#or at least play with them somehow

[victorluvsalice]

-->And sent them off to San Myshuno and their grocery store! I had Alice open the place up in the hopes that it would allow her to greet customers (she is bizarrely buggy in that regard), then had everyone change into their hot weather wear since it was pretty warm in the city (well, technically Smiler was ALREADY in hot weather wear, but I decided I wanted them to wear a different set – went with the silly backwards cap and sunglasses XD). There was a brief moment of flirtation on the sidewalk outside their store (Victor and Smiler sharing a kiss, and Victor and Alice holding hands while Smiler looked on with a grin – think I've found another "compersion"-related Valicertine picture there) –

-->And then – RETAIL TIME! Starting with the first customer of the day, (pre-refresh) Bella Goth! I was pleased to see that Alice WAS able to greet customers this time around and had her go say hi to Bella – a process that took some doing as Bella kept wandering around the store before Alice could reach her, but she got there in the end. Meanwhile, a super-confident Smiler went straight up to visiting Sulanian Ukupanipo (I THINK he’s a mermaid, but wouldn’t swear to it), greeted him, and immediately closed the deal, getting the guy to buy a bag of deodorant gummies for $179. XD Smiler and Victor then proceeded to chat with other customers while Alice kept working on Bella – she eventually closed the deal on her too, though it didn’t result in quite as spectacular a sale – Bella, as it turned out, only wanted a mere jar of meat substitute for $24. Aurelio Robles buying a bottle of milk from the fridges unprompted netted them more profit, as that cost him $25. XD Still, a sale’s a sale! While all this was happening, though, I noticed some displays were looking a bit manky, and prepared to have Victor magically clean them –

-->And then went “WAIT. YOU HAVE BEEN MEANING TO DO THIS FOR AGES, INCLUDING RIGHT BEFORE THEY LEFT FOR THE STORE TODAY. BIND HIS DRAGON FAMILIAR TO HIM FIRST.”

So I did. XD And thus Victor ended up with a very cute dark purple dragon buddy named Darkwing (the pre-generated name, I quite liked it and thus stuck with it) flying behind him for the rest of the day as he did his thing. :) I will always be a bit salty that you can’t do more with familiars than just watch them hang around your Sim (and bring said Sim back to life if they overload and die), but they do LOOK absolutely adorable, and I’m glad Victor was able to get the dragon one I so wanted him to get. :) Now if only he could cuddle the little guy...ah well.

[quirinah]

ummmmmmm guys this dungeons looking a little dark here..........................ummmm..... hello??? guys??

[moeblob]

I love Chris so much you guys.

[qqueenofhades]

Okay, sort of on that note: I know we are all thoroughly enjoying the Bird App's destruction and drama and firing shots in the air to keep our property values low and complaining about Twitter users moving here and all the rest. But I'm gonna be real with you for a second and offer a Hot Take that might well get my Tumblr elder credentials revoked:

As long as they are willing to play ball with us and understand the rules of the road and etc (and lbr, we have plenty of absolutely idiotic Disk Horse of our own, that will never go away), we should a) actually be glad that they're coming here and b) recognize the far more sinister aspect of Twitter's slow motion Jenga collapse. Because it's all fun and games until the massive human rights violations and democracy destruction starts (or rather, continues). Why is that? Well:

As noted a few weeks ago when this insanity started, the second-biggest investor in the Twitter takeover, apart from Musk himself, was the Saudi government. Now, I have a friend whose PhD dissertation in sociology I have been copy-editing/proofreading for the last few years (he is originally from Saudi Arabia but doing his PhD in the UK). A huge part of his research is about how ordinary Saudis use Twitter HEAVILY, and as a replacement for the freedom of speech they aren't allowed in any other formal aspect of their country, despite many cosmetic reforms and plans for greater international investment and openness. The Saudi government, while tolerating this newfound criticism on the surface, has also routinely jailed these citizens for one critical tweet about them, including those made while the person in question was not in the country. In other words, they're not nearly as happy about this as they like to pretend, even if they're putting a good face on it, and especially during the Arab Spring and other attempted uprisings/calls for reform in the region, Twitter was a hugely effective way to circumvent government narratives and get out community information. After all, it is the biggest communication platform in the world, and anyone can instantly use it.

