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thexfridax · 3 years

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Recap/thoughts on L’Étang

Performed on 6th of June 2021, Holland Festival, Internationaal Theater Amsterdam / Rabozaal

I recently had the chance to attend Der Teich / The Pond / L’Étang written by Robert Walser and adapted by Gisèle Vienne at the Holland Festival 2021 in Amsterdam. The main reason I went was to experience the absolute force that is Adèle Haenel, but I was also intrigued about how she would interact with Ruth Vega Fernandez on stage (who I only knew from the Swedish film Kiss me / Kyss mig).

After a number of performances were postponed and subsequently cancelled in France, I wasn’t quite sure whether this one would actually go ahead. Luckily, the Covid-19 situation had improved sufficiently for a live audience to attend, albeit with a limited number of people.

Switzerland had hosted the world premiere of the play in early May, so a couple of reviews were already out (check out #L’Etang on @mlleclaudine’s blog, she has translated some of these reviews). I wasn’t entirely sure what to expect though other than French avant-garde theatre (= confusion 😊).

** SPOILERS **

The stage was dark, when the audience entered. You could spot some creepy shapes, some were clearly mannequins, but I somehow thought the actresses were already on stage, too. Watching us. (They weren’t.)

When the lights went on, a guy appeared and gently carried the mannequins off stage.

EXTREMELY loud electronic music followed, and in robo-walked Adèle as Fritz, and behind her Ruth as the mother (nameless, only her last name -Mrs Marti- is mentioned in the OG play).

They continued to robo-walk across the stage (somewhat synchronised), until everyone found their spot, very much apart from each other. You could clearly hear their breathing throughout this movement (also in the latter stages of the play).

Not much else was on stage but a bed with random clothes draped over it, and some other bits and bobs (for Fritz). There was also a wig and an ashtray (for the mother, alluding to her femme fatale status).

Adèle started to speak (in French), setting the scene for a boy who is somewhat disregarded by his mother, but longing for her…

FRITZ

Ich möchte fast lieber nirgends mehr sein, als so da sein. Nichts als böse Gesichter. Ist das ein Essen bei Tisch. […] Man darf den Mund nicht aufmachen, ohne fürchten zu müssen, den Anstand zu verletzen. Was nützt so ein Anstand? Der Paul, der darf wohl reden, der darf sich alles erlauben. An dem ist alles schön, artig, recht, nett. […] Ich muss ja glauben, nur er sei der Sohn seiner Mutter, und die Mutter habe keinen zweiten Sohn neben ihm. Nichts kann ich recht machen, ich mag mich anstellen, wie ich will. […] Wenn nur wer wüsste, wie es in mir drin aussieht. Wenn die Mutter mir nur einmal ins Herz schauen könnte. Vielleicht wäre sie erstaunt, vielleicht würde sie dann sehen, dass ich sie auch noch ein wenig gern hab. […] (Extract from Der Teich, Insel Bücherei Edition)

I’d rather not exist anymore than be like this. Only evil faces. What a meal. […] One isn’t allowed to open one’s mouth without being afraid of violating propriety. What’s the point of this kind of propriety? Paul, he is allowed to talk, he can do anything. Everything about him is lovely, good, proper, nice. […] I’m starting to believe that he is his mother’s only son, and the mother doesn’t have another one aside from him. I can’t do anything right, doesn’t matter whatever I do. […] If only anyone knew, how it looks inside of me. If the mother only looked into my heart. Maybe she would be surprised, maybe she would see that I still like her a bit. (My translation)

J’aimerais encore mieux être nulle part, plutôt qu’ici. … On n’a pas le droit d’ouvrir la bouche, de peur de blesser les convenances. À quoi ça sert, ces convenances ? Paul, lui, il a le droit de parler. Lui, il peut tout se permettre. En lui tout est beau, bien, correct, gentil. […] Je vais finir par croire qu’il est le seul fils de sa mère, et que la mère, elle n’a pas eu de deuxième fils en plus de lui. Rien de ce que je fais n’est bien, quoi que je fasse. […] Si seulement quelqu’un savait comment je suis à l’intérieur. Si ma mère pouvait regarder une seule fois dans mon coeur. Peut-être qu’elle serait étonnée, peut-être qu’elle verrait alors que moi aussi j’ai encore un peu d’amour pour elle. […] (Translated by Lucie Taïeb, in: Pièce (dé)montée : L'Etang, Gwenaëlle Hebert)

While Adèle talked, voicing multiple characters with ease (i.e. Fritz and his sister Klara), Ruth slowly walked around, and at one point intervenes in the quarrel between the siblings. She was a threatening presence, and spiteful to both of her children in the first act. Throughout the play you could see how scared Fritz was of his mother (the look of dread on Adèle’s face was shocking).

A dream like scene came next, where it wasn’t entirely clear (to me) what was happening. Fritz seemed to be dreaming of his family, being conflicted, laughing, angry, moaning … a disturbingly visceral and messy scene, where the characters all merge.

(NB: I may not remember the exact sequence of scenes or who played whom, as I was slightly stunned by this point..)

Meanwhile, Ruth transformed into the ‘good and kind’ mother of one of Fritz’s sickly friends, which made it even clearer how much Fritz suffers from the neglect of his own mother, and how isolated he is.

Maybe also by choice:

FRITZ

[…] Ich bin gern allein. Da kommen einem die Gedanken. Da stört einen niemand. – Mir ist immer, als hätte ich irgendwo etwas vergessen. Ich weiß, es ist nichts, und doch plagt es mich. Was kann es nur sein? Nichts? Da hab ich gut reden! Es ist was, aber das Dumme ist, ich hab es eben vergessen. Ich will dem Sächelchen nachgehn. Ich will zu meinem Platz im Wald gehn, vielleicht fliegt es mir dort wie ein Schmetterling zu. Warum muss man eigentlich denken? Man muss, es zwingt einen. Das ist so dumm, dass man was muss. Man sollte nichts müssen! Aber da hab ich wieder gut reden. Komm, Fritz, wir beide gehen. Ich bin doch nicht ganz allein. Der Fritz ist Fritzens Kamerad. Ich bin mir selbst mein bester Freund. – Was ich auch alles wissen muss. Eigentlich ist es zum Lachen. Aber im Wald will ich darüber nachdenken, was ich tun könnte, dass ich der Mutter – – – (as above)

[…] I like to be on my own. You can think. Nobody disturbs you. – It always seems to me, as if I had forgotten something. I know, it’s nothing, but it still haunts me. What can it be? Nothing? It’s all very well of me to say that. There is something, but the silly thing is that I forgot about it. I will look into the matter. I will go to my spot in the woods, maybe it will come to me like a butterfly. Why is it that one actually has to think? One must, one is forced to do so. It’s so silly that one has to. One shouldn’t have to do anything! But again, look who’s talking. Come on, Fritz, let’s go. I’m not quite alone. Fritz is Fritz’s companion. I am my own best friend. – Why must I know everything. It’s actually funny. But I will think about it in the woods, as to what I’m going to do, so that mother – – – (as above)

[…] J’aime bien être seul. Quand on est seul, c’est là que les pensées viennent. Personne ne vous dérange. J’ai toujours l’impression d’avoir oublié quelque chose quelque part. Je sais que ce n’est rien, pourtant ça me tourmente. Qu’est-ce que ça pourrait être ? Rien ? Facile à dire ! Non, il y a bien quelque chose, mais, bêtement, j’ai justement oublié quoi. Je vais suivre cette piste. Je vais aller dans la forêt, dans mon coin à moi, et peut-être que, là-bas, ça me reviendra ! Mais pourquoi il faut toujours penser ? On est obligé, c’est plus fort que nous. C’est tellement bête, d’être obligé. On ne devrait être obligé à rien. Facile à dire. Allez, on y va. Je ne suis pas complètement seul, après tout. Je suis mon propre meilleur ami. Et toutes ces questions que je pose. En fait ça me donne envie de rire. Mais dans la forêt, on va réfléchir à ce que je pourrais faire pour que ma mère... (as above)

And the plot thickens afterwards, his siblings become convinced that Fritz is going to drown himself in the titular pond (he hinted at it in a grand speech, according to his brother). The brother then chases after Fritz, urged by his sister to do the right thing.

Adèle is fully immersed in this scene, first voicing the siblings, then transforming back into Fritz, who is somewhat exhilarated by his own prank (she intones a sound or two, which makes me think that those singing lessons were quite successful). All to figure out if his mother cares for him or not.

It kinda worked. When Fritz returns home, he finds his distraught sister and parents. The mother sees her son for the first time as a real person (the father is angry). She calls him a man, and they temporarily connect as equals (the mother-child dynamic being interrupted). She wants this understanding to be kept as secret from the other siblings, to which Fritz agrees.

The siblings re-enact the fake drowning scene, Fritz is represented by a knife, Paul by a fork, and Klara by a little spoon. The story ends without the parents being included. (In the OG play, the mother observes this scene, and is quite moved that Fritz has kept his word of not sharing their secret. This is also part of the final act of the OG play.)

In another disturbing and weird scene, Fritz is (invisibly) choked by someone, Adèle pants and spits, but it’s not clear who the perp is (I thought, the father, but who knows). The mother(?) is standing by when this happens, and then leaves, repulsed.

At the end you can see Fritz observing his mother approaching his empty bed, picking up a pillow and holding it. Not a real closure for their characters, but it was a tender moment in a very compact and rather violent play.

Adèle seemed to have voiced the majority of the characters (children and adults), changing her voice accordingly to make them sound different in the same scene. She was often seen on the floor, stretched out, being in agony or another state of mind (or spitting). It was an intense and unsettling performance, but not to the extent that I wanted to leave the theatre 😊

Ruth did voice fewer characters (mainly the adults, maybe also one of the children). She cried heavily in one scene (sublime acting!), and by the end of the play her character seemed to have lost all of her harshness. We mostly got to know her through Fritz’s descriptions (or their interactions), she had maybe one monologue of her own (at least in the OG play). But she was omnipresent in Fritz’s mind and also during the play (she only left the stage once before the end), transforming from the devouring to the caring(?) mother. A more restrained, but still very effective performance.

I think, the (spare) use of electronic music and different lighting was in line with Fritz’s turmoil, and it wasn’t distracting from the acting. I was glad that there were subtitles, perfect for non-French speakers – though it didn’t give you a clue which character was speaking. You had to quickly switch from looking at the subs to Adèle or Ruth to figure it out.

All in all, it was great to be back in a theatre, to watch these two (plus Gisèle etc.) finally bring this obscure family drama to life with a vengeance.

I hope to watch the play again in Hamburg (Internationales Sommerfestival 2021, ticket information to be released in mid-June), as there were a lot more things I couldn’t unpack while watching, or even now 😉

Cover picture by @estellehanania Other pictures/video by @thexfridax

#L'Étang #Gisèle Vienne #Adèle Haenel #Ruth Vega Fernandez #Amsterdam #Holland Festival #Recap #I mean #This was not a pretty play #But well choreographed #NGL #I enjoyed seeing Adèle live with my own two eyes #My disjointed thoughts #And I had trouble with the tenses #Haha

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margridarnauds · 3 years

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🔥 toho MA (both versions). and if you could disclose why exactly everyone likes it so much, i only watched A version once so i don't have much to compare

Potentially controversial opinion is that I do, actually, think that Natsumi Kon was a good Margrid - She put a lot of thought into the role, even if the conclusion she reached wasn’t the same as Sonim’s, that thought really comes out in her acting, and her Margrid is very distinct as a result. I do like her partially because, of the two, she confirms my ship of choice, but I also genuinely like her take as well, even though I think, of the two of them, Sonim probably ended up most defining Margrid as a character.

As to why everyone likes it...

Hm, it depends, I think. For a lot of us, keep in mind that we were there for the German production, so we came in rather scarred to the Toho and had very low expectations. Then we saw it and were amazed because the difference was TREMENDOUS. It was a totally new musical.

- Well-developed female characters. Both Antoinette and Margrid carry the musical and, while both of them have elements of stereotypical female characters in Japanese theatre (Marie wanting to be a good mother, wise wife; Margrid heavily being implied to want a life where she’s loved + has a family), they’re ultimately well-developed enough, on their own, that that isn’t really....a massive Thing™? Both of them are flawed, both of them are given high points and low points, both of them make mistakes out of blind prejudice, and the entire musical is really them coming to that understanding with one another. Fersen is, in theory, the male lead, but, by the end of the musical, most people aren’t REALLY talking about him, because....with the exception of Furukawa Yuta’s Fersen.....Fersen doesn’t really DO that much compared to the women. He gets a bit of stage time, but it’s usually there with Marie’s. In Margrid’s case...I can’t really think of that many female characters LIKE her, especially ones who are allowed to survive the musical. She doesn’t have a canonical love interest, she’s not ladylike, she’s bitter, she’s grimy, she’s uncouth, she’s impulsive, she routinely says things like “KILL THE CUNT” to the Queen of France, but she’s also vulnerable, brave, smart, and pragmatic. She’s allowed to do very fucked up things and then pay the price for them. While musical theatre definitely has come a long way when it comes to female characters being PEOPLE, it’s still relatively rare....to see a female character be a PERSON. Not necessarily a good or likable person, but a person.

~ A well-developed villain. It really, really shouldn’t be a surprise that I like the Duc d’Orléans at this point, given that I have, as of the writing of this post, over 21,000 words published dedicated purely to him and Margrid banging in every conceivable surface in Paris and then getting emotional about it. And Mitsuo Yoshihara’s Orléans, in particular, has a phenomenal stage presence. The man isn’t conventionally attractive (sorry, Yoshi), but he OWNS the stage for every second that he’s on it. You can really tell that he put a lot of effort into his Orléans, creating a character who isn’t conflicted, who isn’t tormented, but who also isn’t the embodiment of pure evil, either - He’s doing what he’s doing because he believes, earnestly, that it’s for the good of France, even if that takes him to the point of doing terrible, terrible things.

~ Fersen. Furukawa Yuta did something that I’ve never seen anyone do with Fersen before or since - Made him into a real character, not just a romantic hero. Historically, Fersen was said to be quite aloof and icy, a bit of an asshole (I’ve read some of the man’s reports, there’s a reason I have a folder on my computer called “Fersen being an asshole”, which is dedicated to when, for example, he’d suggest burning Paris to the ground) which is something that a lot of adaptations totally miss. With Furukawa...I can tell that he really looked into Fersen’s life, he really did his research into who he was, and the result, like with Orléans, is a character that’s much more grounded in reality, creating a much more plausible relationship with Marie.

~ Interesting character dynamics - All that acting means that there are two levels to the musical - The first is the official canon, the second is the subtext that the actors create together, which can have a hundred different layers to it at a given time. A personal favorite is, predictably, Yoshihara, because even though he wasn’t double-cast in the role of Orléans, he actually switched up his take depending on who he was acting against - He reacts differently to both Margrids. With Sonim, he has a more professional relationship, occasionally teasing and goading her, while she tends to be more openly scornful of him, even though she does clearly respect him (and is devastated by the ending). With Natsumi, he’s very friendly, often touching her, with her reciprocating (and acting jealous when, for example, he shows attention to another female character, like La Motte.) With Furukawa’s Fersen, he’s enjoying the cat and mouse game the two of them are playing, while he has no such respect for Mario Tashiro’s Fersen. On and on - It really shows why I bother to buy both casts, because just one actor can totally change the dynamic.

~ Impressive stage design - Toho borrowed a lot from the 2014 Korean, especially when it comes to its impressive usage of projections on the stage, but it also innovates with, for example, using a turning stage at key points, leading to some very smooth scene changes.

~ Attention to detail - You can really tell that the people behind it put a lot of effort into getting the details right - Yes, some of the detailing on the costumes, for example, are wrong, and they had to condense a LOT of the Revolution into the breakneck pace of the second act, but you can see that, for example, they actually took the time to recreate Marie Antoinette’s historical bedroom. The costumes are stylized, but not as much as, say, in 1789 or even in the Korean MA, often borrowing quite a bit from the 1938 film with Norma Scherer, giving it a feeling of realism and being grounded in its own time.

~ The music. It WAS written by Kunze and Levay of “Elisabeth” fame. Do I think the score is AS iconic? No, but a number of songs in it certainly give it a run for its money. Weil ich Besser Bin, Gefühl und Verstand, Frauen von Paris, the Reign of Terror, Blind vom Licht, etc.

~ In general, by cutting out a lot of the superfluous characters in the German/2007 Toho productions, you just get this very human story, not making a grand point about Good and Evil, but about people making mistakes and then realizing it, with the final question of “What IS justice?” being something that’s left to the audience.

#Anonymous

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thegame-r-boy · 5 years

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Virtual Arena 2.0 (Gaming Event/Spieleereignis) in Idrija!

