#how did I lose track of it???

[evilwriter37]

*Goes to check on a post that I thought had 250 notes max*

The notes:

[lygma-nygma]

Being a batfam fan is funny because people will make a post like “here’s my headcanon-“ and it’s just something that’s directly canon to the story then post about major canon events and get everything wrong.

[heythereitsanj]

what if

[maraschinotopped]

undertale yellow. clutches head in anguish.

[priyemma]

Priya is so blinded by her focus on the game that she shows little to no empathy for Emma feeling betrayed (after being lied to!) because she thinks it’s for the good of the game. Literally forcing her to answer and not showing any guilt or remorse. This isn’t Priya hate btw it’s angst because ugh! I love her! And she was wrong!

[non-plutonian-druid]

[ID: a drawing in the Voltron Gravity Falls au, where Pidge and Matt take the place of Dipper and Mabel, drawn in approximately the style of Gravity Falls. The drawing is of Pidge and Matt in the backseat of a car. The seats are strewn with scribbled-on papers, their luggage, and fast food trash. Pidge is turned around in her seat and looking out the back of the car, while Matt has his foot on the headrest of the seat in front of him and playing a handheld video game. Sam's head is slightly visible in the corner of the foreground. End ID.]

an illustrated contribution to the gravity falls au: before the beginning, Pidge and Matt are on a trip to go stay with their "uncle" (a friend of their parents') Coran for the summer, because their parents are going alien hunting and also Pidge needs to leave the house more. With a setup like this, I'm sure Sam and Colleen are going to be the ones who encounter the most aliens!

[keiyaku-tako]

List of... Business Partners.

A list of people that Azul talks to - as well as their tag! Feel free to request to be added here ^^ Also, please let me know if you'd like to be removed from this.

Romantic Partners

@blanketorghost - Yuu (Yuu Fujisaki)

Yuu, please stop putting yourself in danger. I love you, but it's not safe. I do not want you to get hurt.

General - Canon

@floydleechrp - Floyd

@halfafishandawholehuman - Floyd

@rook-hunt-chasseur-damour - Rook-san

Rook-san is intriguing... I enjoy talking to him.

@idya-shroud - Idia-san

General - OCs/Anons/etc

@blanketorghost - Ghost-san

Please stop trying to blackmail and guilt-trip me. I will not have you spreading lies about me to Yuu.

@incorrectmementomoriquotes - clownfish-san; kantokusei-san clownfish (old)

Why do you always do the craziest - pardon, oddest things?

@blind0raven - Kibby-san

I would appreciate if you did not continue to steal items from Mostro Lounge. And do not go whining to Jade.

@blind0raven - Ravey-san

I enjoy talking to you. Please do not get a bad influence from Kibby-san.

@blind0raven - Yuuki-san

@quartzztwst - Quartz-san

Where do I even begin...

@ggrocks - Sunny-san (new), kantokusei-san 🌻 (old)

No, you are not getting out of working at Mostro Lounge.

Pomefiore Student (L/N) 🪺, Pomefiore Student-san 🪆

How do I get him to perform at... Pardon me, I was just talking to myself.

@gummysharksorbet - Yuuto-san (Yuuto Watson)

@thehollowwriter - Quinn-san

🐀-san

🦊-san

🪸-san

🐬-san

🌹🪴-san

jar-san

comb-san

[what-aboutno]

Can we talk about how terrible and confusing the outsiders smp timeline is? In canon 1 year and 1 day has passed by the time it ended. Meaning everything that happens in outsiders happened in that 1 year.

So does this mean it's a 1:1 situation where it lines up with irl time? No. And this is where it gets really confusing.

In canon the watchers mess with the outsiders but changing up the time whenever they want, Even then time isn't messed with until we get around the election time, where they start to notice there's people watching them. There's also no indication their days are shorter than 24 hours? Or at least it's never really mentioned? So it's not just time passes in Minecraft days.

The series seems to follows both Minecraft and irl time? We're told cGraecie was in the clearing for a few days before cOwen and cRasbi came up. By the first week or so to them it felt like multiple weeks. And when cMohwee disappears it's considered to be around 3 months. By the time the election comes cOwen says it's been a year. So what's happening here? How does their timeline match up to that one year?

I think obviously not everything will be a 1:1. They're not streaming every day and we just have to fill in the gaps but for their sense of time to be so messed up so early on makes everything so confusing. We can't simply say they only follow Minecraft days because a lot more days would have passed and we can't say they only follow irl time because some things just won't make sense. So now we're in this weird place where the timeline is everywhere but it has to fit in the 1 year and 1 day box.

If anyone can figure out how it all fits please let me know 🙏 I would love to see how this story fits because it's so confusing to me

[commsroom]

I'm really glad for all the love you've put into w359 fanworks. every time I see you post about it, my heart glows a little.

