks Xiao only sees him as a therapist friend (maybe he used to have bad friends?), yet Xiao also loves Aether yet doesn’t say anything because because he thinks that the love Aether has for him is very platonic. Sorry if it’s long ;w;

AETHER IS HIS BEST FRIEND?? Aether is his best friend... why... how... Are they childhood friends?? Did they know eachother in school??? Did Aether briefly work as staff or something???? Did they have a one-time chance encounter and exchanged numbers due to circumstances that eventually developed into their super tight bond (and super falling for one another)?!?!?! I HAVE TO KNOW PLEASE I NEED THIS CRUCIAL INFO

Eh??? HAH??????? THEY’RE BOTH IN LOVE BUT BOTH THINK IT’S UNREQUITED?? That’s incredible thank you for my life. I want to see this... I want to see their dynamic in motion... 

(under the cut: i talk a bunch about what-ifs and tryin to expand on this idea! yeah it’s just me rambling)

Xiao’s probably some edgy cool type of idol... Slap on his usual angsty backstory into idol context and maybe it’ll turn into like... He used to be in a five-person unit with the other Yakshas but they either quit being idols or died or any other sort of reason (not important) and now he’s a solo idol... and it’s wearing down on him, being alone on the stage, but he’s continuing his idol activities out of a sense of obligation to his fans and to his former unit members... 

Like, he’s still perfectly healthy and able to continue being an idol, so he doesn’t have any legitimate reason to quit (in his mind), especially when his other unit members probably really want to continue as idols but it became literally impossible for them... So Xiao can’t quit because severe mental fatigue and stress isn’t enough of a justification to him since he’s dumb like that. Whatever, edgelord. Suffer.

Aether... why is he friends with an idol... why isn’t AETHER an idol.. I mean, there’s always the alternative of Aether being a former idol or dabbled in the business when he was a kid or something and quit as he grew up... That would probably give him more grounds to advise Xiao with maybe??? Also kid idol Aether means he could’ve potentially been Xiao’s initial motivation for wanting to be an idol/thinking idols were incredible... 

Oh my god... the emotional investment Xiao would already have in Aether... AND THAT’S WHY HE’D WANT TO MAINTAIN CONTACT WITH AETHER ONCE THEY MET EACHOTHER... AETHER IS HIS ROLE MODEL IDOL... And even though Aether retired, Aether still continues to be Xiao’s idol... Oh my god.................. 

And Xiao thinks Aether is so incredible and amazing even after retiring that it continues to elevate his image of what a Top Idol should be... Aether trying to help Xiao realize his own charms as a performer by being his fan... and helping Xiao think about what he really wants to do with his life by hanging out like normal boyfriends sometimes...

ANYWAYS THEY LOVE EACHOTHER LET’S TALK ABOUT THAT.. Xiao went from Aether’s biggest fan to his best friend to wanting to kiss him, that’s so damn wild... Aether lent Xiao a listening ear, slowly learned how stubborn and hardworking he is, and fell for this hot mess of an idol just like that... 

And now they’re stuck in this stalemate of loving eachother to bits yet unable to convey it directly, instead just trying to get as much as they can under the pretense of “best friends”........... WHEN DOES THE DAM BREAK... WHEN DO THEY.... DO A KISSY.................... OFFICER PLEASE...... I GOTTA KNOW.....

[theflyingfeeling]

I hate it here sm

[icewindandboringhorror]

I have a big google doc thing where I keep track of media and stuff (putting everything in loosely ranked categories), which is mostly just for my own reference so I know what tv shows I've already seen before, etc. and I never really look back through it, typically just a quick "okay, watched two movie in the past 8 months, need to quickly slap them somewhere in the lists. okay. done. save document. exit". But today I was actually reading through some of the old notes and there are like... MULTIPLE places where my comment is basically "It would have been good if it were about elves" or "I wish there was a fantasy show made in this same style" or "It's well made, but I just keep thinking about how I would like it more if everyone was an elf or was in old 1700s costumes" or etc like...... lol.... Most biased media ranking system on earth blatantly made by someone with an extremely hyperspecific range of narrow interests. It'd be like if a food reviewer only had 5 foods they actually liked, so they'd just go to a pizza place and be like "eh, the pizza was okay, but I just think it would be better if it was cereal instead. :/ ...2 out of 10"

[dahyun]

my selfies with dosie and swan lol

[scarapanna]

Since 2023 is coming to a close, here's an art summary of my works from each month!

Man, what a wild ride this year was!

[leehallfae]

may/june

[butch-himbo-king]

new hair slay

[hyumjim]

idk man like sometimes people are doing important life stuff while also buying groceries idk what to tell you

[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.