Guess what, we inhabitants of the famous mercury, zhlikrofi and gerush town in nort-western Slovenia have also our own annual “virtual arena” gaming event!

It is held in the Film Theater of my hometown every autumn, for a fortnight (expect for October, when it will be on every week, except for the 19th of October - I’ll be at MokuMatsuri in Maribor and I’ll hold a local tournament in Mario Kart 8 for WiiU!) on Saturday at 17.00. Though my hometown isn’t really a “gamer’s paradise” town, it’s still quite decent with those eagerly young not-in-the-game-Fortnite-or-Minecraft players.

This years Virtual Arena (VA) was give a code of 2.0, because it’s the second VA in a row. My Switch is the main star of the show - the console is connected via HDMI cable to the movie projector! We also have some company from the president of Pretep (meaning literally “Fight” in Slovene!).si, who willingly gave us some cool stuff: a lag-less screen, some HDMI splitters and a 15 meters long HDMI cable! Cool! He also suggested us to use TournamentEdition.com, where you can see who is winning on all of our tournaments. This years games are ALL FIGHTING GAMES! UwU

The first tournament was really scarce. Only one player came around. But we still managed to make the tournament happen! Though I didn’t want to lose in this game (which is BlazBlue: Central Fiction) or wound my masculanity, that kid gave me still a lot of trouble! Still, he won the 2nd place and at least went out of the film theater with a smile on his face. How nice! :)

What we had, a scene from the game BlazBlue: Centra Fiction (intro) and the one and only player!

Yesterday, we had our second championship in VA 2.0 and boy, it was great! There were a lot of more people around, about 8-12 people, which is nothing compared to international events, but still, when the people started cheering at the players, it was just magic to my ears!

So we played the all-time classic fighter game Ultra Street Fighter 2: The Final Challengers (USF2). There were 8 player (myself included, because there weren’t so many players around) and we fought the heck out of ourselves! Lastly, a Pretep.si guy won, a small boy was second and an intermediate strong guy was third. It was a very nice event!

Pictures of our event in the game USF2, our main gaming station, some fights, the crowd and the winners!

Our next tournament will be on the 5th of October, where we will battle in the mighty sword of your destiny, the all-time favourite slasher-game Nidhogg 2! I’m really eager to see how many people will come by and play the game. Only rules will be - Don’t jump over your enemy and there will be a 10 minutes time limit for every game!

So, be there or miss out! ;)

Na, fragt mal, was wir so in unsere Freizeit machen? Ja, wir haben auch Spielturniere in unsere Nord-westlichen Stadt, die wegen ihres Quecksilber(erzes), den Zhlikrofi und Gerush-Getränk weltweit bekannt ist! Aber wir spielen auch Spiele - in der Virtuellen Arena, einer s. g. „Gaming-Events“ für Einheimische!

Dieses Ereigniss findet im lokalen Filmtheater meiner Heimatstadt jeden Herbst, durch eine Reichweite von 14 Tagen (ausser im Oktober, wo das Ereigniss jede woche Samstags passieren wird, ausser am 19ten Oktober - MokuMatsuri in Maribor wird am diesen Tag passieren, wo ich einen Tournament in Spiel Mariko Kart 8 für die WiiU console haben werde) jeden Samstag um 17 Uhr. Obwohl meine Heimatstadt nicht gerade eine „gamers paradise“ Stadt ist, ist es immer noch eine dezente Stadt für diese jungen Spieler, die gerade nicht-in-dem-Spiel-Fortnite-oder-Minecraft die besten sind.

Diese Jahr gab ich den Codewort für dieses Ereigniss für die Virtuelle Arena (VA) als 2.0 zugabe, da dass auch die zweite VA von letzen Jahr ist. Meine Konsole die Switch ist der Haupstar dieses Ereignisses - sie ist über HDMI Kabel auf dem Filmbeamer vernetzt! Wir haben dieses Jahr auch hilfe vom ehemaligen Presidenten des Vereins Pretep (was als „Prügelei“ in Slowenischer Sprache bedeutet), der uns freiwillig ein paar echt cooler Dinge geleihen hat: ein Ohne-Lag Monitor, ein paar HDMI zersplitter und einen 15 Meter langen HDMI Kabel! Echt Cool! Er hat uns auch empfohlen, dass wir dieses Jahr die Netzseite TournamentEdition benutzen, wo man sich auch ansehen kann, wer gerade im Ereignis gewiint. Diese Jahr gibt es nur PRÜGELEI-SPIELE für die Nintendo Switch auf Lager!

Das Erste Ereigniss was sehr schlimm. Nur ein Spieler kam. Aber wir haben die Sache recht Streng angenommen und spielten mit nur zwei (also auch ich) Spielern! Obwohl ich nicht in diesem Spiel (was BlazBlue: Central Fiction war) verlieren wollte oder meine Masculinität erniedrigen wollte, gab mir dieser Bursche immern nocj viel Ärger! Dennoch, er gewann den zweiten Preis und wenigstens ging aus dem Filmtheater mit einem Lächeln auf seinem Gesicht. Wie schön! :)

Was wir hatten, eine Szene aus dem Konsolenspiel BlazBlue: Central Fiction (Einleitung) und der Ein und Einziger Spieler!

Gestern hatten wir unsere zweite Runde im VA 2.0 und Junge, war das gut! Es gab viel mehr Leute, zwischen ach und zwolf Leute, was noch immer nicht gerade viel ist, wenn mein das mit Spiel-Ereignissen im Ausland vergleicht, aber immernoch, als die Leute angefangen haben zu Schreim für ihre Favouritenspieler - das war Musik in meinen Ohren!

Also wir spielten den All-Zeit-Klassiker Prügelei-Spiel Ultra Street Fighter 2: The Final Challengers (USF2). Da waren ach Spieler (mich inclusive, da es nicht so viele Spieler gab) und wir prügelten uns aus! Zuletzt, ein von den Pretep.si Leuten gewann, ein kleiner Junge wurde zweiter und ein maßiger starker Typ wurde dritter. Es war ein schönes Ereignis!

Fotos vom Ereignis in dem Spiel UF2, unsere Hauptspielstation, ein paar Prügelein, die „Massenmenge“ und die Sieger!

Unser nächstes Ereignis findet am 5ten Oktober statt, wo wir uns in der mächtigen Schwert-der-Schicksales, einer allzeitlichen Beliebtheitspiels widmen werden - Nidhogg 2! Ich bin wirklich gespant, wie viele Leute dabeisein werden und das Spiel auch spielen werden. Die einzigen Regeln werden sein - Überspring nicht den Gegner/Feind und es wird eine zehn Minute Spielezeit für jedes Spiel im Spiel geben!

So, seit da, oder seit dran! ;)

#gaming #events #virtualna arena #2.0 #BlazBlue: Central Fiction #Ultra Street Fighter 2 #tournament #hometown #idrija

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space--cadet-glow · 5 years

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My English Translation: German Donald Duck Comic: „Horror an Halloween"

Never forget the time I got so bored that I spent a week translating the entirety of the Donald Duck comic as featured in THIS video.

The completed version of my translation under the cut.

(Note that this is my key to how my translation works: DT = direct translation, word for word EQ = English equivalent, the sentence in English)

Erzähler: „Wenn Kinder in bester Gruselmanier durch die Straßen schrecken, um Süßes einzustreichen, dann ist die Nacht der Nächte: Halloween!" DT: „When children in best scary-fashion through the streets scare, in order sweets to pocket, then is the night of nights: Halloween!" EQ: "When children scare through the streets in their best scary-fashion in order to pocket sweets, then it is the night of nights: Halloween!" (NOTE: „Erzähler" or "Storyteller" is what I'm calling the Narrator/Scene Cues.)

Kinder: „Süßes oder Saures!" DT: „Sweets or sours!" EQ: "Trick or treat!"

Donald: „Was habt ihr für tolle Kostüme! Dafür kriegt ihr was Feines von mir!" DT: „What have you all for terrific costumes! Therefore get you all something fine/nice from me!" EQ: "What terrific costumes you all have! Therefore, you all get something fine/nice from me!" (NOTE: Donald Duck kept his name. And „was" here is being used basically the same as „etwas".)

Donald: „Tick! Trick! Track! Die anderen Kindern sind schon alle auf der Straße! Wollt ihr nicht auch langsam los?" DT: „Tick! Trick! Track! The other children are already all on the streets! Want you all not also slowly/already go?" EQ: "Tick! Trick! Track! All the other children are already on the streets! Don't you all want to go already?" (NOTE: Huey, Dewey, and Louie have become Tick, Trick, and Track, respectively.)

Donald: „Komisch! Kein Mucks zu hören. Was die drei wohl aushecken?" DT: „Comical! No words/sounds to hear. What the three possibly cooking up/plotting?" EQ: "Funny! Nothing to hear. What are those three possibly cooking up/plotting?"

Donald: „Jungs? Huch, keiner da..." DT/EQ: „"Boys? Huh, no-one there..."

Tick, Trick, und Track: „Buuuh!" DT/EQ: „"Booo!"

Donald: „Aaargh!" DT/EQ: „"Aaargh!"

Tick: „Hehe! Voll erwischt, Onkel Donald!" DT: „Hehe! Fully caught, Uncle Donald!" EQ: "Haha! Busted, Uncle Donald!" (NOTE: Idiomatic.)

Trick: „Ganz schöne Gruselschocker unsere Kostüme, was?" DT: „All/quite pretty scary-shocker our costumes, what?" EQ: "Quite the shockers are costumes are, right?"

Donald: „Hmpf! Ein klein wenig! Aber warum verschanzt ihr euch noch hier oben?" DT: „Hmph! A little bit! But why entrenched you all yourselves still here above/upstairs?" EQ: "Hmph! A little bit! But why are you all still holed up here upstairs?"

Track: „Wir haben noch etwas über Halloween recherchiert!" DT: „We (x) still something about Halloween researched!" EQ: "We were researching something about Halloween!" (NOTE: The sentence is in conversational past.)

Tick: „Laut dieses Werks über Übernatürliches verlaufen überall auf der Erde mystische Kraftlinien!" DT: „According to this work about supernaturals run all-over on the earth mystical power-lines!" EQ: "According to this work about the supernatural, all over the earth run mystical lines of power!"

Trick: „Welche sich zum Teil auch überkreuzen." DT: „Which/that themselves to the part also cross-over." EQ: "That partly also cross over themselves."

Track: „Und an genau diesen Orten öffnet sich jedes Jahr am 31. Oktober eine Spalte zwischen unserer und einer Parallelwelt, der Anderwelt!" DT: „And on/in exactly these locations opens themselves every year on 31st October a chasm bewteen ours and a parallel-world, the Otherworld!" EQ: "And every year on the 31st of October, in exactly these locations, a chasm opens between our world and a parallel world, the Otherworld!"

Tick: „Nur in dieser einen Nacht ist es den Bewohnern der Anderwelt, Elfen, Feen und Trollen, möglich in unsere Welt hinüberzuhuschen!" DT: „Only on this one night is it the inhabitants of the Otherworld, elves, fairies, and trolls, potentially in our world over-to-scurry!" EQ: "Only on this one night are the inhabitants of the Otherworld- elves, fairies, and trolls- potentially able to scurry over to our world!"

Trick: „Ihnen gefällt Halloween! Vor allem wegen der Süßigkeiten!" DT: „To them appeals Halloween! Above all because (of) the sweets!" EQ: "They love Halloween! Especially because of the sweets!"

Track: „Allerdings müssen sie bis Mitternacht wieder in ihre Welt zurückkehren, denn dann verschließen sich die Durchgänge wieder!" DT: „However must they by midnight again to their world return, then for/because then closes themselves the passages again!" EQ: "However, they must return to their world by midnight because the passages close again!"

Tick: „Stell dir vor! Laut des Buchs gibt es sogar zwei davon in Entenhausen!" DT: „See for you before! According to the book there are even two thereof in Duck City!" EQ: "Go figure! According to the book, there are even two of them in Duck City!" (NOTE: Duckburg is Entenhausen, which can also mean "Duck Residence".)

Donald: „So ein Quatsch! Wer sich so was nur ausdenkt!" DT: „So a nonsense! Who themselves so what only thinks!" EQ: "Such nonsense! Who thinks of such things?!" (NOTE: Very idiomatic. If you think „Quatsch" here is funny, just wait until you see the fiasco it causes in "The Minish Cap".)

Trick: „Na ja, wir gehen jetzt jedenfalls auf Süßigkeitenjagd! Bis später, Onkel Donald!" DT: „Well indeed, we go now anyway to sweets-pursuit! Until later, Uncle Donald!" EQ: "Well, we're going on our pursuit of sweets anyway! See you later, Uncle Donald!"

Donald: „Dass ihr mir aber um Punkt neun Uhr wieder zu Hause seid, hört ihr!" DT: „That you all to me but on the dot nine hour again to home be, hear you all!" EQ: "Be back home at nine o'clock on the dot, you hear?!"

Erzähler: „So ziehen Tick, Trick und Track gemeinsam mit den Nachbarskindern von Tür zu Tür..." DT: „So wander Tick, Trick, and Track together with the neighbourhood-children from door to door..." EQ: "So, Tick, Trick, and Track wandered from door to door together with the neighbourhood kids..."

Track: „Das ist die mit Abstand beste Nacht des Jahres! Findet ihr nicht?" DT: „This is the with distance/far best night of the year! Find you all not?" EQ: "This is by far the best night of the year! Don't you all think so?" (NOTE: Idiomatic.)

Kinder: „Süßes oder Saures!" DT: „Sweets or sours!" EQ: "Trick or treat!"

Erzähler: „...nur an eine traut sich keiner von ihnen zu klopfen! Nämlich an die des Geldspeichers..." DT: „only on one close itself no-one them to knock! Namely on to the Money-Storage..." EQ: "only no-one dares themself to knock! Now onto the Money-Storage..." (NOTE: Idiomatic. Again. And the Money Bin has become the Money-Storage.)

Erzähler: „Dagobert Duck ist schließlich bekannt für seine Abneigung gegenüber derlei Späßen! Um auf Nummer sicher zu gehen, hat er sogar auf Notbeleuchtung umgeschaltet..." DT: „Dagobert Duck is ultimately known/famous for his aversion towards such fun/pranks/jokes! In order on number safe to go, (x) he even to emergency-lighting switched..." EQ: "Dagobert Duck is ultimately known/famous for his aversion towards such fun/pranks/jokes! In order to be on the safe side, he even switched to emergency-lighting..." (NOTE: Dagobert Duck is Scrooge McDuck. And that second sentence is both in conversational past and is idiomatic.)

Dagobert: „Murmel!" DT/EQ: „"Mutter!"

Dagobert: „Halloween, pfff... Neumodischer Affentanz!" DT: „Halloween, pfft... Newfangled monkey-dance!" EQ: "Halloween, pfft... Newfangled tomfoolery!"

Dagobert: „Feiertage sind verlorene Arbeitstage! Basta!" DT/EQ: „"Holidays are lost working-days! Enough!"

Dagobert: „Und zur Krönung des Ganzen soll ich auch noch meine geliebten Taler für Süßkram hergeben! Niemals!" DT: „And to the culmination of the entire should I also still my beloved thalers/dollars for sweets-junk hand over! Never!" EQ: "And to top it all off, I should also hand over my beloved thalers/dollars for sweet junk! Never!" (NOTE: Random fun fact: thalers were a type of German coin used until the early 1900s. Also, more idioms.)

Dagobert: „Dieses Halloweengedöns ist völliger Humbug!" DT/EQ: „"This Halloween-fuss is complete humbug!"

Dagobert: „Wehe dem, der es heute wagt, hier anzuklopfen!" DT: „Woe (to) the, the it to-day dare, here to knock!" EQ: "Woe to he who dares knock here to-day!"

Erzähler: „Unterdessen..." DT/EQ: „"Meanwhile..."

Track: „Los, Brüder, lasst uns die Abkürzung durch den Stadtpark nach Pinkeburg nehmen!" DT: „Come on, brothers, let us (to) the shortcut through the city-park to Pinkeburg take!" EQ: "Come on, brothers, let's take the shortcut through the city-park to Pinkeburg!"

Tick: „Gute Idee!" DT/EQ: „Good idea!"

Tick: „Die im Villenviertel haben immer die beste Bonbons und das cremigste Karamell." DT: „The/those in the villa-quarter have always the best sweets and the creamiest caramel." EQ: "Those uptown always have the best sweets and the creamiest caramel."

Toneffekte: „KRACKS" DT/EQ: „CRACK" (NOTE: „Toneffekte", or basically, "Sound Effects", for when there is accompanying words that's not the Narrator.)

