#i am so impressed!

[ghostmaggie]

coming to you live from the land of poor decision making (four a.m.) to say the final season of never have i ever absolutely RULES

[bosspigeon]

so bc i am a Gross Dude my friends i and sometimes rate our burps and my coworker (who is a teen girl) burped in front of me once and i instinctively rated it

so now every time she burps she looks to me hopefully for a rating and bc she has delicate little baby burps i now have to create an entirely new Burp Rating System unique to her bc i rate anything below a 5 and she looks at me like this

[dishsaop]

i like Raphael bg3 but unfortunately i dont think its for the same reasons anyone else does. he swoops in so fucking confident like "hello my baby mice (/derogatory) you wish you could kill me. you fucking wish. anyway sell me your soul or die in an unsexy tentacle explosion."

and then he sort of follows you around for like 3 acts. all quiet. spying on u. hoping youll call him. waiting by the phone. and then when you finally do run into him hes like "haha so, you miserable worms (/derogatory), have you considered i can save you and i have this really cool donkey kong hammer you want? sell me this insanely OP crown and ill give it to you. please. haha it isnt like i need you or anything, baka."

and then you break into raphaels house. hes cucked bc his girl Hope wont get with him, and she looks at you for 2 seconds and decides youre it instead. you run into his sidepiece, who is literally just a horny mirror of himself, and you can either kill or fuck the horny mirror of himself. the pathetic horny mirror of himself will absolutely tell you raphael is shit at sex. you lie to raphaels librarian, kill all his guys, rob his house, break out his girl, steal his head henchman to your side, and then fucking kill him. youre like, four sadboy adventurers with worms in your brains and you were level one like two weeks ago, and you straight up obliterate raphael and leave his house to his angry girlfriend in the will. you steal his fucking diaries. and you dont even die in an unsexy tentacle explosion.

raphael is trying so hard to be cool and hes absolutely not. he sings his little song and stalks around the shadows, but hes so uncool i think im a little obsessed actually.

[the-bi-space-ace]

Never forget that Echo is an ARC trooper. Never forget that Echo is a badass. Never forget that Echo is a capable and experienced soldier and strategist. Never forget that Echo is impressive as fuck and an incredibly skilled man who can hold his own and never backs down from a fight.

[valeovalairs]

My sister, who does not have a tumblr account and instead leeches off of mine, drew something on my iPad and wanted to share with the other good omens fans

She said if this hits a certain amount of notes they’ll make a tumblr account

Edit: it hit the certain amount, she’s @cultconstel

[thatsitso]

So I finished orv

[phillesterlover]

Please enjoy rare evidence of Phil losing the idgaf war

[alsfunkyalbum]

Got bored or som 🤷🏽 (Au belongs to @somerandomdudelmao)

[swift-kwikster]

Don't think I posted this here??

[poorly-drawn-mdzs]

Shout out to all artists who had to work without any strong direction or instruction.

I wish you a merry “the client likes it anyways”

[cashmere-caveman]

ned little voted most likey to get dealt a big losing hand 1845-48 (more terror text post memes)

[inkskinned]

you wanted to be a good friend, because you loved your friends, but the truth was that everyone else somehow had a pamphlet on being normal that you never received. most of the time you learn by trial-and-error. you are terrified of the next big mistake you make, because it seems like the rules are completely arbitrary.

you've learned to keep the prickly parts of your personality in a stormcloud under your bed - as if they're a second version of you; one that will make your friends hate you. it feels feral, burning, ugly.

instead, you have assembled habits based on the statistical likelihood of pleasing others. you're a good listener, which is to say - if you do speak up, you might end up saying the wrong thing and scaring off someone, but people tend to like someone-who-listens. or you've got no true desires or goals, because people like it when you're passive, mutable. you're "not easy to fluster" which is to say - your emotions are fundamentally uninteresting to others around you; so you've learned to control them to a degree that you can no longer really feel them happening.

you have long suspected something is wrong with you, but most of the time, googling doesn't help. you are so-used to helping-yourself, alone and with no handbook. the reek of your real self feels more like a horrible joke - you wake up, and, despite all your preparations, suddenly the whole house is full of smoke. the real you is someone waiting to ruin your other-life, the one where you're normal and happy. the real-self is unpredictable, angry.

