#after long last haha

[petricorah]

long hair sokka truthers lets goooo [id in alt]

[kikker-oma]

Just when I thought I was starting to get burnt out from 3 straight months of continuous drawing I GET A SECOND WIND😈😈😈

muahahahaha this fandom has such a chokehold on me, its unreal

[livjeonghan]

[1:15 AM]

warnings: mention of the recent GoSe episodes (grudge), and nightmares (kind of)

wonwoo looks away from his game as you walk in through the door of the study room, his eyes instantly softening at your nightsuit-clad figure. you've been living with him long enough to not dwell on his habit of wearing his headphones slightly off-center when you're in the house.

after a couple of times of interrupting him while he was gaming, you had asked him why he left part of his ear exposed when you were around. "so i can hear you properly when you're here", he had said, oblivious to the rush his words gave you. for all his quiet, he's loud in his considerations towards you.

"hey", he murmurs, pausing his game, "thought you'd be asleep by now".

and so you should be. you're generally so tired after your 9-5 job that you're dead asleep by midnight.

"i want to sleep", you respond, trying to sound less sulky, "but i saw the recent going seventeen episode, and now i can't sleep".

"ah", he replies, eyes twinkling as he takes your hands in both of his, "i thought you had a rule about not watching scary stuff before bedtime?"

"i broke it to see your pretty face on screen", you shrug, smiling slightly at wonwoo's grin, "how did you do it? you said you weren't scared at all, but what i saw -- "

wonwoo waits for you to finish.

"-- was scary", and you do, rather inelegantly.

"i knew i was safe", he rubs his thumbs soothingly over yours, "they take care of us, i knew it was going to be okay".

"and you're not a scaredy-cat like me", you add sullenly.

"maybe", he smiles gently, "i'm okay. we were all okay. we're never in danger at GoSe shoots".

you wonder if you should brood on how easily wonwoo reads you. it's not like you try to hide things from him, but your less rational thoughts (let's be real -- ofcourse he was never in any danger, who even thinks like that?) should be a little more difficult to notice.

wonwoo doesn't seem annoyed at all at you though, as he pulls you closer to rest his head on your midriff, his arms coming to wound around your body as he closes his eyes.

"how about some david attenborough to relax?", he pulls back slightly to murmur, "we can make some cocoa too".

[basketobread]

She is beauty, she is grace, she is 🥺

SHE IS SILLY!!!!! but really, thank you anon <333 she is, once again, my pookie princess and i adore her <333

[rudnitskaia]

yay a week until my 29th bday ✨🔥😎🔥✨

[teddy-bear-d]

Some more of New Life Martyn living his best life in the snow! Vaguely based off hanfu as I really enjoyed the last time I studied the fashion.

[sysig]

Ooo requestober eh? Something I've been curious to see a bit more of maybe is Jake interracting with Scriabin. Edgar wondering about what the two of them talk about together alone got me curious too 👀

(Resending to the main for you :3)

Day 3 - Definitely not kissing! If that's what you think!

Meanwhile, Jake:

[meownotgood]

also... everyone... I know I promised to return to the prince aki fic post haste but I think I need to take a small break first... my brain needs resting... thank you very much for being patient with me 🤲💗

[fluffle-writes]

I wanna. Pick them up in my mouth and shake 'em around like a dog obliterating a squeaky toy

[youraveragecatastrophe]

[Image description : three drawings of characters from the 2019 show Carmen Sandiego, lined with black ink and colored with pencils. Carmen is wearing a striped shirt with the colors of the original Gilbert Baker flag, and she and Player are draped with a large transgender flag. They are looking at each other and smiling. Julia, her hands in her pants' pockets, wears a brown leather jacket and a horizontally-striped shirt the colors of the lesbian flag. She is looking at the viewer and smiling. Devineaux, his hands on his hips in a proud posture, wears a vintage-styled jacket in the colors of the transgender flag. /End description]

To cap off this pride month, a few of my queer headcanons for Carmen Sandiego (2019) characters!

I headcanon Player as a trans boy and Carmen as a trans woman! I also definitely think Carmen's sapphic but I don't have a more specific identity in mind for her.

Julia is a lesbian ofc. Her shirt is inspired by this retro lesbian shirt! If I had seen it before inking I would have made it an actual shirt with a collar and all but alas I saw it too late.

And I headcanon Devineaux as a trans man. His jacket was heavily based on this vintage jacket, obviously with the colors reworked. That's his new lucky coat probably.

(I have headcanons for other characters but since they're less fixed I won't talk about them here)

[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.

[falldogbombsthemoon]

I feel so powerfully having done my French homework for once.

[melverie]

Aaaaaaahhhhhhhh today I've been constantly experiencing the urge to un-private today-in-the-devildom & start writing for it again

[widevibratobitch]

omw to play emotional support for my mom disguised as ✨fun family bonding time✨ for the rest of the week <3333 there's something so deeply wrong with me uwu teehee

[heliosphere-underthesky]

Hi, everyone! I prepared a little something for later since it's Heliosphere's 1st webcomic anniversary! (26 April)

It's the first year from when Heliosphere officially became a webcomic series; and consequently when it started becoming a more serious project! And eventually became this blooming art project we see today.

Again, thanks everyone for the support! I just want you to know that I really appreciate it. Here's to more years to come!

(And keep an eye out for next month! It will be Heliosphere's 10th birthday. Birthday = when Heliosphere was first published to the public back in 2014! It was very different then, with no solid direction, unsystematic research, since it was just something I thought of on a whim. I never took it seriously til now.)

[luvbug724]

while i am here i stayed up til 8am rereading icebreaker by a. l. graziadei yesterday for the first time since it came out & ive been offline because theres no fandom for it but i cant stop thinking abt mickey so ive been devouring any mindless book i can get my hands on. if u want a cute little YA romance abt sports & mental health it is probably up ur alley :) you :) read it :)