Trick: „Du sagst es. Die können sich so was leisten!" DT: „You said it. Those can themselves (something) what afford!" EQ: "You said it. They can afford things like that!"

Track: „Und uns damit die Bäuche füllen! Hehe!" DT: „And us therewith the bellies fill! Hehe!" EQ: "And we'll fill our bellies! Haha!"

Ungeheuer: „Heheheeee! Hehee!" DT/EQ: „Hahahaaaa! Hahaa!" (NOTE: These three imp-like creatures are unnamed, as far as I can tell, so I'm just calling them „Ungeheuer"- or "Monsters".)

Ungeheuer 1: „Kein Fauref!" DT: „No sourth!" EQ: "No trickth!" (NOTE: These monster guys speak with really thick lisps, so essentially, what he's saying here is "No sours", or "No tricks!")

Ungeheuer 2: „Füüüüfef!" DT: „Sweeeetth!" EQ: "Treeeeath!" (NOTE: Likewise, "Sweets" or "Treats", to keep up the "sweets or sours"/"trick or treat" pun.)

Ungeheuer 3: „Mjammm!" DT/EQ: „"Yummm!"

Frau: „Hier habt ihr eure Süßigkeiten, Kindern! Happy Halloween!" DT: „Here have you all your sweets, children! Happy Halloween!" EQ: "Here you all have your sweets, children! Happy Halloween!" (NOTE: Just "Woman". The one at the door.)

Tick: „Klasse! Vielen Dank!" DT/EQ: „"Great! Many thanks!"

Ungeheuer: „Heheee! Hehee!" DT/EQ: „"Hahaaa! Hahaa!"

Ungeheuer: „Heeee! Füüfef!" DT: „Heeee! Sweeeetth!" EQ: "Haaaa! Treeeath!"

Trick: „Holla! Was sind das denn für welche?" DT: „Well! What are the then for which?" EQ: "Well! What are they supposed to be?" (NOTE: Extremely idiomatic.)

Frau: „Ui! Bei eurer Verkleidung kann man ja richtig Angst kriegen! Was genau seid ihr denn? Kobolde? Na, egal! Hier habt ihr was!" DT: „Jeez! With your disguise can one indeed rightly/really fear get! What exactly are you all then? Goblins? Well, all the same! Here have you all something!" EQ: "Jeez! With your diguise, you can really get scared, indeed! What exactly are you all, then? Goblins? Ah, whatever. Here's something for you all!"

Ungeheuer: „Bääähhhh!" DT/EQ: „Pttthbthhh!" (NOTE: I have no idea how to translate this, since it's just the sound of blowing a raspberry.)

Frau: „He! Ihr kleinen Teufel, ihr zertrampelt mir meine schönen Blumen!" DT: „Hey! You little devils, you all trample (for me) my beautiful flowers!" EQ: "Hey! You little devils, you all trampled my beautiful flowers!"

Track: „Ziemlich drüber die drei, wenn ihr mich fragt!" DT: „Pretty chaotic the three, if you all me ask!" EQ: "Pretty chaotic, those three; if you all ask me!" (NOTE: Idiomatic, and I'm still not sure if this is right or not!)

Tick: „Ja, die vergrätzen uns noch all die großzügigen Süßigkeitenspender. Die behalten wir besser im Auge!" DT: „Indeed, the bothering us/our still all the generous sweets-givers. The keep we better in the eyes!" EQ: "Indeed, they're still bothering all of our generous sweet-givers. We'd better keep an eye on them!"

Ungeheuer 2: „Uuuh! Grofef Hauf!" DT/EQ: „"Wooow! Big houth!"

Ungeheuer 3: „Grofef Hauf, viel Füüüfef!" DT: „Big houth, many sweeetth!" EQ: "Big houth, many treeeath!"

Trick: „Oha! Die Bande hält direkt auf den Geldspeicher zu!" DT: „Whoa! The gang heads directly to the Money-Storage to!" EQ: "Whoa! The gang is heading straight for the Money-Storage!"

Ungeheuer 1: „Füüüfef! Fonft Fauref!" DT: „Sweeeatth! Elth sourth!" EQ: "Treeeath! Elth we trickth!" (NOTE: This is assuming that „fonft" is supposed to be "sonst".)

Toneffekte: „DING DONG" DT/EQ: „DING DONG"

Track: „Keine gute Idee! Die werden ihr saures Wunder erleben, wenn Onkel Dagobert ihnen aufmacht!" DT: „No good idea! The will their sours miracle experience, if Uncle Dagobert them up-opens!" EQ: "Not a good idea! They will experience a miraculous trick if Uncle Dagobert opens up for them!"

Tick: „Genau! Hehe! Wo doch jeder weiß, dass er Halloween nicht ausstehen kann." DT: „Exactly! Hehe! Where yet everyone know, that he Halloween not stand can." EQ: "Exactly! Haha! Everybody knows that he can't stand Halloween."

Dagobert: „Wer da? Wer wagt es, mich an diesem unerfreulichen Abend zu stören, hm?" DT: „Who there? Who dares it, me on this unpleasant evening to disturb, hm?" EQ: "Who's there? Who dares to disturb me on this unpleasant evening, hm?"

Dagobert: „Drei kleine verkleidete Rotzbengel, wie? Die nichts Besseres vorhaben, als hart arbeitende Leute auszunehmen?" DT: „Three little disguised brats, how? The nothing better planned, then hard working people to swindle?" EQ: "Three little disguised brats, eh? Who have nothing better to do than to swindle hard-working people?"

Ungeheuer: „Hu?" DT/EQ: „"Huh?"

Ungeheuer 1: „Rotfbengel?" DT/EQ: „"Brath?"

Ungeheuer 2: „Waf ift ein Rotfbengel?" DT/EQ: „"Whatth ith a brat?"

Dagobert: „Verwöhnte Halbwüchsige wir ihr, die glauben, sie könnten einen anständigen Bürger um seine Ersparnisse bringen! Gar nichts kriegt ihr! Nicht so viel!" DT: „Spoilt juveniles we you all, the believe, they can a decent citizen about his savings take! At all nothing get you all! Not so much!" EQ: "Spoilt juveniles who believe they can take away a decent citizen's savings! You all get nothing at all! Not at all!"

Ungeheuer 1: „Nicht Füüüüfef fu Halloween?" DT: „Not sweetth fo' Halloween?" EQ: "No sweetth fer Halloween?"

Ungeheuer 2: „Böfer Mann!" DT/EQ: „"Bad man!" (NOTE: Or to get a word that can be 'lisped' for it, an alternate translation could be "Nathty man!")

Ungeheuer: „Gaaaaarrrghhh!" DT/EQ: „"Grrrrrrrrrrr!"

Dagobert: „Schluck! Mir dünkt, diese Beißerchen sind nicht Teil eines klassischen Kinderkostüms." DT: „Swallow! To me seems, these pearly-whites are not part (of) a classical children-costume." EQ: "Gulp! Seems to me, these pearly-whites are not part of a classical children's costume..."

Dagobert: „Deren Saures will ich nicht erleben, besser ich verschanze mich!" DT: „Their sours want I not experience, better I entrench myself!" EQ: "I don't want to experience their tricks, I better hide!" (NOTE: Or another translation could be, "I better get lost!")

Ungeheuer: "Groar!" DT/EQ: „Roar!"

Dagobert: „Ächz! Diese Teufel lassen nicht locker! Und sie sind wesentlich stärker, als sie aussehen!" DT: „Groan! These devils let not loose! And they are considerably/much stronger, than they appear!" EQ: "Groan! These devils will not let up! And they are considerably/much stronger than they look!"

Dagobert: „Keuch! Ich kann sie nicht aufhalten!" DT: „Pant! I can them not stop!" EQ: "Pant! I can't stop them!"

Ungeheuer: „Hehe! Heee!" DT/EQ: „Haha! Haaa!"

Ungeheuer 2: „Böfer Mann!" DT/EQ: „"Bad man!"

Ungeheuer 1: „Dem feigen wir'f aber!" DT: „The cowardly we'f but!" EQ: "He'th but cowardly!" (NOTE: No clue.)

Toneffekte: „SCHEPPER" DT/EQ: „"CLATTER"

Ungeheuer 3: „Fnappt ihn euch!" DT: „Grab/get him you!" EQ: „Get him!" (NOTE: This is assuming „fnappt" is supposed to be "schnappt".)

Dagobert: „Liebe Güte, das ist ein Alptraum!" DT: „Lovely goodness, this is a nightnamare!" EQ: "Good grief, this is a nightmare!" (NOTE: Idiomatic.)

Dagobert: „Der Tresor ist meine einzige Chance!" DT/EQ: „The vault is my single/only chance!"

Dagobert: „Uff! Geschafft! Hier bin ich sicher... Es sei denn, diese Biester können 40 Zentimeter harten Stahl durchdringen!" DT: „Ugh! Done! Here am I safe... It be then (unless), those beasts can can 40 centimetres hard steel penetrate!" EQ: "Ugh! Made it! Here, I am safe... Unless those beasts can penetrate 40 centimetres of hard steel!"

Toneffekte: „KLANG" DT/EQ: „CLANG"

Dagobert: „Besser ich verstecke mich zwischen meinen Talern, in der Geborgenheit meines Geldes." DT: „Better I hide myself between my thalers, in the security (of) my money." EQ: "I better hide between my thalers, in the security of my money."

Dagobert: „Kein Laut mehr zu hören? Ob sie aufgegeben haben?" DT: „No sound more to hear? If/whether they given up have?" EQ: "No more sound to hear? Have they given up?"

Dagobert: „Huch! Was kommt denn da?" DT: „Yikes! What comes then there?" EQ: "Yikes! What is there?" (NOTE: Idiomatic.)

Toneffekte: „KLINGLING" DT/EQ: „CLINGLING"

Ungeheuer: „Überrafung!" DT/EQ: „Thurprithe!"

Dagobert: „Das glaub ich jetzt nicht!" DT: „This believe I now not!" EQ: "I don't believe this!"

Ungeheuer: „Groar!" DT/EQ: „"Roar!"

Dagobert: „Hilfeee!" DT/EQ: „Heeelllp!"

Erzähler: „Inzwischen..." DT/EQ: „"Meanwhile..."

Kinder: „Vielen Dank, Herr Duck, bis nächstes Jahr!" DT/EQ: „"Many thanks, Mr. Duck, until next year!"

Donald: „Hehe! Gern, Kinder! So, ein einsames Bonbon ist noch über! Damit ist Halloween vorbei!" DT: „Hehe! Gladly, children! So, a lone sweet is still about! Therewith is Halloween over!" EQ: "Haha! Gladly, children! So, not a sweet is still about! Therefore, Halloween is over!"

Erzähler: „Wenn Donald sich da mal nicht irrt..." DT: „If Donald himself there (softener) not wrong..." EQ: "If Donald there is not wrong..."

Donald: „Wie spät es wohl ist?" DT: „How late is well is?" EQ: "How late is it now?"

Donald: „Viertel nach neun? Typisch!" DT/EQ: „"Quarter past nine? Typical!"

Donald: „Die Jungs sollten um neun Uhr zu Hause sein! Es ist doch immer dasselbe!" DT: „The boys should at nine hour to home be! It is but always (the) same!" EQ: "The boys should've been home at nine o'clock! It's always the same!"

Donald: „Ungezogene Lümmel, denen werd ich die Lauscher langziehen, sobald ich sie erwische." DT: „Naughty louts, to those/them will I the ears stretch, as soon as I they catch." EQ: "Naughty louts, I'll give them an ear-full as soon as I catch them." (NOTE: Idiomatic??? ...B-b-but, Donald... None of you HAVE ears...)

Trick: „Habt ihr das auch gesehen? Die drei haben Onkel Dagobert in den Geldspeicher erfolgt, ja ihn geradezu gejagt!" DT: „Have you all that also seen? The three (x) Uncle Dagobert in the Money-Storage followed, indeed him literally hunted!" EQ: "Did you all see that, too? The three followed Uncle Dagobert into the Money-Storage and literally hunted him down!" (NOTE: Second sentence is in conversational past.)

Track: „Und sie sind noch immer dort drin!" DT: „And they are still always there in it!" EQ: "And they're still in there!"

Tick: „Glaubt ihr, Onkel Dagobert ist in Schwierigkeiten?" DT: „Believe you all, Uncle Dagobert is in trouble?" EQ: "Do you all believe Uncle Dagobert is in trouble?"

Trick: „Sehen wir lieber mal nach!" DT: „See we better (softener) to!" EQ: "We'd better take a look!" (NOTE: Idiomatic.)

Ungeheuer: „Heheeee!" DT/EQ: "Hahaaaa!"

Dagobert: „Stopp! Anhalten! Lass mich sofort runter!" DT: „Stop! Halt! Let me immediately down!" EQ: "Stop! Halt! Put me down immediately!"

Track: „W-was war das? Ein D-Zug?" DT/EQ: „"W-what was that? An express-train?" (NOTE: „D-Zug" is short for "Durchgangszug".)

Tick: „Nein, das waren diese drei Gruselgestalten und..." DT/EQ: „"No, that was those three scary-figures and..."

Trick: „...sie hatten Onkel Dagobert in ihrer Gewalt!" DT/EQ: „"...they had Uncle Dagobert in their control!"

Track: „Schnell hinterher! Sie laufen in Richtung Stadtpark! Wir dürfen Sie auf keinen Fall..." DT: „Quickly afterwards! They ran in direction City-park! We allow you not case..." EQ: "Quick, after them! They ran in the direction of the City Park! In any case, we can't..." (NOTE: Idiomatic.)

Tick: „...aus den Augen verlieren! Schon klar!" DT: „of the eyes lose! Already clear!" EQ: "...lose sight of them! Got it!" (NOTE: Idiomatic. Again. And it's really starting to wierd me out that Heuey, Dewey, and Louie always speak one after another in that same order every time...)

Donald: „Ah ja! Wenn das nicht meine drei Pappenheimer sind! Schamlos dahinschlendernd! Tz!" DT: „Ah yes! If those not my three rascals are! Shamelessly strolling/moseying! Tch!" EQ: "Ah, yes! If those aren't my three rascals! Shamelessly moseying about! Tch!" (NOTE: „Pappenheimer" are people that can be counted on to be naughty. Since I already used "brats" for „Rotzbengel", I just went with "rascals" for this one.)

Donald: „Stopp! Und Kehrtwende! Euer Weg führt nach Hause!" DT: „Stop! And about-turn! Your way leads to home!" EQ: "Stop! And about-face! Your path leads home!"

Trick: „Onkel Donald? Nicht jetzt! Es ist etwas passiert!" DT: „Uncle Donald? Not now! It is something happened!" EQ: "Uncle Donald? Not now! Something just happened!"

Track: „Onkel Dagobert! Er wurde entführt! Von... was auch immer für Wesen!" DT: „Uncle Dagobert! He was kidnapped! By... what also always for beings!" EQ: "Uncle Dagobert! He was kidnapped! By... whatever those beings are!"

Tick: „Leute! Seht euch das an!" DT: „People! Look yourselves that at!" EQ: "Guys! Look at that!"

Trick: „Sie... Sie verschwinden durch eine Art Portal!" DT: „They... They disappear through a kind (of) Portal!" EQ: "They... They're disappearing through a kind of Portal!"

Track: „O nein! Und Onkel Dagobert mit ihnen!" DT/EQ: „"Oh, no! And Uncle Dagobert with them!"

Tick: „Aber, na klar, das ist die Erklärung-- diese drei Horrorfratzen kommen aus der Anderwelt!" DT: „But, well clearly, that is the explanation-- those three horror-faces come from the Otherworld!" EQ: "But, of course, that is the explanation-- those three horror-faces come from the Otherworld!" (NOTE: Slightly idiomatic.)

Trick: „Und genau dorthin haben sie gerade den armen Onkel Dagobert verschleppt!" DT: „And exactly therein have they just the poor Uncle Dagobert kidnapped!" EQ: "And to exactly there, they've just kidnapped poor Uncle Dagobert!"

Donald: „Das ist doch lächerlich! Verrückte Fantastereien! Nichts weiter!" DT: „That is still laughable/ridiculous! Crazy fantasies! Nothing further!" EQ: "That's just laughable/ridiculous! Crazy fantasies! Nothing more!"

Track: „So? Und wie bitte erklärst du das eben Gesehene dann? Nun komm schon..." DT: „So? And how please explain you that simply sight then? Now come already..." EQ: "So? And, please, how do you simply explain what you saw, then? Now, come on..." (NOTE: Idiomatic. Yes.)

Tick: „Wir müssen Onkel Dagobert helfen! Und der einzige Weg, das zu tun, ist, ihnen in ihre Welt zu folgen!" DT: „We must Onkel Dagobert help! And the only way, that to do, is, them to their world to follow!" EQ: "We must help Uncle Dagobert! And the only way to do that is to follow them to their world!"