I'd originally felt that way while listening to the show, and your interpretation & vision feels so tightly knit to the source material. you even go farther in your explicit discussions about hera, her autonomy, her emotional depth, her treatment by other characters, and her arc as a trans allegory

totally understand why you might feel embarrassed, but I wanted you to know: thank you 💜

oh, that's so sweet of you to say!! i'm honored you think so.

i genuinely think there's a case to be made that eiffel/hera is as canon as the parameters for romance in wolf 359 allow it to be. like: gabriel urbina's policy was always "never confirm or deny 'on-screen' romance unless absolutely necessary" and from the AMAs we know they at least discussed it with regard to eiffel and hera, though we'll never know how that conversation went. it's not really a secret that sarah shachat and zach valenti, at least, viewed it that way. i still think about zach saying (paraphrased) that he thinks his non-answer is an answer, because if he didn't ship them, he could just say so.

and that's kind of how i feel about eiffel/hera within canon. like. anybody at all familiar with shows the wolf 359 writers like (especially things like btvs and farscape) can tell you there are plenty of scenes that mirror and meta-textually reference scenes from other shows. both gabriel urbina and sarah shachat were huge fans of the new doctor who, and whatever you believe the intent was, i find it hard to believe they didn't at least know they were evoking "if it's my last chance to say it, rose tyler, i-" with "and hera. hera, i-" it's what isn't said, the fact it has to be left unsaid, that speaks the loudest.

and anyway, talking about hera and romance / sexuality is especially interesting to me because it's not a given for her. it's not assumed to be something she should want or can have, and the way that intersects with her canon disability and with readings of her as a trans woman re: autonomy and desirability is very interesting (and very personal) to me, especially in the broader context of stories about AI women. but that's a topic for another post.

it's not a new observation by any means, but i think there can be a tendency to treat romance as separate from character analysis, and that's always sat poorly with me. romance isn't unique in either a good or a bad way, it's just... one type of relationship people can have. i think a lot about the unique approach wolf 359 has to romance because, while i understand why a lot of people would find the lack of romantic subplots refreshing, the characters aren't written to be intentionally disinterested in sex or romance (in some cases, textually... the opposite, even), so much as the writing carefully skirts around it. and... i don't know! there's something fascinating there.

obviously, i think you can recognize what's important about eiffel and hera's relationship (that it's the most equal one hera has ever had, that he has no real hierarchy over her or expectations for her other than companionship, how they share values and mutually support each other, etc.) without needing that to be romantic. and i think you can even acknowledge there's some degree of romantic intent without being invested like i am or "shipping" them. but i do think there's some intent there, and i think the the themes of the show can be expanded in some interesting ways to explore that beyond the intentional ambiguity of it. if you want to.

i would also never deny having an emotional bias here!! complete objectivity is never possible because we always bring parts of ourselves to our interpretations of art, and that's only amplified by how close to my heart wolf 359 is as a story. but i do really want to communicate, to the best of my ability, how much love i have for the show and how much thought i put into it. and i definitely don't mind being known for my love of eiffel/hera; they're my favorite characters from anything ever, both individually and together. but i do get kinda embarrassed when i talk about them too much, because it's not that i don't have plenty of thoughts about every other character and aspect of the show, it's just... that they are close to my heart in a particular way. anyway. i really appreciate it, thank you!!

[averlym]

whshdfhfjf.,,,

[delkios]

Still can't get over the fact that after a year (two?) with the Empire, Scorch makes commander while Boss led one of the top commando squads for three years with the Republic and never got promoted passed sergeant.

[calicotisane]

Chapter 2 Page 11

[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.

[s1uttykitty]

Realizing I need to call insurance about my t and my already off mood is now anxiety-ridden. Phone calls are not my forte.

[subbyp]

read in a fanfic somewhere that “Hizashi” means “sunshine” and like???? is that true?? because??????

[thetwilightroadtonightfall]

Overmorrow Character and Lore Files

—Part 5: Worldbuilding Part II: Cable Town / Scala ad Caelum & Master’s Defender—

So I straight up just forgot to post these here, my bad!

⚠️ Spoilers for chapter 9!

Here we go, the biggest chunk of worldbuilding and lore creation I did for the fic! Naturally, I had to imbue Cable Town with as much life as I could, since it’s essentially a new world (technically not my own original world, but I treated it a bit like that during the writing process, for the purpose of fleshing it out) , and you’re following Ephemer’s perspective in experiencing it all for the very first time.

And then I’ve also got a shorter document on Master’s Defender, elaborating more on what I believe its potential capabilities could be.

If you’ve already read these, thank you for indulging me!! I know the Cable document in particular is a bit lengthy, but I had fun going into detail about all the stuff I thought up. And in general, if you’ve read Overmorrow, thank you as well! I really appreciate it. Stay tuned for the last two chapters :)

[View the entire Dropbox folder here]