#That was the wall to hit I guess idk

[sastielsfandom]

Hitting the suggestion button on repeat got me this:

Sam and Castiel were just secretly dating with how they were sneaking around the world and the world to us and they were all around and about to be the first to finish the last chapter of the year and they were meant for Sam but Castiel doesn't get the luxury of telling it all to him y que no es una pera de la serie que ha sido la primera película de la serie que ha sido la primera película de la serie que ha sido la primera película de la serie que ha sido la primera película de la serie que ha sido la primera película de la serie que ha sido

Can you tell I'm procrastinating?

[shu-bullshit]

Exorcism (Physical)

[spilledbeans116]

Yesterday when I was cleaning out my closet I found a picture my little sister drew for me when she was like 5 or 6 (and not a little teenaged HATER), it made me cry and then I IMMEDIATELY slapped it in a frame

I haven’t really decided where to put it yet, it’s making its rounds around my room but right now it’s sitting on my shelf

They’re keepin’ him safe

[8cfc00]

cant believe my posts have not been explodinf w notes this is so fucked im drawing grant wilson mitski a pearl

[spacedlexi]

skybound collectively unshitting their pants after acquiring the full rights to clementine, the coolest character in their own franchise

[givemewallywestorgivemedeath]

okay weird q incoming but what ways do you think speedsters can get sick? Like to my understanding, they can’t really come down with normal virus’ like the flu, right? But they could get things like chronic migraines?

NANOBOTS!!! This is one of the best pieces of canon lore ever. I did a whole post on it but TLDR: normal human metabolisms have so much shit going on that they don't even notice nanobots in their body BUT speedsters have hyper accelerated metabolisms that are the equivalent of the straight A's overachiever in school on meth. So speedster metabolisms do notice nanobots and they attack full force, triggering all of the body's defenses and responses.

But the nanobots are metal so it obviously doesn't do anything. It just leaves the speedster lethargic, feverish, vomiting, dizzy, with a headache, sore muscles and a runny nose, ect. It's basically an allergic reaction.

Now, poisoning them can work depending on what the poison is/what the dosage is. You would need a 100% fatal poison and you would need a fairly high dose. Because speedsters heal fast and they have a hyper accelerated metabolism, so any poison that is based on toxicity (alcohol poisoning for example) would be out of their system faster than it could even take effect.

But poisons that can't be cleared out/processed by the body (take cyanide for example, it binds with the chemical receptors in your body making it physically impossible to use oxygen) wouldn't really be affected by their metabolism at all. So while the speedsters could heal the damaged tissues from these poisons fairly quickly (making it seem as though they were only slightly affected) they would ultimately need time to do so, time they would not have if it kills them first. This isn't technically what you are asking because there would be no substance that 'makes them sick', there would only be 'fine', 'not fine for like a minute and then fine again' and 'dead'. (... unless they were hooked up to a steady supply of the toxin)

Likewise, (this is getting more into theoretical territory, less canon) there might be some illnesses that would affect them? Not for long but if you got something super fucking fatal like Rabies, it might make them display mild cold symptoms for a day or something.

I don't know though. They have really fucking good immune systems. And even super fatal diseases can be fought. Take my example of Rabies, while it is commonly thought to be 100% fatal once symptoms show up there actually have been cases of people surviving it. Rabies is a very stealthy and fast disease, so the main problem with treating it is that your body's immune system isn't fast enough to stop it. People have survived by being placed in medically induced comas (slowing their bodily functions and thus the disease) for long enough that the medication can eradicate it. So for a speedster? That's gone in a minute tops. You would need an insane disease that I'm not sure even exists.

There's also like... pregnancy and menstruation. Growing pains, muscle pain from running is a BIG ONE, being dehydrated/starvation, blood loss, ect. Lots of ways to fuck with a speedster in a way they can't immediately fix.

There are also speedster specific ailments. It's basically 50/50 if a natural born speedster gets a weird highly fatal aging disease. Sometimes speedsters can be born without a kinetic energy shield which makes using their powers at all incredibly fatal to them. All speedsters will have connectivity issues at some point that can be fatal. Sometimes Time Gets Bad™ (shout out to when Barry kept chronically stealing time from people/things every time he used his powers). Sometimes they have too much energy and can't maintain human form (shout out to when Wally didn't know what the speedforce was and was accidentally cosplaying Ghost Rider). Velocity 9 is a highly addictive drug that works on speedsters and makes them display typical addiction behavior (and withdrawal). V9 can also cause a speedster to 'overdose' (burst into flames/lightning/energy). They all have the constant urge to yeet themselves into the speedforce. Ect.

[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.

[jortfrayer]

wish it wasnt so hard being a nerd in 2024

[ratwars]

If I don't fall asleep at my desk and I don't fall asleep in my car then I will fall asleep while getting my haircut tonight hopefully just while she is shampooing me 😔

[scarletcomet]

scrolling through instagram and it's making me want to die

[opens-up-4-nobody]

...

[redmemoirs]

man the early days sure hit different... all of zens besties bullying him into taking a break (feels so weird to be obi-less also, he would fit right into this scene so perfectly i miss him) and then the shift to the panel that shows off the super tall room like. yeah. full of warmth but also so huge and empty. u get it.

[idsb]

He had every right to sleep with anybody he wanted. But since it can affect your health, you also had a right to be aware of it. No matter who started this, he should let you know about it.

I mean like. technically yeah - but given where we were emotionally I feel like we didn't have a right to not call it dating. it's everything that's wrong with this day & age and everything Taylor talked about about August at long pond.

How people don't define things and then you don't even get to mourn what you lost because you didn't "lose" anything even though you did. I think that's the thing, is that on paper you're not wrong. but emotionally it was so deeply fucking wrong to treat somebody the way we were treating one another and to make someone feel as secure and hopeful and excited as he made me feel, and then go sleep around with other people.

[we-re-always-alright]

Finishing that crochet blanket really sapped all my desire to work on knitting so much so I played and replayed PIKMIN 3 just to avoid thinking about yarn. And now I have two baby blankets I should be working on and a ton of beer mittens to make… need to find some motivation…

[this-love-is-delicate]

sorry if I'm in a weird mood today, physically I'm fine but emotionally I had to give myself stitches with what I could find around the house and I only had gas station vodka to clean the wound and it still stings but I don't have time to rest and recover I have to keep moving or else they'll find me

[probably-insane-writer]

honestly I'm going to start practicing art just so i can write fucking manga. the yuri (and manga in general) calls to me also how else am i supposed to get shit out there, yapping?