Donald: „Mir gefällt das nicht! Ganz und gar nicht!" DT: „To me appeals this not! Entirely and at all not!" EQ: "I don't like this! Absolutely not at all!"

Trick: „Durchhalten, Onkel Dagobert! Rettung naht!" DT: „Perservere, Uncle Dagobert! Rescue approaches!" EQ: "Hold on, Uncle Dagobert! Rescue approaches!"

Track: „Na prima, wir sind im Nichts gelandet!" DT: „Well great, we are in the nothing landed!" EQ: "Well, great; we landed in nothingness!"

Tick: „Dafür fühlt sich der Boden aber recht solide an!" DT: „For that feels itself the ground but right solid (x)!" EQ: "In return, the ground feels quite solid!" (NOTE: Idiomatic. And „an" is with „fühlen" as „anfühlen".)

Trick: „Pure pechschwarze Finsternis, wenn wir nur..." DT: „Pure pitch-black darkness, if we only..." EQ: "Pure pitch-black darkness; if only we..."

Track: „Augenblick, langsam zeichnen sich Umrisse im Dunkel ab!" DT: „Minute, slowly outlines themselves silhouettes in the dark (x)!" EQ: "Just a minute, silhouettes are slowly outlining themselves in the dark!" (NOTE: Likewise, „ab" goes with „zeichnen" as „abzeichnen".)

Tick: „Ja, sieht so aus, als wären wir in einer Art Tunnel!" DT: „Yes, appears so (x), as if are we in a sort (of) tunnel!" EQ: "Yes, it appears as if we're in a sort of tunnel!"

Trick: „Und das dort muss der Ausgang sein!" DT: „And that there must the exit be!" EQ: "And that there must be the exit!"

Donald: „Worauf warten wir dann noch? Nichts wie raus hier!" DT: „Whereupon/what wait we then still? Nothing how out here!" EQ: "What are we waiting for, then? Let's get out of here!" (NOTE: Idiomatic.)

Track: „Wow! Das haut den härtesten Halloweenfan aus dem Kostüm!" DT: „Wow! This flays the toughest Halloween-fan out (of) the costume!" EQ: "Wow! This flays the toughest Halloween-fan out of their costume!" (NOTE: I have no clue.)

Tick: „Das muss die Anderwelt sein, und diese Höhle ist die Verbindung zu unserer!" DT: „This must the Otherworld be, and this cave is the connection to ours!" EQ: "This must be the Otherworld, and this cave is the connection to ours!"

Trick: „Der helle Wahnsinn! Abgefahrener als jeder Fantasy-Streifen." DT: „The bright madness! Totally as any fantasy-film." EQ: "Sheer madness! Totally like any fantasy film." (NOTE: Idiomatic. Also, I can't tell if it's Dewey or Donald speaking here. Oops.)

Track: „Irgendwo in diesem Irrgarten muss Onkel Dagobert sein!" DT: „Somewhere in this maze must Uncle Dagobert be!" EQ: "Uncle Dagobert must be somewhere in this maze!"

Tick: „Aber wie sollen wir ihn finden, und das ohne dabei aufzufliegen?" DT: „But how should we him find, and the without in the process exposed?" EQ: "But, how can we find him without being exposed in the process?"

Trick: „Keine Sorge! Dank unserer Aufmachungen dürften wir nicht weiter auffallen." DT: „No worries! Thank our presentations/get-up may/should we not further stand out." EQ: "No worries! Thanks to our get-up, we shouldn't stand out any further."

Track: „Wir vielleicht nicht, Onkel Donald in seinem albernen Jäckchen schon!" DT: „We possibly not, Uncle Donald in his silly little-jacket already/anyway!" EQ: "We probably won't, but Uncle Donald is still in his silly little jacket!" (NOTE: This is the closest I can make sense out of this sentence.)

Donald: „Derlei Beleidigungen verbitte ich mir! Ich liebe diesen Anzug!" DT: „These kind (of) insults forbid I (for) myself! I love this suit!" EQ: "I forbid these kinds of insults! I love this suit!"

Tick: „Trotzdem... wir müssen dich irgendwie tarnen!" DT: „Nevertheless... we must you somehow camouflage!" EQ: "Nevertheless... We must camouflage you somehow!"

Trick: „Perfekt! Unter all dem Schlamm und Gras erkennt dich niemand!" DT: „Perfect! Under all the mud and grass recognise you nobody!" EQ: "Perfect! Under all the mud and grass, nobody will recognise you!"

Donald: „Also, ich finde, ich seh zum Fürchten aus!" DT: „Also/well, I find, I appear to the fear (x)!" EQ: "Well, I think I look scary!" (NOTE: Idiomatic.)

Track: „Genau das ist ja auch der Sinn! So fügst du dich perfekt ein!" DT: „Exactly that is indeed also the point! So fits you yourself perfectly (in)!" EQ: "Indeed, that's exactly the point! So you fit in perfectly!" (NOTE: „einfügen".)

Tick: „Jetzt aber los! Wir müssen uns beeilen!" DT: „Now but loose! We must ourselves hurry!" EQ: "Now, let's go! We must hurry!"

Verkäufer 1: „Leckere Molchaugen! Im Dutzend billiger!" DT: „Delicious newt-eyes! In the dozen cheaper!" EQ: "Delicious newt eyes! Cheaper by the dozen!" (NOTE: I'm just calling these two "Salesmen". Also, „Molch" can mean either "pig" or "newt", and judging by how the next item is bat-related, I'm going with "newt" for the typical witchy-potion theme.)

Verkäufer 2: „Fledermausflügel! Ganz frisch! Und knackig!" DT: „Bat-wings! Entirely fresh! And crisp!" EQ: "Bat wings! Very fresh! And crisp!"

Donald: „Börks! Nein, danke!" DT/EQ: „"Blech! No, thank you!"

Verkäufer 1: „He, schon gehört, die haben einen von der anderen Seite gefangen!" DT: „Hey, already heard, the (x) one of/from the other Side captured!" EQ: "Hey, have you heard, they captured one from the Other Side!" (NOTE: Conversational past.)

Verkäufer 2: „Jub! Soll in einer Palastzelle darauf warten, vom Obermotz abgeurteilt zu werden!" DT: „Yeah! Should in a palace-cell thereon wait, by the Boss sentecned to be!" EQ: "Yeah! Should be in a palace-cell, waiting to be sentenced by the Boss!"

Trick: „Onkel Donald, die meinen bestimmt Onkel Dagobert!" DT: „Uncle Donald, the mean certainly Uncle Dagobert!" EQ: "Uncle Donald, they certainly mean Uncle Dagobert!"

Donald: „Damit könntest du recht haben! Also los..." DT: „Therewith can you right have! So loosely..." EQ: "You might be right there! So, let's go..." (NOTE: Idiomatic.)

Track: „Hier muss es sein!" DT: „Here must it be!" EQ: "It must be here!"

Dagobert: „Du glaubst wohl, weil ich in der Ecke stehe, hast du gewonnen, wie? Kampflos ergebe ich mich jedenfalls nicht!" DT: „You believe well, because I in the corner stand, (x) you won, how? Peacefully/without a fight yield I myself in any case not!" EQ: "You truly believe that because I am in the corner, that you've won, eh? In any case, I'm not giving up without a fight!" (NOTE: Idiomatic and conversational past. Whee.)

Donald: „Oje, klingt als sei der alte Haudegen ernstlich in Gefahr! Beeilung, Jungs!" DT: „Oh dear, sounds as if is the old warhorse seriously in danger! Hurry up, boys!" EQ: "Oh, dear, it sounds as if the old warhorse is seriously in danger! Hurry up, boys!"

Donald: „Da ist er! Keiner sonst zu sehen... und ist das ein Schachbrett?" DT: „There is he! Nobody otherwise to see... and is that a chessboard?" EQ: "There he is! Nobody else to see... And is that a chessboard?"

Tick: „Aber gegen wen spielt er?" DT: „But against whom plays he?" EQ: "But, who's he playing against?"

Dagobert: „Was habe ich gesagt? Jetzt geht es deiner Königin an den Kragen! Hehe!" DT: „What have I said? Now goes it your queen on the collar! Haha!" EQ: "What did I say? Now, your queen is in for it! Haha!" (NOTE: Idiomatic. One of my favourite idioms, to be honest. Could also mean "in trouble".)

Dagobert: „Wusste ich's doch! Das war eine Falle!" DT: „Knew I it still! That was a trap!" EQ: "I knew it! That was a trap!"

Dagobert: „Hahaa! Und matt!" DT/EQ: „"Hahaa! Und checkmate!"

Donald: „Da wird doch der Hund in der Pfanne verrückt. Gegen sich selbst! Und natürlich gewinnt er!" DT: „Since shall still the dog in the pan crazy. Against you yourself! And naturally win he!" EQ: "Well, I'll be a monkey's uncle. Against yourself! And naturally, he wins!" (NOTE: Very idiomatic. And I have no clue who's speaking here, so I just assumed Donald.)

Trick: „Pssst! Onkel Dagobert!" DT/EQ: „"Pssst! Uncle Dagobert!"

Dagobert: „Wie? Donald? Kinder? Was macht ihr denn hier?" DT: „How? Donald? Children? What doing you all then here?" EQ: "What? Donald? Children? What are you all doing here?"

Donald: „Na, wir sind hier, um dich zu befreien!" DT: „Well, we are here, in order you to be-free!" EQ: "Well, we're here in order to free you!"

Trick: „Wieso hat man dich eingesperrt? Was hast du angestellt?" DT: „Why (x) man/you yourself locked up? What have you employ/get up to?" EQ: "Why did you get locked up? What have you done?"

Dagobert: „So genau weiß ich das auch nicht... Irgend so ein Unsinn wie Beleidigung des heiligen Halloweenfestes!" DT: „So exactly know I that also not... At all so a nonsense how insult(ing) of the holy Halloween festival!" EQ: "So, I do not know exactly, either... Some nonsense like insulting the holy Halloween festival!" (NOTE: Idiomatic.)

Donald: „Ha, sicher, weil du dich weigerst Süßes zu verteilen!" DT: „Ha, sure, because you yourself refuse sweets to distribute/hand out!" EQ: "Ha, sure, because you refuse to hand out sweets!"

Tick: „Das ist doch jetzt erst mal völlig egal! Pack lieber mal mit an... ächz..." DT: „That is still now first/times completely the same! Pack better (softener) with to... Moan..." EQ: "That is not important right now! Better join with us... Moan..." (NOTE: Extremely idiomatic. These ones almost killed me.)

Toneffekte: „KLICK" DT/EQ: „CLICK"

Dagobert: „Zu spät, Kinder! Sie kommen mich holen!" DT: „Too late, children! They come me get!" EQ: "Too late, children! They've come to get me!"

Ungeheuer 1: „Böfer Mann, mitkommen!" DT: „Bad man, with-come!" EQ: "Bad man, come along!"

Ungeheuer: „Fu unferem Herrn! Hehee!" DT: „To our Mathter! Hahaa!" (NOTE: Funny. Of all the words for them NOT to lisp in German, it's "Master". Hmm.)

Erzähler: „Und so wird Onkel Dagobert vor den Obermotz geführt!" DT: „And so is Uncle Dagobert before the Boss led!" EQ: "And so, Uncle Dagobert is led before the Boss!"

Obermotz: „Ich, der Obermotz, bin Herr über die Anderwelt. Daher ist meine Aufgabe, über diesen Sterblichen zu richten!" DT: „I, the Boss, am Master over the Otherworld. Hence/that is why is my task, over this mortal to judge!" EQ: "I, the Boss, am Master of the Otherworld. That is why it is my task to judge over this mortal!"

Donald: „Ein wahrer Volksauflauf. Die Leute hier haben anscheinend zu viel Zeit!" DT: „A true people-casserole/crowd. The people here have apparently too much time!" EQ: "A true crowd. The people here apparently have too much time!"

Tick: „Apropos Zeit..." DT: „By the way time..." EQ: "Speaking of time..." (NOTE: Slightly idiomatic.)

Tick: „...ich will ja nicht hetzen, aber genau die läuft uns gerade davon!" DT: „...I want indeed not rush, but exactly the/that runs us just thereof!" EQ: "...I don't want to rush, but our time is running out!" (NOTE: Idiomatic. The idiom here is „die Zeit läuft uns davon", to be exact.)

Trick: „Du hast recht! Um Mitternacht schließt sich der Riss zwischen den Welten!" DT: „You have right! At midnight closes itself the rift between the worlds!" EQ: "You're right! At midnight, the rift between the worlds closes!"

Donald: „Und wenn wir bis dahin nicht zurück sind, sitzen wir hier fest! Üble Aussichten!" DT: „And if we by then not back are, sit/stuck we here firmly! Bad prospects!" EQ: "And if we aren't back by then, we're stuck here firmly! Bad prospects!"

Dagobert: „Über mich richten? Dann erzählen Sie mir doch erst einmal, wessen ich angeklagt bin!" DT: „Over me judge? Then tell you to me but first once, whose I accused am!" EQ: "Judge over me? Then you tell me what I'm accused of!" (NOTE: Eh. Idiomatic.)

Obermotz: „Der Missachtung von Halloween!" DT/EQ: „"The disregard for Halloween!"

Obermotz: „Sie haben sich Fremden gegenüber in keinster Weise gastfreundlich gezeigt! Und sich..." DT: „You (x) yourself strangers towards in (the) least/any way hospitable shown! And you..." EQ: "You have not shown hospitality towards strangers in any way! And..."

Obermotz: „...überdies geweigert anderen etwas Gutes zu tun!" DT: „...moreover refuse others something good to do!" EQ: "...moreover, you refuse to do something good for others!"

Donald: „Recht hat der gehörnte Riese! Das kann ich aus eigener Erfahrung nur bestätigen!" DT: „Right has the horned giant! That can I from own experience only confirm!" EQ: "The horned giant is right! I can only confirm that from my own experience!"

Track: „He, auf wessen Seite stehst du?" DT: „Hey, on whose side stand you?" EQ: "Hey, whose side are you on?"

Obermotz: „Was haben Sie zu Ihrer Verteidigung vorzubringen?" DT: „What have you to your defence on-to-call?" EQ: "What do you have to say in your defence?" (NOTE: Idiomatic.)

Dagobert: „Einiges, Sie eingebildeter Kerl!" DT: „Some, you conceited man/bloke!" EQ: "Some things, you conceited man/bloke!" (NOTE: Idiomatic. That and other possible translations include, "You stuck-up fool/dolt/wretch/fellow/guy".)

Dagobert: „Wissen Sie, wie ich es nenne, wenn mich jemand dazu zwingen will, dass ich mein sauer verdientes Geld für Süßigkeiten ausgeben soll? Nötigung!" DT: „Know you, how I it call, when me someone to that force wants, that I my sour well-deserved money for sweets spend should? Coercion!" EQ: "Do you know what I call it, when someone wants to force me into spending my hard-earned money on sweets? Coercion!" (NOTE: The idiom here is „sauer verdientes Geld".)

Dagobert: „Da, wo ich herkomme, habe ich das Recht dazu, Feiertage nicht zu feiern, wenn ich es nicht will!" DT: „There, where I come-frome, have I the right to that, holidays not to celebrate, if I it not want!" EQ: "Where I come from, I have the right to not celebrate holidays if I do not want to!"

Obermotz: „Das mag sein, aber hier gelten andere Regeln!" DT: „That may be, but here apply other regulations!" EQ: "That may be, but other regulations apply here!"

Obermotz: „Ich erkläre den Angeklagten somit für schuldig und verurteile ihn zur... Resozialisierung!" DT: „I declare the accused thus for guilty and sentence him to (the)... Rehabilitation!" EQ: "I declare the accused guilty and sentence him to... Rehabilitation!"

Obermotz: „Eine ordentliche Portion Anderwelt-Feenstaub wird das Übrige tun!" DT: „A proper portion Otherworld-pixie-dust will the rest do!" EQ: "A proper portion of Otherworld pixie-dust will do the rest!"

Ungeheuer 4: „Gurk!" DT/EQ: „"Gah!"

Obermotz: „Jeder, der damit in Berührung kommt, erkennt die Regeln Halloweens an! Und zwar auf ewig!" DT: „Anyone, the therewith in contact comes, recognises the rules Hallowen (x)! And indeed to eternity!" EQ: "Anyone who comes in contact with it recognises the rules of Halloween! For eternity!" (NOTE: „anerkennen".)

Dagobert: „Nein! Nicht! Ich..." DT: „No! Nothing! I..." EQ: "No! Don't! I..."

Track: „Leute, die Uhr tickt! Wir müssen etwas tun!" DT: „People, the clock ticks! We must something do!" EQ: "People, the clock is ticking! We must do something!"