So, enter Musk: a petty alt-right billionaire who pals with dictators and can do anything he wants by burning ungodly amounts of money. He partners with the Saudis. Two weeks later, Twitter is going down in flames, its entire top legal team has quit, Musk is braying about bankruptcy, advertisers have fled, it's 50-50 whether it survives the year. And yes, this could be because Musk is a sociopathic idiot, since he is. But if you consider that this one evil prick can literally destroy half of the world's only medium of quasi-free speech and community organising just by throwing $44 billion at it... well... that's a lot more sinister than just him wanting to make "free speech" for all the absolute dregs of the Internet who adore him. In other words, it starts to look awfully deliberate, and Musk is anything but a fan of democracy, community organising, and all the rest.

Anyway: Tumblr doesn't function the same as Twitter, we don't want it to, and we are able to laugh at its burning corpse because many of us don't rely on it as our one and only place of meaningful speech and ability to criticize the government. But if Twitter DOES go down in flames, it will be a huge and irreparable loss in a real sense, and in that case, if you see a Twitter user poking their head in here, give them some rules of the road, advise them to change their icon, and otherwise let 'em stay.

[mitsundere]

(can you guys pretend this is a 3k word essay on the similarities between kujou sara and gepard landau thanks)

sara's character story (left) and landau's choice lightcone (right)

other than the obvious general / captain parallel, their childhoods are kind of similar, with a shitty strict father and all... not being allowed to have some fun or anything :(

excerpt from sara's story again

another similarity is being raised as a weapon (in gepard's case— no pun intended— a shield) or figure in their respective families...

(...you're free to add more to this, just dumping my thoughts here from last year)

[i-may-be-an-emu]

“in other news… cliff’s wife’s dead”

[sonknuxadow]

theres multiple reasons i dont like s/urgeamy but one of the things ive seen people do with it that annoys me a bit is the idea that surge and kit are going to become good because surge is gonna fall in love with amy and thats gonna be her only motivation to change.. and im sorry but am i the only one who thinks it would suck so bad for such fun antagonists to instantly switch sides just because one of them was "fixed" by romance and no other reason

[unma]

Cats

What's not to love about these lovely creatures? Honestly, growing up I was always a dog person (even despite the fact that I was attacked by one when I was young). But then I realized I wouldn't be able to take care of a dog for, well, a buncha reasons, thought about how it would be to have a cat, and thought, yeah, it would be nice to have one. For so many reasons. The eternally lethargic me could never take care of a dog properly. A cat, though? I probably could.

[incorrect-ikevamp-quotes]

Napoleon: What did you two do?

Jeanne:

Mozart:

Napoleon: You’re not in trouble, I just need to know if I have to lie to the police again or not.

[sunnibits]

is anyone else like a huge fan of various medias, huge fan of characters, loves exploring plots and themes and character development, genuinely very enthusiastic about storytelling in general… but like, somehow physically incapable of making plot lines you care about with your own original characters. or like straight up being unable to create ocs you’re actually invested in???

like, you know what you like, you enjoy so many stories, you spend so much time digging into and delighting in the themes and tropes you like, and yet every time you try to make an original concept yourself it’s just impossible to make something compelling to you???? which makes no damn sense bc it’s literally coming from your own head so wouldn’t it be as self indulgent and perfect for you as possible??????

or is this just a unique me problem bc I swear to god it’s driving me insane

[landgraabbed]

sometimes you gotta take in the lil details

[sleepinglionhearts]

You bring me so much joy

And then you bring me more joy

You bring me so much joy

And then you bring me more joy

[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.

[tippenfunkaport]

I'm just... really hung up on that person coming onto my blog and somehow getting the impression that I was anti glimbow or SPOP critical. Like could they have possibly read the room worse?

[finalgirlsamwinchester]

Rebecca A. Brown. 'Of Radioactive Sprites and Diminutive Tyrants: Hammer’s Monstrous Children' + Dustin Freeley, 'The Monstrous Child Replacement and Repetition in The Shining' from Monstrous Children and Childish Monsters

[claudiaeparvier]

not entirely sure how it works but I’ll go ahead and headcanon that Frey and Susurrus are intertwined at the soul now. So what happens to Frey happens to him. So if she dies he goes with her.