your real self snarls when people infantilize the whole situation. because if you were really suffering, everyone seems to think you'd be completely unable to cope. but you already learned the rules, so you do know how to cope, and you have fucking been coping. it's not black-and-white. it's not that you are healed during the other times - it's just that you're able to fucking try. and honestly, whenever you show symptoms, it's a really fucking bad sign.

because the symptoms you have are ugly and unmanageable for others. your symptoms aren't waifish white girl things. they're annoying and complicated. they will be the subject of so many pretentious instagram reels. if they cared about you, they'd just show up on time. you care, a lot, so deeply it burns you. you like to picture a world where the comments read if they loved you, they'd never need glasses to see. but since that's a rule you've seen repeated - "one must never be late or you are a bad friend" - you constantly worry about being late and leave agonizingly early. there are no words for how you feel when you're still late; no matter how hard you were trying.

so you have to make up for it. you have to make up for that little horrible real you that you keep locked in a cabinet. you are bad at answering emails so every project you make has to be perfect. you are weird and sensitive so you have to learn to be funny and interesting. you are an inconvenience to others, so you become as smooth as possible, buffing out all the rough parts.

all this. all this. so people can pass their hands over you and just tell you just the once -how good you are. you're a good friend. you're loveable.

[harrylovesspaezle]

put some respect on taika's name.

there aren't many acting performances that have actually made me scared but taika in that storm sequence? the murder suicide scene? confronting frenchie? gravy basket? i was nervous!! this is genuinely one of his best performances to! date! i have seen him act in many things and i am not messing around when i say that this man a fantastic fucking actor.

taika can do scary talented things and i am so fucking tired of it being overlooked. give that man some respect, without him that show is nothing and you all know that

[incomingalbatross]

Genuinely though the Final Problem is really well-done.

It's a death story in which Doyle's whole goal was to kill Holmes off, but he still did it with care and respect and attention to what the characters deserved. He didn't drop a bridge on him or get him shot by a random criminal just so he could go "HE'S DEAD, NOW GO AWAY." He actually successfully created a nemesis for Holmes within the scope of one short story—someone we can believe is a big enough threat that it justifies Holmes dying to stop him. Without ever even letting us meet the guy face-to-face! That's insane. But it works. Moriarty has an established place in pop culture as Holmes's nemesis because Doyle made us believe it, just within FINA. He made Holmes's death an accomplishment for Holmes, a crowning glory.

And he didn't phone in the rest of the story, either. It's filled with Holmes and Watson being themselves. We have Holmes telling the ins and outs of his fight with Moriarty, intelligent and self-possessed and full of a zest for life even as he repeats that he'd willingly give it up to take this guy down; we have Watson's loyalty and stubbornness that keeps him close to Holmes and the need to help others that ultimately lures him away. We get an incredibly dramatic site for Holmes's death that Watson spends entire paragraphs describing.

We also get Watson's grief in the narration, which—again—is not colored by the author's own decisions regarding Holmes. Doyle might be tired of him, but he knows Watson isn't! And so Watson's narration is wholly and sincerely a tribute to Holmes, and mourning for his death, because that is both what the fans want to hear and what Watson would want to write. It's just...honestly, this whole story is such a good example of how to kill off a beloved character, if you're really set on doing it.

[knifefightandchill]

RESIDENT EVIL 4 (2023)

"I was awoken in the middle of the night once again. It's those awful noises coming from the basement: the sounds of nails clawing at stone walls and the writhing moan of curses."

[lurkingteapot]

Every now and then I think about how subtitles (or dubs), and thus translation choices, shape our perception of the media we consume. It's so interesting. I'd wager anyone who speaks two (or more) languages knows the feeling of "yeah, that's what it literally translates to, but that's not what it means" or has answered a question like "how do you say _____ in (language)?" with "you don't, it's just … not a thing, we don't say that."

I've had my fair share of "[SHIP] are [married/soulmates/fated/FANCY TERM], it's text!" "[CHARACTER A] calls [CHARACTER B] [ENDEARMENT/NICKNAME], it's text!" and every time. Every time I'm just like. Do they though. Is it though. And a lot of the time, this means seeking out alternative translations, or translation meta from fluent or native speakers, or sometimes from language learners of the language the piece of media is originally in.