Donald: „Dann machen wir das doch! Attacke!" DT: „Then do we that still! Attack!" EQ: "Then, we'll do that! Attack!"

Tick: „Jetzt oder nie!" DT/EQ: „"Now or never!"

Trick: „Komm, Onkel Dagobert! Gib mir deine Hand!" DT/EQ: „Come, Uncle Dagobert! Give (to) me your hand!"

Dagobert: „M-meine Beine sind w-wie aus Gummi..." DT: „M-my legs are h-how from rubber..." EQ: "M-my legs are l-like rubber..."

Donald: „Reiß dich gefälligst zusammen! Es geht um unser Leben! Also lauf!" DT: „Pull yourself kindly together! It is about our lives! So run!" EQ: "Pull yourself together! It's about our lives! So, run!"

Obermotz: „Eindringlinge! Ergreift dieses unwürdige Gewürm!" DT/EQ: „"Intruders! Seize those unworthy vermin!"

Dagobert: „M-mir ist s-so schwummerig! Warum ist mir so schwummerig?" DT: „(For) m-me is s-so dizzy! Why is (for) me so dizzy?" EQ: "I-I am s-so dizzy! Why am I so dizzy?"

Track: „Das kommt von Feenstaub! Aber keine Angst, zusammen schaffen wir das!" DT: „That comes from (the) pixie-dust! But no fear, together accomplish we this!" EQ: "That comes from the pixie-dust! But, have no fear, together we can accomplish this!"

Donald: „Oder wir gehen gemeinsam unter! Seht mal hinter euch!" DT: „Or we go together under! See/look (softener) behind you!" EQ: "Or we go down together! Look behind you!"

Tick: „Heiliger Bimbam! Sieht fast so aus, als hätten wir die ganze Anderwelt auf den Fersen!" DT: „Holy smokes/cow! Looks almost so (x), as have we the entire Otherworld at the heel!" EQ: "Holy smokes/cow! Looks almost like we have the entirety of Otherworld at our heels!" (NOTE: Everyone in this panel is in silhouettes from far away. I'm just guessing at who the two speaking here are; especially considering that the next panel shows a completely different order of everyone running from the previous time we saw them not in shadows.)

Trick: „Und wenn wir nicht einen Gang zulegen, gehören wir bald dazu!" DT: „And if we not a gear get, belong we soon to that!" EQ: "And if we don't move up a gear, we'll soon belong here!" (NOTE: In the context of "we'll be stuck here"???)

Obermotz: „Lasst sie nicht entkommen!" DT: „Let them not escape!" EQ: "Do not let them escape!"

Donald: „Da vorn ist die Höhle, unser diesweltlicher Landeplatz!" DT/EQ: „"There in front is the cave, our earthly landing-place!"

Track: „Bleibt nur zu hoffen, dass der Durchgang in beide Richtungen funktioniert!" DT: „Stay only to hope, that the passage in both directions functions!" EQ: "Let's hope that the passage functions in both directions!" (NOTE: Slightly idiomatic.)

Tick: „Los, gib dir 'nen Ruck, Onkel Dagobert!" DT: „Loose, give (to) you a jolt/jerk/tug, Uncle Dagobert!" EQ: "Quickly, give yourself a jolt/jerk/tug, Uncle Dagobert!"

Trick: „So ist gut! Ein kleines Stück noch, dann hast du es geschafft!" DT: „So is good! A little piece/bit yet, then (x) you it accomplished!" EQ: "This is good! A little bit more, then you've made it!" (NOTE: Slightly idiomatic.)

Donald: „Puh! War der Tunnel wirklich so lang?" DT/EQ: „"Phew! Was the tunnel really so long?"

Track: „Spar dir die Puste lieber fürs Laufen, Onkel Donald!" DT: „Save (for) you the breath rather for (the) running, Uncle Donald!" EQ: "Better save your breath for running, Uncle Donald!"

Ungeheuer: „Heeee! Heee! Greift fie!" DT: „Heeee! Heee! Attack them!" EQ: "Haaaa! Haaa! Attack 'em!" (NOTE: It's lisped here, so the closest thing I could get to that in translation was slang.)

Donald: „Keuch... Ich hatte ganz vergessen, wie dunkel es hier drin war! Wenn wir uns nun die Köpfe stoßen!" DT: „Gasp... I (x) entirely forgot, how dark it here in it was! If we us only the heads bump!" EQ: "Gasp... I completely forgot how dark it was in here! If we only bump our heads now!"

Track: „Lieber 'ne Beule als gebeutelt! Nicht langsamer werden!" DT: „Rather a bump than shaken/battered! Not slow become!" EQ: "Better a bump than being battered! Do not slow down!" (NOTE: Idiomatic.)

Donald: „Ächz! Jetzt sehe ich gar nichts mehr! Nun ist alles aus!" DT: „Groan! Now see I really nothing more! Now is everything out!" EQ: "Goran! Now I really don't see anything anymore! Now, everything is over!"

Toneffekte: „ZUSCH" DT/EQ: "ZAP" (NOTE: I just guessed on this one.)

Donald: „Hurra! Entenhausen! Du Heimatstadt meines Herzen!" DT/EQ: „"Hooray! Duck City! You hometown (of) my heart!"

Toneffekte: „DONG" DT/EQ: „"DONG"

Tick: „Um Haaresbreite, Leute, um Haaresbreite." DT: „By hair's-breadth, people, by hair's-breadth." EQ: "By a hair's-breadth, people, by a hair's-breadth."

Trick: „O nein! Sie kommen hinterher! Wir..." DT: „Oh no! They come afterwards! We..." EQ: "Oh, no! They're coming afterwards! We..."

Track: „Das schaffen sie nicht, der zwölfte Schlag ertönt jeden Augenblick!" DT: „The accomplish it not, the twelfth stroke rings every moment!" EQ: "They can't accomplish that, the twelfth stroke is ringing this very moment!"

Toneffekte: „DONG" DT/EQ: „DONG"

Toneffekte: „RRRRUUUUMMPEL" DT/EQ: „"RRRRRUUUUUMMBLE"

Tick: „Da! Der Riss zwischen den Welten ist wieder verschlossen!" DT: „There! The rift between the worlds is again closed!" EQ: "There! The rift between the worlds is closed again!"

Donald: „Ein Glück! Das heißt, wir haben jetzt mindestens ein Jahr lang Ruhe!" DT: „A luck! That means, we have now at least a year long peace!" EQ: "What luck! That means we now have at least a year-long peace!"

Donald: „Hüstel... tja, ich muss mich wohl bei euch entschuldigen, Kinder!" DT: „Ahem... well, I must myself probably by/at you apologise, children!" EQ: "Ahem... Well, I probably must apologise to you, children!"

Tick: „Entschuldigen? Du? Aber wofür denn das?" DT: „Apologise? You? But for which then that?" EQ: "Apologise? You? But what for, then?"

Donald: „Wenn ich mal wieder etwas als Aberglaube abtue, was ihr mir erzählt, dann dürft ihr mir die Federn rupfen, einverstanden?" DT: „If I (softener) again something as superstition dismiss, what you (to) me tell, then may you all (for) me the feathers pluck, agreed?" EQ: "If I dismiss something that you told me as superstition ever again, then you all may pluck my feathers, agreed?"

Tick: „Ach, Onkel Donald! Vergiss es!" DT/EQ: „"Oh, Uncle Donald! Forget it!"

Track: „Hauptsache, wir sind alle heil davongekommen!" DT: „Main thing, we (x) all safely got away!" EQ: "The main thing is, we all got away safely!" (NOTE: Conversational past.)

Tick: „Und das bisschen Feenstaub, das Onkel Dagobert abbekommen, wird ihn schon nicht aus der Bahn werfen!" DT: „And that bit (of) pixie-dust, that Uncle Dagobert received, will him already not from the track/course throw!" EQ: "And that bit of pixie-dust that Uncle Dagobert received won't throw him off-course!"

Track: „Genau, das hat er mit Sicherheit bald verdaut!" DT: „Exactly, that has he with certainty soon digested!" EQ: "Exactly, he has certainly digested that soon!"

Trick: „Apropos... wo ist er eigentlich?" DT/EQ: „"By the way... where is he actually?"

Tick: „Unfassbar, er hat sich klammheimlich weggeschlichen!" DT: „Unbelievable, he has himself quietly slipped away!" EQ: "Unbelievable, he quietly slipped away!"

Donald: „Wenn er nur nichts anstellt! Er ist noch nicht wieder ganz bei sich!" DT: „If he only nothing carry out! He is still not again entirely by/at himself!" EQ: "If only he doesn't carry anything out! He's still not entirely himself again!" (NOTE: Idiomatic.)

Toneffekte: „DONG DONG" DT/EQ: „"DONG DONG"

Dagobert: „Wacht auf, ihr guten Menschen! Schüttelt den Schlaf aus den Augen! Noch ist nicht Zeit zum Schlafen! Dagobert Duck hat euch etwas zu sagen!" DT: „Wake up, you all good people! Shake the sleep from the eyes! Now is not time to (the) sleep! Dagobert Duck has (to) you something to say!" EQ: "Wake up, all you good people! Shake the sleep from your eyes! Now is not the time for sleep! Dagobert Duck has something to say to you!"

Mann: „Was ist das für ein Lärm?" DT: „What is that for a noise?" EQ: "What's that noise?" (NOTE: Idiomatic.)

Frau: „Der alte Duck. Er randaliert!" DT: „The old Duck. He rampages!" EQ: "The old Duck. He's rampaging!"

Kinder: „Gähn! Mama, warum schreit der Mann so?" DT: „Yawn! Mama, why screams the man so?" EQ: "Yawn! Mama, why's the man screaming so?"

Mutter: „Keine Ahnung, Spatz! Hören wir einfach mal hin!" DT: „No clue, Sparrow! Hear/listen we simply/just (softener) there!" EQ: "No clue, Sparrow! We'll just listen!" (NOTE: Idiomatic- and about that second sentence, I, too, have no clue, Sparrow.)

Dagobert: „Heute ist Halloween! Die Nacht, in der wir den Jüngsten mit Freunden etwas Gutes tun! Sollen sie nur alle zum Geldspeicher kommen!" DT: „To-day is Halloween! The night, in the we the recently with friends something good do! Should they only all to (the) Money-Storage come!" EQ: "To-day is Halloween! The night in which we recently do something good with friends! They all should come to the Money-Storage!"

Toneffekte: „DONG DONG" DT/EQ: „"DONG DONG"

Dagobert: „Ich möchte diese Nacht würdig begehen!" DT: „I would like this night worthily celebrate!" EQ: "I would like to celebrate this night worthily!"

Erzähler: „Und so..." DT/EQ: „"And so..."

Dagobert: „Hehe! Happy Halloween, euch allen!" DT/EQ: „"Haha! Happy Halloween, you all!"

Tick: „Ich schätze, die Wirkung des Feenstaubers hält noch etwas an!" DT: „I guess, the effect (of) the pixie-dust going/keep still something (on)!" EQ: "I guess the effect of the pixie-dust is still going on!" (NOTE: Slightly idiomatic.)

Donald: „Und morgen früh gibt es für Sankt Halloween dann ein böses Erwachen!" DT: „And to-morrow morning were is for Saint Halloween then a bad/rude awakening!" EQ: "And to-morrow morning, there will be a rude awakening for Saint Halloween!"

Erzähler: „ENDE DT/EQ: „"END"

#the bard of light rants #donald duck #German #translation #the bard of light translates #Halloween #huey dewey and louie #uncle scrooge #disney #also no formatting because fuck that #forget the bolds and italics

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addicted-to-darkness · 6 years

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A Primary Agreement - Castrum Fluminis and Flashback (German to English)

This time, a look at the scene in Castrum Fluminis. As before, heavy spoiler warning for patch 4.3. Under the Moonlight. If you wish to see more translated, let me know, for I only intended to translate this part of the quest along with the flashback I already finished.

Bold: English Localization

Plain: German transcription

Cursive: Literal translation

(Asahi) At last, the hour has come. The conclusion to these negotiations will mark a new beginning for Doma and the Empire—a first step on the road to peaceful coexistence.

Es ist so weit. Der heutige Tag ist der erste Schritt auf dem Weg zu einem dauerhaften Frieden zwischen Doma und Garlemald. Ein großartiges historisches Ereignis!

The time has come. Today is the first step on the path to long-lasting peace between Doma and Garlemald. A magnificent historical occasion!

(Hien) Indeed. We are ready to proceed with the exchange when you are.

Ich sehne auch den friedlichen Abschluss des Gefangenenaustauschs herbei.

I yearn for the peaceful exchance of prisoners as well.

Forgive my curiosity, Ambassador, but is there a purpose to these containers you bring with you?

Übrigens … Dürfte ich fragen, was sich in diesen Behältern befindet?

By the way … May I ask what's inside these crates?

(Asahi) Oh, the supply crates? They are filled with materials we hoped might be of use in Doma's restoration. I meant to gift them to you at our last meeting, but we had so much else to discuss...

Ach, darin … Nur ein paar Dinge, die ich euch letztes Mal schon geben wollte. Güter, die ihr zum Wiederaufbau eures Reiches verwenden könnt.

Oh, inside those … Just a few things, which I had intended to give you last time already. Goods, which you may use for the rebuilding of your kingdom.

(Hien) How very generous. I confess, I had not expected such compassion, welcome though it is.

Das wäre nicht nötig gewesen.

That wasn't necessary.

...But then I was also surprised by the news hat one of our captives had delivered herself into your custody ahead of time—a minor discrepancy I shall overlook in the spirit of the occasion.

Ihr habt die Erfüllung eines Teils der Abmachung ja schon selbst in die Hand genommen. Ein Detail, über das wir keine weiteren Worte verlieren müssen.

You already took the execution of one part of our agreement into your own hands. A detail, which we needn't speak about any more.

(???) Are you perhaps referring to me, Lord Hien?

Sprecht ihr von mir?

Are you talking about me?

(Hien) Yotsuyu.

Yotsuyu …

(Yotsuyu) Orphan of the Naeuri, widow of Sashihai...

Ganz recht. Yotsuyu, Tochter der Naeuri, Witwe des Sashihai …

That's right. Yotsuyu, daughter of the Naeuri, widow of Sashihai …

...And acting viceroy of Doma! You and your people are mine to govern; mine to punish!

Und die Statthalterin von Doma! Eure Geißel und Unterdrückerin!

And the viceroy of Doma! Your scourge and oppressor!

(Hien) Well, well. It would seem your shattered mind is mended. As per our agreement with the ambassador, you are free to return with him to the Empire.

Da sie ihr Gedächtnis offenbar wiedererlangt hat, soll sie zurückkehren. So, wie es abgemacht war.

Since she obviously regained her memory, she shall return. Just as we agreed on.

Your authority as acting vicerroy, however, is no longer recognized here.

Aber eines vergesst nicht: Doma hat keine Statthalterin!

But don't forget one thing: Doma has no viceroy!

(Yotsuyu) My position is not for you to decide, little lordling.

Ahahaha! Schweig, Aufständischer!

Ahahaha! Silence, insurgent!

All who resist the rule of the Empire must be purged. Such was the order given to me by Lord Zenos himself!

Jeder, der sich gegen die Herrschaft des Kaiserreichs auflehnt, wird ausradiert! Das ist die Aufgabe, die Zenos mir erteilte!

Everyone, who rebels against the sovereignty of the Empire will get eradicated! That is the task, Zenos gave me!

I will reign here in this putrid, pestilent swamp until the last of you has been broken!

Ich beabsichtige, diese Aufgabe zu erfüllen und wieder über dein kümmerliches Land zu herrschen.

I intend to fulfill this task and reign over your pathetic land once again.

This land shall know no dawn. I will spew forth darkness and drown all in eternal night. And high above you I shall shine uncaring, cold and distant as the moon!

Niemals werdet ihr das Licht der Freiheit erblicken. Die Finsternis in meinem Herzen wird alles verschlingen, und ein Land der Finsternis erschaffen. Nur einen eisigen Mond werdet ihr sehen – und das werde ich sein!

Never will you gaze upon the light of freedom. The darkness in my heart will swallow all and create a land of darkness. The only thing you shall look upon is an icy moon – and that will be me!

(Hien) What has she done!?

Was ist das für ein Licht?

What is this light?

(Alphinaud) Oh, gods... This is a summoning!

Ist das etwa eine Primae?

Is that a primal?

(Asahi) A Doman citizen has called forth an eikon in direct violation of our primary agreement. The negotiations have failed. Abandon the captives, and make preparations to withdraw.

Eine Domanerin hat einen Primae beschworen. Ein klarer Verstoß gegen die Abmachung. Dieses Treffen ist beendet. Bereitet den Abflug vor!

A Doman woman has summoned a primal. A clear violation of our agreement. This meeting is over. Prepare for departure!

(Maxima) But, Ambassador...

Aber was wird aus dem Frieden?

But what about peace?

(Asahi) Disobey me, Pilus, and you disobey the Emperor. Make preparations to withdraw—now.

Widersetzt du dich dem Befehl eines kaiserlichen Gesandten? Wir fliegen ab!

Are you defying an order from an imperial ambassador? We are leaving!

(Maxima) ...As you command.

Grrr … Zu Befehl!

Grrr … As you command!

(Yugiri) My lord! You must fall back!

König Hien, wir müssen uns zurückziehen!

Lord Hien, we need to withdraw!

(Hien) You ask me to run!?

Nein! Macht euch kampfbereit!

No! Prepare for combat!

(Warrior of Light) Leave this to me!

Überlasst das mir! Mit Primae ist nicht zu spaßen.

Leave it to me! There's no joking with Primals!

(Hien) Bah... Against such a foe, I would be more hinderance than help. The field is yours!

Grrr … Du hast Recht. Einem Primae bin ich nicht gewachsen … Ich vertraue auf dich!

Grrr … You're right. I don't stand a chance against a primal … I believe in you!

We will withdraw...but not without our countrymen. I want every soul accounted for. Every soul!

Wir ziehen uns zurück! Aber nicht ohne die Gefangenen! Seht zu, dass niemand zurückbleibt!

We are withdrawing! But not without the prisoners! See to it that no one gets left behind!

(Yugiri) My lord!

Jawohl!

Yes, sir!

(???) I knew you would not flee. I see now the strength which flows from that baleful light of yours.

Jetzt sind nur noch wir übrig. Die Göttin der Nacht und der Krieger des Lichts.

Now it's just us. The Goddess of the Night and the Warrior of Light.

But I am become Tsukuyomi, goddess of the moon and divinity of the night. What power can compare to such celestial majesty!?

Deine verwunschene Gabe wird dir nichts nutzen. Denn ich bin Masokagami entstiegen … Ich bin die Herrscherin der Nacht und des Mondes … Ich bin Tsukuyomi!

Your enchanted gift will be of no use to you. For I rose from Masokagami … I am the ruler of the night and the moon … I am Tsukuyomi!

I shall plunge all I despise into darkness! And within that black abyss, even your light shall flicker and fail.

Mit diesen Kräften kann ich alles und jeden auslöschen, und nicht einmal du wirst mich aufhalten!

With these powers I can obliterate everything and everyone, and not even you will stop me!

Come, let us cast the stalks and look upon the fate of Doma. I see a future in which the sun sets on this wretched land once and for all!

Ein weiterer Kampf auf Leben und Tod. Doch diesmal werde ich gewinnen! Domas Zukunft … ist die Nacht!

One more battle for life and death. But this time, I shall be victorious! Doma's future … is the night!

(Asahi) You really must learn to finish the job.

Wolltest du sie etwa schon wieder davonkommen lassen?

Did you intend to let her get away yet another time?

'Tis true that a gaudy mirror and a handful of crystals make for a feeble summoning, but even the weakest eikon is a god of sorts. A threat tha must be put down.

Sie war zwar nicht mehr als eine primitive Götze, hervorgezaubert aus einem alten Kojin-Spiegel und ein paar Kristallen – aber sie war doch eine Primae.

She may not have been more than a primitive idol, summoned from an ancient Kojin mirror and a few crystals – yet, she was still a primal.

My, my, such hostility! These beings are the sworn enemies of the Empire—I merely did my duty as imperial officer.

Sieh mich nicht so an. Sie musste sterben, das war dir doch klar. Die Primae sind eine Bedrohung für uns alle.

Don't look at me like that. She had to die – you knew that much. The primals are a threat to all of us.

Will you surrender to anger, then? Slay an anointed emissary to avenge a fallen foe?

Du willst mich töten, nicht wahr? Nur zu. Gib deinen Gefühlen nach. Töte mich! Aus Rache oder für die Gerechtigkeit! Streck mich nieder!

You want to kill me, isn't hat right? Go ahead. Give in to your feelings. Kill me! For vengeance or for justice! Strike me down!

You cannot, of course! To do so would burn the bridges we have labored so hard to build!

Dann ist der Friede für alle Zeiten begraben!

Do it and peace will lie buried for all time!

Ah, but I'm forgetting: they're already ash! This Doman woman has seen to that! The Empire cannot ally itself with any nation that refuses to renounce summoning. I believe I was most clear on that point!

Ach, ich vergaß … Doma hat das Abkommen ja schon gebrochen. Wie konntet ihr nur zulassen, dass eine Domanerin einen Primae beschwört?

Oh, I forgot... Doma already broke the agreement. How could you allow a Doman woman to summon a primal?

It should have been mine. (* see notes further down)

Eigentlich war es ja meine Berufung.

It was my vocation, really.

The power he bestowed upon her... I should have been the one to govern Doma! I would have repaid his faith!

Ich hätte Statthalter von Doma werden sollen. Unter meiner Herrschaft hätten wir die Provinzen nie verloren!

I should have become viceroy of Doma. Under my reign we would have never lost the province!

No one alive loves him more than I!

Nur mir stand es zu, Prinz Zenos' Willen auszuführen!

Only I was worthy of executing Prince Zenos' command!

Instead, this harlot betrayed his trust!

Zu nichts bist du zu gebrauchen! Gar nichts!

You're no use for anything! Absolutely nothing!

Useless...piece of...filth!

Du wertloses Stück Dreck!

You worthless piece of dirt!

Worthless whore!

Straßendreck!

Street dirt! (Note: There’s really no more direct way to translate this, as it’s another of those infamous German compound words. But if you really want to nitpick it you could probably interpret it as an insult to someone living or coming from a life on the streets.)

(Yotsuyu) Thank you, dear brother...for this precious gift. Vengeance.

Danke, Asahi … Ich danke dir.

Thank you, Asahi... I thank you.

These people...our people...they ignore the corruption which festers beneath the surface. Cast aside that which is dirty and broken. Speak not of things which would disrupt their dreary little lives.

Deine Demütigungen haben mir beigebracht, zu hassen … Du warst der erste Domaner, den ich hasste.

Your humiliations taught me how to hate... You were the first Doman I ever hated.

Like you, Asahi...always pretending not to see. You were the first...the first I swore to kill.

Dank dir konnte ich meine Rache nehmen, an dem niederträchtigen, verlogenen, schäbigen Doma.

Thanks to you I was able to seek revenge on the dastardly, lying, shabby Doma.

Ahhh...such bliss. I had thought my hunger insatiable...but now...now I am satisfied.

Ich dachte, mein Hass würde niemals enden … Doch jetzt …

I thought my hatred would never end... But now...

You should feel honored, dear brother. I saved the last of my strength just...for you.

Meine Rache ist getan … Du bist mein letztes Opfer …

My vengeance has been taken... You are my final victim...

What's the matter? The witch of Doma will soon be dead.

Du hast gewonnen. Ich sterbe und du lebst …

You won. I'm dying and you're alive...

(Warrior of Light) Gosetsu will mourn you.

Gosetsu wird um dich trauern.

Gosetsu will mourn you.

(Yotsuyu) He will mourn Tsuyu, perhaps...

Ach … der Herr Samurai ......

Ah... the lord samurai... ...

I wonder... Was the fruit as sweet...as he remembered...?

Kaki … E-Er aß so gerne Kaki …

Persimmon... H-he enjoyed eating persimmon so much...

(Asahi) Lord Zenos...

Ah … ah … Prinze Zenos …

Ah... ah... Prince Zenos...

(Asahi) Lord Zenos!

Eure Exzellenz!

Your Excellency!

I am at your disposal.

Ihr habt nach mir gerufen?

You called for me?

(Zenos?) Asahi. You were born in Doma, yes?

Asahi … Du kommst doch aus Doma, nicht wahr?

Asahi... You're from Doma, aren't you?

(Asahi) Yes, my lord! I am honored that you would remember me. How may I serve?

Ja, Eure Exzellent! Ich fühle mich geehrt, dass Ihr meinen Namen behalten habt. Womit darf ich Euch dienen?

Yes, your Excellency! I am honored you would remember my name. How may I serve you?

(Zenos?) You are hereby appointed ambassador plenipotentiary, and empowered to speak with the voice of the Emperor. Return to your native land of Doma, and announce your intention to sue for peace.

Ich ernenne dich hiermit zum bevollmächtigten kaiserlichen Gesandten. Reise nach Doma und nimm dort im Namen Garlemalds Friedensverhandlungen auf.

I am hereby appointing you imperial ambassador plenipotentiary. Travel to Doma and begin negotiations for peace in the name of Garlemald.

(Asahi) ...For peace?

Friedensverhandlungen …?

Negotiations for peace...?

(Zenos?) Once negotiations are underway, you are to locate the acting viceroy.

So ist es. Außerdem wirst du Statthalterin Yotsuyu ausfindig machen.

That's right. Additionally, you will find viceroy Yotsuyu.

(Asahi) She lives? That is to say—I will, my lord.

Meine Schwester lebt? Selbstverständlich. Wie Ihr befehlt, Eure Exzellenz.

My sister is alive? Understood. As you command, your Excellency.

(Zenos?) When you have found her, you will initiate a ritual to call forth an eikon. I will instruct you in the necessary steps.

Des Weiteren werde ich dich in die Geheimnisse der Götzenbeschwörung einweigen. Sobald du Yotsuyu gefunden hast, wirst du sie als Medium benutzen.

Furthermore I will instruct you on the secrets of summoning primals. As soon as you've found Yotsuyu, you will use her as medium.

Yotsuyu's faith is unreliable. But as a child raised to believe in the kami, she will serve as a vessel for one of the Kojin's gods. She need only wish it to be so.

Ihr Glaube ist zwar nicht stark genug für eine Beschwörung. Aber in ihrem Land gibt es unzählige von diesen Kami. Wenn man Yotsuyu ausreichend motiviert und dazu noch ein Artefakt der Kojin einsetzt, sollte sich einer rufen lassen.

Her faith may not be strong enough for a summoning. But in her country there's countless of those Kami. If one motivates her enough and additionally uses an artifact of the Kojin, it should be possible to call upon one of them.

The power will seem a gift, but the eikon's essence will consume her. She will be no more than a husk, a slave to whim and desire.

Natürlich wird die Gottheit sofort von ihr Besitz ergreifen. Die Starken haben nunmal die Angewohnheit, die Schwachen zu ihren Sklaven zu machen.

Naturally, the god will possess her. The strong just so happen to have a habit of making the weak their slaves.

(Asahi) My lord, ever since the day you saw fit to save my miserable life, I have dreamed of repaying your benevolence. Upon my honor, I swear to devote myself wholly to your service. All that you command will be done, no matter the cost.

Eure Exzellenz. Seit dem Tag, an dem Ihr mich vor den Aufständlischen gerettet habt, träume ich schon davon, Euch zu dienen. Ich bin zutiefst dankbar, nun diese Gelegenheit zu erhalten.

Your Excellency. Ever since the day you saved me from the insurgents, I have dreamed of serving you. I am immensely greatful to now be given this opportunity.

B-But...I fear the subtleties of your plan yet elude me. From the reports I have heard, the champion who aids the Doman resistance would make short work of a single eikon...

Aber die Domaner haben einen Helden in ihren Reihen, der schon zahllose Götzen vernichtet hat. Wird er nicht auch diesmal siegen?

But there's a hero among the Domans who already slew countless of idols. Wouldn't he be victorious this time as well?

(Zenos?) The eikon is merely a message. The pacifist teachings of the Populares spread through this city like a plague, and I would remind the people of the threat we face.

Mein Ziel ist ein ganz anderes. Wie du weißt, wollen die Popularen Frieden zwischen Garlemald und Doma.

My goal is another entirely. As you're aware, the Populares wish for peace between Garlemald and Doma.

You will be my chosen agent—the hand which tolls the warning bell. The salvation of this world will not be won through the signing of treaties.

Wir müsse den Weichlingen klarmachen, dass die Primae aus Doma eine Bedrohung sind. Nur wir können die Welt vor dem Untergang retten – mit Gewalt! Und du sollst mir dabei Helfen, als meine rechte Hand.

We need to make it clear to those sissies that Doman primals pose a threat. Only we can save the world from its demise – through violence! And you are to help me with this as my right hand. (Note: Yes, he calls them bloody softies and wusses.)

(Asahi) Your chosen agent!?

Als Eure rechte Hand?

As your right hand?

I will not fail you, my lord!

Zu Befehl, Eure Exzellenz! Es wird geschehen, wie Ihr wünscht!

As you command, your Excellency! So it shall be done!

Fun facts:

(*) For those who wonder what the hell is actually said now of these two things, here the japanese part in question: 本当は、俺がなるはずだったんだ。。。。俺が、ゼノス様の代理になって、ドマを統治するはずだったんだ！俺だったら失敗なんて、奪還なんてされなかった！ゼノス様の期時を背負うに相応しいのは、俺だけなんだよｵｼ!

In truth, I was supposed to be... I was supposed to act on Zenos-sama’s behalf and rule Doma! I wouldn’t have failed and let it be recaptured! Only I am suitable of carrying out his orders!

No yandere,just another power hungry nutcase. Take my Japanese with a grain of salt though. But after the T9 incident making everyone English speaking think Nael was a dude although pretty much explicitly stated otherwise in other versions, I just like to look deeper ¯\_(ツ)_/¯

#Translations #Yotsuyu #Asahi sas Brutus #Zenos Yae Galvus #Final Fantasy XIV #Final Fantasy #Obscure's Stuff #Spoilers #FFXIV Spoilers #Under the Moonlight Spoilers #4.3 Spoilers #Beautiful Disaster Husband

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gunsatthaphan · 3 years

Note

German anon here🌸💜

I am always so happy when you answer 🥺

Oh yes, I totally see what you say about To my Star. I just can't get over the zit thing, it is hilarious.

Yeah I saw you post about atots and yeah it is nice to have something calmer.

And yess Bad Buddy need to be the next one.

MOD is definitely going crazy, but it feels normal for a crime show this war. Now we are going into the finale and all the loose plotlines are getting put together. What makes it a bit hard is that MOD has so many plots that need to be weaved together and with the limit of episode it would probably be more understandable if you watched them all in one go. (My opinion, as someone who watches a little bit of crime shows)

Oh yes I need more cottage scenes and cooking scenes and them doing their jobs. Or in the garden... I just want them to be happy. Also the two babys( Tat and Sorowit) NEED to be safe or else...😭🙃

Und ja es ist immer so.. wait ich kenne den (ich bin schlecht im merken von Namen und wo ich jemanden schon mal gesehen habe)... dann gehe ich auf MDL und ... oh wow ich hab schon x Dramas mit dem gesehen😂. Oh Favoriten sind etwach schwirig, aber New hat definitiv einen Platz, da ich ihn mit Sotus und Water Boyy in meinen ersten Bls gesehen habe. Drake auch und Tay. Nicht in Gmm, Tul und Max. Hast du Favorit/en?

Das überraschende ist immer wenn man die Hauptcharaktere noch nicht kennt.

Wish you a beautiful day🌸💜💖

hiii!!!! 🌸💜

The zit-running-gag is everything lol 😂 seo joon is so extra and i’m here for it.