Why does it matter? Maybe it doesn't. To lots of people, it doesn't. People have different interests and priorities in fiction and the way they interact with it. It's great. It matters to me because back in the early 2000s, I had dial-up internet. Video or audio media that wasn't available through my local library very much wasn't available, but fanfiction was. So I started to read English language Gundam Wing fanfic before I ever had a chance to watch the show. When I did get around to watching Gundam Wing, it was the original Japanese dub. Some of the characters were almost unrecognisable to me, and first I doubted my Japanese language ability, then, after checking some bits with friends, I wondered why even my favourite writers, writers I knew to be consistent in other things, had made these characters seem so different … until I had the chance to watch the US-English dub a few years later. Going by that adaptation, the characterisation from all those stories suddenly made a lot more sense. And the thing is, that interpretation is also valid! They just took it a direction that was a larger leap for me to make.

Loose adaptations and very free translations have become less frequent since, or maybe my taste just hasn't led me their way, but the issue at the core is still a thing: Supernatural fandom got different nuances of endings for their show depending on the language they watched it in. CQL and MDZS fandom and the never-ending discussions about 知己 vs soulmate vs Other Options. A subset of VLD fans looking at a specific clip in all the different languages to see what was being said/implied in which dub, and how different translators interpreted the same English original line. The list is pretty much endless.

And that's … idk if it's fine, but it's what happens! A lot of the time, concepts -- expressed in language -- don't translate 1:1. The larger the cultural gap, the larger the gaps between the way concepts are expressed or understood also tend to be. Other times, there is a literal translation that works but isn't very idiomatic because there's a register mismatch or worse. And that's even before cultural assumptions come in. It's normal to have those. It's also important to remember that things like "thanks I hate it" as a sentiment of praise/affection, while the words translate literally quite easily, emphatically isn't easy to translate in the sense anglophone internet users the phrase.

Every translation is, at some level, a transformative work. Sometimes expressions or concepts or even single words simply don't have an exact equivalent in the target language and need to be interpreted at the translator's discretion, especially when going from a high-context/listener-responsible source language to a low-context/speaker-responsible target language (where high-context/listener responsible roughly means a large amount of contextual information can be omitted by the speaker because it's the listener's responsibility to infer it and ask for clarification if needed, and low-context/speaker-responsible roughly means a lot of information needs to be codified in speech, i.e. the speaker is responsible for providing sufficiently explicit context and will be blamed if it's lacking).

Is this a mouse or a rat? Guess based on context clues! High-context languages can and frequently do omit entire parts of speech that lower-context/speaker-responsible languages like English regard as essential, such as the grammatical subject of a sentence: the equivalent of "Go?" - "Go." does largely the same amount of heavy lifting as "is he/she/it/are you/they/we going?" - "yes, I am/he/she/it is/we/you/they are" in several listener-responsible languages, but tends to seem clumsy or incomplete in more speaker-responsible ones. This does NOT mean the listener-responsible language is clumsy. It's arguably more efficient! And reversely, saying "Are you going?" - "I am (going)" might seem unnecessarily convoluted and clumsy in a listener-responsible language. All depending on context.

This gets tricky both when the ambiguity of the missing subject of the sentence is clearly important (is speaker A asking "are you going" or "is she going"? wait until next chapter and find out!) AND when it's important that the translator assign an explicit subject in order for the sentence to make sense in the target language. For our example, depending on context, something like "are we all going?" - "yes" or "they going, too?" might work. Context!

As a consequence of this, sometimes, translation adds things – we gain things in translation, so to speak. Sometimes, it's because the target language needs the extra information (like the subject in the examples above), sometimes it's because the target language actually differentiates between mouse and rat even though the source language doesn't. However, because in most cases translators don't have access to the original authors, or even the original authors' agencies to ask for clarification (and in most cases wouldn't get paid for the time to put in this extra work even if they did), this kind of addition is almost always an interpretation. Sometimes made with a lot of certainty, sometimes it's more of a "fuck it, I've got to put something and hope it doesn't get proven wrong next episode/chapter/ten seasons down" (especially fun when you're working on a series that's in progress).

For the vast majority of cases, several translations are valid. Some may be more far-fetched than others, and there'll always be subjectivity to whether something was translated effectively, what "effectively" even means …

ANYWAY. I think my point is … how interesting, how cool is it that engaging with media in multiple languages will always yield multiple, often equally valid but just sliiiiightly different versions of that piece of media? And that I'd love more conversations about how, the second we (as folks who don't speak the material's original language) start picking the subtitle or dub wording apart for meta, we're basically working from a secondary source, and if we're doing due diligence, to which extent do we need to check there's nothing substantial being (literally) lost -- or added! -- in translation?