I just hope that everything ties together for MOD but I actually have no doubt it will. The big question will be if I will understand it or not sjdkfh 😂 It does have too many plots for sure and another thing is that I feel like the characters’ backstories are not explored enough? if that makes sense. Like I still don’t know who That really is, like where he comes from etc., we know next to nothing about Por and his practices even though that’s an important thing to know, and I still don’t know what Tan actually knows lmao. But whatever. I’m just hoping for a good conclusion.

have a beautiful day! 💜

xxx

#the two babies lmaoo #they really are #Nam is also one of the babies #she needs to be safe too #or else #New mag ich auch gerne!#und maxtul sind natürlich die legends #wer die nicht mag bei dem stimmt was nicht lmao #wen ich auch sehr gerne mag ist singto; gun und khaotung #aber einen favorite habe ich eigentlich nicht #ask #doreen answers

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calumcest · 3 years

Note

oh tumblr had a wonderful update and now asks aren't limited anymore and all the fun script stuff like this is possible but i don't think everybody has the update yet? i'm unsure. you can send pics in asks as well now but only off anon

oh don't tease me with a britpop update 🙈 i'll cry. i missed losing my mind over my dumbass lying boy.

helen i'll really cry that's so sweet and yes rereading your fics was me coping with your absence here 🙈 (also they just make me very happy)

dein deutsch ist gar nicht schlecht!! ICH WEIß!! (apropos wer hat sich den ß-scheiß ausgedacht) warum kann man nich einfach alles klein schreiben? funktioniert doch in so jeder anderen sprache auch super 🙄 oder? es is so seltsam aber jedes mal wenn ich hier was auf deutsch schreibe bin ich so :) nur helen versteht mich :) oh weil wir gerade beim thema deutsch sind, ich hab ne vielleicht etwas komische frage ich weiß nich mal wie ich drauf kam und zwar wann feiert ihr weihnachten? weil wir feiern ja hier eigentlich am 24. und in england is es doch am 25. (oder?) und ja ich hab mich gefragt wann genau du und deine familie dann feiert?

thank you so much 💕 you're truly already doing the most i really mean it when i say that it makes me incredibly happy to hear from you (though i would of course not say no to more wilde kerle au)

oh science of medicine sounds soooooo interesting! (technology not so much i'm sorry it's included) also i kinda like science or like theory of science? very interesting to me. but philosophy? nah. hurts my brain. but very happy for you that you found some nice people 😊 and i hope at least the subjects you're actually interested in are going well

ooh and actually can you explain to me what the fuck the tier system is. i have only seen memes and i can't even manage to sit through the entirety of our news here without going mad so like i've not had the mindset to just google it 😅

well i am glad you wrote more after that scene i might have murdered you otherwise.. i could not have lived with that cliffhanger being the end 🙈& that is perfectly fine you should also take some time off! get some rest!! -spoiler twin

HELLO thats so exciting...how do you access it my asks still only have the regular box am i going to have to start coding like some kind of stem student

!!!!!!! ok listen. i know i have been shocking at responding i was unfortunately in a p bad mental situation over a large part of the christmas holidays but that has been largely solved now and your comments!!! your comments literally keep me fucking going i cant even Tell you how important they are to me GOD your comments as you were rereading britpop...i literally was refreshing my ao3 every few hours to see if you’d read any more and commented any more i cant even Explain how much serotonin they give me like the detailed comments you leave! the character analysis! the reactions to me mentioning noel writing songs :) ! the reactions to liam GOD i really do love that boy alongside you liam supremacy when . anyway i’m hoping to be able to write some more soon so!! we shall see but anyway i just want you to know How much of an impact your comments have and i’m genuinely very sorry i havent been in the right mental place to respond to them </3

GENAU ich hab KEINE AHNUNG warum man nur auf deutsch die blöden nomen großschreiben muss smh sitz immer da so ‘der...die...das...ok kleinschreiben. der...die- ok großschreiben’ deutsch-war-meine-muttersprache-aber-ist-jetzt-ECHT-nicht-mehr probleme </3 omg genau irgendwie fühlt es sich so geheim hee hee nur spoiler twin weiß was ich hier sage :) obwohl es was so 100m deutschsprachler in der welt gibt skdfjwhebf ooh ja also wir feiern eigentlich richtig am 25. aber machen ein bisschen so ein hybrid-weihnachten also am 24. öffnen wir die geschenke von der oma, tante & onkel und am 25. dann die anderen aber wir machen auch nikolaus und advent usw. was man in gb nicht macht weil die alle LANGWEILIG sind

kjwefnkwjenf honestly if i get around to rewatching the films and coming up with a plot that isnt just the memories of my 8 year old self fancying jimi blue...malum wilde kerle au is on the cards

god i know i hate history of tech i cant lie history of science is also fairly boring ot me i just care about history of meidicne wkefbjwhebf but i’ve managed to swing it so this term i’m only going to be doing history of medicine so! lets hoep it goes well <3 although i have the same professor for both my modules this term so if he doesnt like me im FUCKED bout to start arselicking fr...

WKJEFBWKHEFBWE thats so funny i love that youre seeing memes in germany well back before lockdown 3 every region in england was classified into a tier originally there were 3 tiers so for areas with low covid infection rates they were in tier 1, which is like you can meet indoors as a group of 6 from different households, all the shops etc. are open basically as close to normality as we’ve got since the summer here, then tier 2 is the next one up which is you cant mix households indoors but you can meet in groups of 6 outdoors, and then tier 3 was meant to be the strictest one which was you can only meet one person from another household outdoors so pubs etc were shut, and then a few days before xmas the govt introduced tier 4 which was essentially lockdown except schools were still open so non-essential shops/hairdressers/gyms etc were shut and now we’re back in full lockdown schools are closed unis are closed everything is shut we’re only allowed to leave the house for certain reasons anyway i cant lie the tier memes are incredibly funny to me sometimes the british public has rights and their sense of humour is one of the only times

how are you doing?? how was your holiday break? i hope you and your loved ones are all safe and healthy i know shits going down over there and you’re in lockdown too so i hope everythings okay and that youre holding up <3

#spoiler twin #Anonymous #helen answers

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theaterformen-blog · 7 years

Text

“Nur weil der Kommunismus tot ist …” – Ein Interview mit Gudrun Gut (GUT UND IRMLER)

—see English version below—

Die 1957 in Celle geborene Musikerin, DJane und Künstlerin Gudrun Gut gilt als Institution der Berliner Musikszene und ist es leid, nur auf ihrer Zeit bei den Einstürzende Neubauten angesprochen zu werden. Seit den 80er Jahren erfindet sie sich kontinuierlich neu, sei es mit ihrem Label Monika Enterprise, das dieses Jahr sein 20-jähriges Jubiläum feiert oder mit ihrem Projekt Gut und Irmler, eine Kooperation mit dem Faust-Organisten Hans-Joachim Irmler. Ein Gespräch über Frauen im Musikbusiness, politischer Kunst und die alte Liebe zu Hannover.

Marvin Dreiwes: Hand aufs Herz, hast du von Hannover schon vor der Expo 2000 gehört?

Gudrun Gut: Lacht. Auf der Expo hatte ich damals sogar aufgelegt. Ursprünglich komme ich aus Celle und hatte früher einen Freund in Hannover und war öfters hier. Und damals 1980 haben wir mit Mania D. als Vorgruppe von DAF gespielt. Aber das war der einzige Hannover-Gig für mich. Also endlich mal wieder Hannover.

MD: Wenn nicht mit Gut und Irmler mit welchem Projekt wärst du sonst gern zu den theaterformen gekommen?

GG: Mit der Monika Werkstatt unserem neuesten Projekt. Dort arbeiten wir mir mit vier bis fünf Künstlerinnen aus dem Monika/Moabit-Umfeld zusammen. Wir spielen Stücke von unserem Solo-Programm aber erarbeiten auch gemeinsam neue Ideen. Solo würde ich natürlich auch gern in Hannover spielen, aber das hat sich noch nicht ergeben. Meine Gage ist wahrscheinlich zu hoch. Lacht.

MD: Was war das letzte Theaterstück, das du mit Begeisterung gesehen hast?

GG: Oh, was von René Pollesch, das finde ich ganz gut. Obwohl ich nicht so oft ins Theater gehe. Eine Freundin von mir arbeitet bei der Volksbühne, die mich immer zu Stücken einlädt. Nur leider habe ich zu selten Zeit dafür. Dabei finde ich es spannend, wie das Theater eine Kunstform ist, bei der mehrere Künstlerinnen so intensiv für einen begrenzten Zeitraum zusammenarbeiten, wo Musik, Bild und Sprache aufeinandertreffen. Und wenn schließlich die ganzen Parts stehen und die Dekoration aufgebaut wurde ist schon wieder alles vorbei. Theater hat da etwas unheimlich Flüchtiges.

MD: Hast du jemals gefunden, wonach du als Künstlerin suchst?

GG: Immer mal wieder. Das sind dann Stücke, die ich heute noch gut finde. Zum Beispiel Garten. Da finde ich den Text klasse und ich wusste schon als ich ihn geschrieben habe, dass er genau passt, dass ich den richtigen Twist gefunden habe.

MD: Welche Bedeutung hat für dich der Wechsel zwischen Solo-Projekten und Kollaborationen?

GG: Das ist für mich ganz wichtig. Ich will nicht sagen, dass Soloprojekte egomanisch sind, aber es ist schon sehr demanding an einen selbst. Bei Kollaborationen gibt es ein Feedback, da passiert mehr. Man wird immer wieder gekickt und bekommt Inspirationen. So war es auch mit Joachim Irmler. Bei meiner Arbeitsweise werkele ich eher lange an Stücken und versuche sie wirklich fertig zu machen. Joachim dagegen ist da ganz der freie Improvisator.

MD: Der Titel eures nächsten Albums soll „10 Prozent“ oder „90 Prozent“ lauten. Damit spielt ihr auf den Umstand an, dass 10 Prozent der Weltbevölkerung 90 Prozent des Weltvermögens besitzen. Wie kam es zu dem Titel?

GG: Nur weil der Kommunismus tot ist, heißt das nicht, dass wir diese Ungleichheit hinnehmen müssen, da hab ich einen kurzen Text für einen Track geschrieben. Ursprünglich sind auf dem Album viele Stücke rein instrumentell. Aber da habe ich gedacht, „jetzt reicht’s“.

MD: Dabei würdest du dich selber nur ungern als politische Künstlerin bezeichnen.

GG: Ich finde, dass politische Kunst gerade im Kontext der Musik etwas besetzt ist. Das geht dann schnell in Richtung Singer-Songwriter, wo die Texte gleich weltverbesserisch werden und sagen: „Du musst jetzt auf die Straße gehen“. Natürlich kann man mit guten Texten eine politische Message bringen, doch Musik hat so viel mehr zu bieten. Sie kann dem Publikum einen Anreiz geben, weiterzudenken oder einfach nur eine Energie geben. Sie hat eine emotionale Stärke, wie kaum eine andere Kunst.

MD: Wie schätzt du gegenwärtig die Situation für Frauen in der Musikindustrie ein?

GG: Im Augenblick liegt die Frauenquote in der Musikindustrie bei ungefähr zehn Prozent. Das ist ein Ungleichgewicht, was ich nicht akzeptieren kann.

MD: Gegen diesen Missstand hast du immer wieder angekämpft. Hast du das Gefühl, dass deine Bemühungen in dieser Richtung etwas bewirkt haben?

GG: Ich bin ja nicht die Einzige, die sich unwohl fühlt. Wenn sie jung sind, denken viele Künstlerinnen in der Musikszene noch, dass alles okay sei. Dann merken sie, dass eben gar nichts okay ist. Wenn du dir die Line-ups von Festivals anschaust, siehst du nur Männer. Inzwischen ist das etwas besser geworden, weil vielmehr pressure zu spüren ist. Die Transmediale zum Beispiel hat letztes Jahr die 50-Prozent-Quote eingeführt. Das hat einen großen Unterschied gemacht, es war plötzlich ein anderes Feeling – auch beim Publikum.

“Just because communism is dead…” Interview with Gudrun Gut (GUT UND IRMLER)

_Gudrun Gut, a musician, DJane and artist born in Celle in 1957, is considered an institution of the Berlin music scene and is fed up of only being asked about her time in the famous German industrial band, Einstürzende Neubauten. Since the ‘80s, she has continually reinvented herself, whether that be with her label Monika Enterprise, which celebrates its twentieth anniversary this year, or with her project Gut und Irmler, a cooperation with the organist player from the band Faust, Hans-Joachim Irmler. _

A conversation about women in the music business, political art and her old love for Hannover.

Marvin Dreiwes: Hand on your heart, had you heard of Hannover before the Expo 2000?

Gudrun Gut: Laughs. Actually I DJed at the Expo back then. I originally come from Celle and I used to have a boyfriend who lived in Hannover, so I was here quite a lot. And back in 1980, we played as support to DAF with my band Mania D. But that was the only Hannover gig I played. So I’m finally back in Hannover.

MD: If you hadn’t come with Gut und Irmler, which project would you have liked to come to Theaterformen with?

GG: With the Monika Werkstatt, our latest project. We work with four or five women artists from the Monika/Moabit circle there. We play pieces from our solo repertoire, but work on new ideas together too. Of course, I’d love to play solo in Hannover, but it hasn’t happened yet. I’m probably too expensive. Laughs.

MD: What was the last play you saw that you really liked?

GG: Oh, something by René Pollesch, I think he’s really good. Although I don’t go to the theatre that often. A friend of mine works at the Volksbühne, she’s always inviting me to shows. Unfortunately, I rarely have time to go. Even though I think it’s so interesting how theatre works as an art form, where so many artists work together so intensely for a certain period of time. And then in the end when all the parts are finished and the set is built, it’s all over. Theatre has something unbelievably fleeting about it.

MD: Have you ever found what you were looking for as an artist?

GG: Now and again. They’re the pieces that I still think are good today. Like Garten. I think the lyrics are great and when I wrote it I already knew that it fit perfectly, that I’d found the right twist.

MD: How important is it for you to switch between solo projects and collaborations?

GG: It’s very important for me. I don’t want to say that solo projects are egomaniacal, but they are very demanding on you. In collaborations, you get feedback, more happens. You keep getting pushed and you get inspiration. That’s how it was with Joachim Irmler too. The way I work is that I tend to tinker away quite a long time at pieces and really try to finish them properly. Unlike me, Joachim is very much a free improviser.

MD: The title of your next album is supposed to be “10 Prozent” (ten percent) or “90 Prozent” (ninety percent). This is a reference to the fact that ten percent of the world’s population owns 90 percent of global wealth. How did you come up with the title?

GG: Just because communism is dead, it doesn’t mean we just have to accept inequality, so I wrote some lyrics for a track. Originally, many of the songs on the album were purely instrumental. But then I thought, “It’s enough.”

MD: Even though you don’t like to describe yourself as a political artist.

GG: I think that political art, especially in the music scene, is a bit overdone. It can quickly go in the direction of singer-songwriters, where the lyrics are all bleeding-heart idealism and say: “You have to go out onto the streets now.” Of course, with good lyrics you can deliver a political message, but music has so much more to offer. It can inspire the public to think differently or just give them a kind of energy. It has an emotional strength that almost no other art form has.

MD: What do you think of the situation for women in the music industry today?

GG: At the moment, the quota of women in the music industry is around ten percent. That’s a level of inequality I can’t accept.

MD: You’ve fought against this terrible situation again and again. Do you feel like your efforts have made any difference?

GG: Well, I’m not the only who feels this is wrong. When they’re young, lots of women artists in the music scene still think everything’s fine. Then they realise that nothing is actually fine. If you look at the line-ups of festivals, you only see men. It’s gotten a bit better by now, because there’s a lot more pressure. _Transmediale _festival, for example, introduced a 50 percent quota last year. That made a big difference, there was suddenly a different feeling – with the public too.

Text/Interview: Marvin Dreiwes Foto: Kamaldeep Übersetzung: Bochert Translations (Anna Galt)

#gudrungut #hans-joachim irmler #faust #theaterformen17 #stageblogger #theater #feminismus #festival #hannover #theaterformen #monikaenterprise #interview #frauenquote #politik #musik

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cureforthe-ish · 7 years

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The This

I liked it better when it was just me and you with a bottle of blue bubbles floating up past our airways caught, trapped in our movements past what we once thought we knew about rejects to be instead thought of as the disrespected survivors of the consequences we brought on our self portraits always stood tall, and still, with no smiles past the hour mark of photography landscape, oh what a beautiful scene god made when he made you ever think in colors? I often wonder what a rainbow feels like tastes like really looks like when you’re not looking at it from the outside but instead it’s from the inside that we must find our changing altitudes and behaviors all the bad kinds is what I’d say was my best trait back when playing with my dads handguns were my favorite hobbies I’ve had many thoughts about what comes after this next sentence like am I to be imprisoned for the wrongs that I did no such thing I’m innocent like the Babylon incident I’m speaking languages I’ve only now been presented with all of this might and power what am I hearing now and I’m hearing voices come to me in the form of insects and am I even listening to music with the lights out playing truth or dare with a text board keys and rings are jingling like a baby so amusing to be one with thy self help I need somebody help you know I need somebody help you know I need some one two three four five six seven eight nein, ich bin nicht hier jetzt und habe ich keine ahnung wo mein Kopf is this the way to treat a lady and The tramp who aught to believe in magic in a young girls heart attack parade is filled with lollipops and marmalade the merermaids and I are so happily rowing ever after this I think I’ll fall a sleep deprived mind gone rest less, work harder why bother brother sister mother father I could’ve killed myself if only I were taller couldn’t reach the kitchen sinking in sink drowning in drown down down down down river floating can’t swimmingly it went swimmingly well when you consider my circumstance and I don’t have any floaties or toys to play with. It could’ve been much better than this surely or could he be greater than this no really the greatest of gods creation is sitting upright on the toilet seat spinning and he could’ve taken just one more hit but he fell asleep before over dos-e-do around the water hole and ashes to ashes we all fall is coming sooner than expected the leaves are already changing color, oh how I wonder wander wether what you would have could have should have been if you had only let me love thy neighbor unforgivingly and always hate with care for it is us who rarely speaks about the dog treats that we eat when no ones looking anything up cause goggles only reach so far far away in a distant land before time is of the essence, herbal medicine man could have come better prepared for this. for this. The this.

#new #poetry #poet #poem #prose #words #rambling #spilledink #spilled words #spilled thoughts #spilled poetry #spilled writing #crazy #creepy #creative #icecream #heroic #rainbows #lollipops #cheese

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zpomnicore · 7 years

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About this blog, life and other overrated bullshit (German dadrunter)

Thank you for wasting your time by following shitty musicblogs like this and grabbing dirty badmade music you don´t want to listen anymore tommorrow and never again. I do the same. Sometimes. Now here comes the surprising “i am getting older and have 20 new children and police says i should stop my drugabuse a bit because it makes me buying sexy nuclear weapons in the street instead of looking for a job, wanking and bring the trash out to the spam folder” line. Done. Another: I am talking like an average Americanised middleclass idiot yet, now. Shit. Lets stop this. But how? Uhm... don´t know. Some other ideas and preferences:

1. I posted too much average or overrated bullshit here the last time. This time shall be over now. Quantity is also overrated. You know the big names of the game, yet, now. If not, skroll the blogarchieve and just listen to the 1300 audios I´ve posted, then you will know. Or ask an expert.

2. I want to make (ad) stickers for this blog in June. If you´re interested, just write a mail to horrorrrgrrrl at web dot de (guess there is not so much interest so I can send you a package with some stickers for free if you give your postal adress, but I don´t promise for free, but that the first 10 people will get a free package, that would be yet 22% of my followers [incl. bots and other strange beeings with sexual explicit material blogs following this blog]). In worst case I will tell you “sorry, give cash or stay stickerless.”

3. Speedcore becomes fashion. Its obvious. Look at all these suckers now uploading shitty fuckshit with commercial mellowlines and sexy photos and japanese sweet trendmanga shit and how much clicks some sets have on Youtube and that DJs do speedcoresets at Red Bull sponsored DJ-Competitions and so on. All these “MTV speedcore fashionshow” jokes are lapsed.

You needn´t be a culture philosopher to see that it was very probable this will happen. Anyhow, relax, sit down and enjoy watching how (underground) history repeats, watch hysterical, young people selling their souls for nothing, watch fucked up old people selling their souls and names for a little peace of the shitty pink cake, watch how another subculture will go down, it hadn´t that much to offer and “speedcore against racism” didn´t include “against sexism”, “against dumbism” and/or “against staying a drugged narrow-minded asshole all life long”. This was always obvious. +You are not the hardest, sickest and most respected undergroundperson in the world anymore, if you wear a “speedcore-something” T-Shirt now. And if you wear it on your marriage, you will stay a fucked up fool. Yet because marrying is for fucking pussies and you can´t conceal this. Marriage is in general conservative bullshit and an important column of a fucked up repressive system that eats your soul as the sellout of subcultures, cultural appropriatation, ignoring sexism and other forms of hierachy in one´s (sub-)culture and Red Bull DJ-Contests are. And so on. (Much to say, nothing to add).

Ways to deal with that:

- Get your piece of cake! Make a facebookaccount that contains “speedcore” or shitty folders on Soundcloud, connect it with stuff or events you want to sell or design longboards with shitty skullframed speedcorelogos (don´t forget to add a weapon!) and add 20000 users whos name contains also “speedcore” and/or ”hakkuh”, “noisekick”, “komprex” or “terror”. If you want more clicks on SC, make some “Early speedcore” sets containing the obvious tracks of DOA, Amiga shock force and so on.

- Go Extratone and tell everyone (really everyone) that you are still harder than em all and that you listened to speedcore long time ago. But now its to slow for you. Maybe some will pay attention and suck your genital for this extra hardness. Extratone is part of the game, but some hillbillies & noobs will always think its not. Buy extratone stocks instead of speedcore stocks. Wear an Extratone shirt at your boyfriends marriage. Thats cute.

- Ignore the trend. Well these people at the bar of your party sure aren´t hippsters or just stupid little teenies who try to look hard, its totally cool underground people who know what the shit is like, they will share love with you, they will support you and add fancy filters before uploading the photos of your drugged dancemoves on instagramm they´ll share with thousands of nice looking bots and people, The scene was always full of assholes and fuckheads, so where is the difference? Lets talk about this in some years, again.

- Quit with music! Do sports, get religious or study creative customer based speedcore management on your local university after having saved enough money and done all the other shit, enhancement drugs are healthier than partydrugs some people say.

- Fight the trend! Come to the next party with a baseballbat and destroy all cars and people with Noisekick, Komprex, P.O.S. (Where would you draw the line?) or “Terror Worldwide” T-Shirts or logos, sell ratpoison-interlarded speed and pills (the “true people” are used that, they wont die, only the posers will die!), start pogo each 5 minutes or each Cannibal Corpse-Sample (same), hack accounts of all people using masks, tits and other bullshit in their profiles to “gain” anything, the only thing they gain is death!!!! Make some “dos and don´ts videos, texts and vlogs about prohibited and non prohibited artists, samples, tracknames, logo contents and colours you may wear on a party or on your avatar and look for some sheeps who will obey to all you will preach them. Your sect is the only way to keep the true spirit alive!

-Cry! If this doesn´t help, kill yourself! All our lives, values and identities were based on the power of true speedcore (speedcore will never die, life begins with speedcore and so on...), so how can you deal with the fact that all you believed in and lived for is now rotting away to an average piece of shit? Speedcore was so clean once (you could eat from the dancefloor), it was so beautiful once, so strong and cool and making life worthful, but now they will soon sell shirts with a gameboy that has the word “speedcore”written instead of “Tetris” on the frame on H&M, Zalando and Pimkies, also for kids in 152 and 164, Satan will not help you because he´s the new manager of H&M men´s world, so all you believed in is ridiculous now. You could believe in yourself, but you are just a slave to the rhythm and rhythm is a dancer and your master is now a servant, thank god there´s enough other authorities and illusions left to believe in. Not? Hm...

If you need a better solution call the police or ambulance. My good humour has also gone during the last time.

4. Nothing.

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Scheiße, ich hab garkein Bock jetzt das alles nochmal auf deutsch zu übersetzen. Aber trotzdem. Blogarbeit ist pflicht und ein deutsche Tugend. Ich mag deutsche Tugenden nicht. Das alles motiviert mich nicht. Aber ich will auch nicht jetzt hochskrollen und den Betreff ändern, mein Laptop ist so virenverseucht, daß er beim hochskrollen möglicherweise abscheißt. Also los:

Danke, daß ihr eure Zeit damit verschwendet, beschissenen Musikblogs wie diesem und schlecht gemachter Musik zu folgen. Ich mache das auch. Manchmal. Auf deutsch klingt das alles noch kackiger als auf englisch.

Jetzt kommt eine überraschende “Ich bin älter geworden, habe 20 Kinder mehr und die Bullen sagen, daß ich meinen Drogenmissbrauch redizieren soll, weil ich drauf immer in sexy-Atomwaffen-Straßenhandel verwickelt werde, statt nach einem Job zu gucken, zu onanieren und den Müll raus in den Spamordner zu bringen” Zeile. So, fertig. Noch eine: Ich red inzwischen wie irgendein amerikanisierter Durchschnittsvollidiot (auch als Affin kann man Frack tragen). Scheiße, Leute. Das muss aufhören. Aber wie? KP. Ein paar Ideen und (...äh, wie bersetz ich “Preferences”? Das war eh schon falsch, das Wort, aber das andere Wort hatte ich vergessen):

1. In letzter Zeit hab ich viel zu viel durchschnittlichen Bullshit und Zeug, das zuviel Beachtung bekommt, gepostet. Die Zeit ist ab jetzt vorbei (ab diesem Post). Masse wird überschätzt. Ihr kennt jetzt die großen Namen im Game. Wenn nicht, hört einfach nochmal die 1300 Posts durch, dann wisst ihr sie. Oder fragt einen Experten.

2. Ich mach Sticker für diesen Blog. bei Interesse einfach mal an horrorrrgrrrl ätt web de schreiben. Rest mit Übersetzerin (das wird voll geil jetzt):

Wenn Sie interessiert sind, einfach eine Mail an Web horrorrrgrrrl Schreiben dot de (denke, es ist nicht so viel Interesse, so kann ich Ihnen ein Paket mit einigen Aufklebern senden kostenlos wenn sie ihre Anschrift geben, aber ich habe nicht kostenlos, aber die ersten 10 Leute werden nach dieser Blog] erhalten Sie gratis ein Paket, das wäre noch 22% meiner Jünger werden [inkl. Bots und andere seltsame Mensch mit sexuellen explizites Material Blogs). Im schlimmsten Fall Ich werde Ihnen sagen, "es tut uns leid, Bargeld oder Aufenthalt stickerless geben."

3. Speedcore wird Mode. Seine Hand. An alle diese Sauger jetzt hochladen shitty Fuckshit mit kommerziellen Mellowlines und sexy Fotos und japanische Süße trendmanga Scheiße aussehen und wie viel Klicks einige Sätze haben auf Youtube und die DJs tun speedcoresets bei Red Bull dj-Wettbewerben gefördert und so weiter. Alle diese "MTV speedcore Fashionshow "Witze sind nichtig.

Sie brauchen nicht eine Kultur Philosoph sein, um zu sehen, dass es sehr wahrscheinlich war dies geschehen wird. Jedenfalls, entspannen Sie sich und genießen Sie, wie (U-Bahn) Geschichte wiederholt, beobachten Sie hysterisch, junge Menschen, die ihre Seelen für nichts achten, Abgefuckte alte Menschen ihre Seelen und Namen verkaufen für ein wenig Frieden der shitty rosa Kuchen, beobachten, wie eine andere Subkultur nach unten gehen wird, hatte es nicht so viel zu bieten und "speedcore gegen Rassismus" nicht "gegen Sexismus", "Gegen dumbism" und/oder "gegen eine Droge beigemischt Engstirnigen alles Leben Arschloch long". Dies war immer auf der Hand. Sie sind nicht der härteste, Krankste und angesehensten undergroundperson in der Welt mehr, wenn Sie eine "speedcore Verschleiß-etwas" T-Shirt. Und wenn du es tragen auf ihre Ehe, werden Sie eine abgefuckte Narr bleiben. Doch weil das Heiraten ist für fucking pussy und Sie können dies nicht verbergen. Die Ehe ist in der Regel konservativ Bullshit und eine wichtige Säule einer Abgefuckte repressiven System, dass Ihre Seele frisst wie den Ausverkauf von Subkulturen, kulturelle appropriatation, ignorieren, Sexismus und anderen Formen der Hierachie in der (Sub-) Kultur und Red Bull DJ-Wettbewerbe sind. Und so weiter. (viel zu sagen, nichts hinzuzufügen).

Weisen Sie das beschäftigen:

- Holen Sie sich Ihr Stück vom Kuchen! Machen Sie einen facebookaccount, enthält "speedcore" im Namen oder shitty Ordner auf Soundcloud, mit Material oder Veranstaltungen Sie wollen verkaufen oder longboards Design mit shitty verbinden skullframed speedcorelogos (vergessen Sie nicht, eine Waffe hinzuzufügen!) und 20000 Benutzer whos Name hinzufügen enthält auch "speedcore" und/oder "hakkuh", "noisekick", "komprex" oder "Terror". Wenn Sie mehr Klicks auf Sc möchten, stellen einige "Frühe speedcore" Datensätze, die offensichtliche Spuren von DOA, Amiga Schock tritt und so weiter.

- Gehen Sie Extratone und erklärt jeder (wirklich jeder), dass Sie noch härter sind als Em All und, dass Sie zugehört längst Speedcore. Aber jetzt sein für Sie zu verlangsamen. Vielleicht werden einige Aufmerksamkeit und Ihre genitalen für diese zusätzliche Härte saugen. Extratone ist Teil des Spiels, aber einige Hinterwäldler & noobs wird immer der Meinung sein nicht. Extratone Aktien kaufen, anstatt speedcore Bestände. Eine extratone Shirt an Ihre Freunde, ehe tragen. Das ist niedlich.

- Den Trend zu ignorieren. Auch diese Menschen an der Bar Ihrer Feier sicher nicht Hippsters sind oder einfach nur dumme kleine Teenies, die versuchen, schwer zu suchen, seine total cool u-Menschen, die wissen, was die Scheiße ist wie, Sie werden mit ihnen Liebe teilhaben, werden Sie sie unterstützen und Fancy Filter hinzufügen, bevor Sie mit dem Hochladen der Fotos von euren betäubten dancemoves auf instagramm sie mit Tausenden von gut aussehende Bots und Menschen teilen, die Szene war immer voller Arschlöcher und fuckheads, also wo ist der Unterschied? Lassen Sie uns darüber sprechen diese in einigen Jahren wieder.

- Beenden Sie mit Musik! Sport tun, erhalten Sie religiöse oder kreative Kunden speedcore Management auf Ihrem lokalen Universität studium nachdem Sie genug Geld und alle anderen scheiße gemacht gespeichert, Verbesserung Drogen sind gesünder als partydrugs einige Leute sagen.

- Zerstören Sie Der Trend! Kommen Sie auf die nächste Party mit einem baseballbat und alle Autos und Menschen mit Noisekick, komprex, P.O.S.-ZERSTÖREN (Wo würdest Du die Linie zeichnen?) oder "Terror Weltweit" T-Shirts oder Logos, Ratpoison verkaufen - blödsinnige Geschwindigkeit und Pillen (die "wahren Menschen" verwendet werden, dass Sie nicht sterben, nur die Poser wird sterben!), start Pogo jede 5 Minuten oder jede Cannibal Corpse-Sample (Gleichen), hack Konten aller Personen, die Masken, Titten und anderen Bullshit in ihren Profilen zu profitieren." "Alles, das Einzige, was Sie gewinnen, ist der Tod!!!!!!! Einige "Dos und Don'ts, Videos, Texte und Vlogs über verboten und nicht verboten Künstler, Muster, tracknames, logo Inhalt und Farben können Sie auf einer Party oder auf deinen Avatar tragen und für einige Schafe, die alle werden sie predigen sie gehorchen aussehen wird. Ihre Sekte ist der einzige Weg, der wahre Geist lebendig zu halten!

-Heule! Wenn das nicht hilft, sich selbst töten! Unser aller Leben, Werte und Identitäten wurden auf der Grundlage der Macht der wahren speedcore (speedcore wird nie sterben, Leben beginnt mit speedcore und so weiter…), so wie können Sie mit der Tatsache, dass alle, die Sie geglaubt und lebte jetzt weg ist Fäulnis auf durchschnittlich Stück Scheiße? Speedcore so einmal sauber war (man konnte von der Tanzfläche essen), es war so schön, so stark und cool und kostbare, aber jetzt werden sie bald T-Shirts mit einem Gameboy, hat sich das Wort "speedcore" geschrieben statt "Tetris" auf dem Rahmen auf h&m, Zalando und pimkies Verkaufen, auch für Kinder in 152 und 164, Satan wird Ihnen nicht helfen, weil er der neue Manager von H&M für Männer Welt, also ist alles, was Sie glaubten an jetzt lächerlich ist. Man könnte glauben Sie an sich selbst, aber sie sind nur ein Sklave der Rhythmus und der Rhythmus ist ein Tänzer und dein Meister ist jetzt ein Knecht, Gott sei Dank, es gibt genügend andere Behörden und Illusionen Links zu glauben. Nicht? Hm…Wenn Du eine bessere Lösung benötigen, die Polizei oder Krankenwagen rufen. Mein guter Humor hat auch in der letzten Zeit gegangen

.4. Nichts.

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space--cadet-glow · 5 years

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Translation: “The Minish Cap” in German, Part 16: Continuing the Journey

After tangoing briefly with Vaati, we wind down and do a bunch of miscellaneous stuff. Like more sword-training. Great. Here is my translation of the German version of "The Minish Cap" to English!

My translation key: DT: „direct translation" (translated word for word) EQ: “English equivalent” (as in, as close to an English-sounding sentence as it’s gonna get) DT/EQ: „"direct translation/English equivalent" (for when the DT is so similar to an EQ that it’s practically English already) OE: “official English (translation as given in the European English version of "The Minish Cap”)“ (NOTE:) "anything I need to point out” (exactly what it says on the tin) BG: „backwards German" for the Minish language in reverse form

My translation work under the cut.

Ezelo: „Du kennst doch die Legende der Minish, nicht wahr?" DT: „You know still the legends (of) the Minish, not true?" EQ: "You know about the legends of the Minish, right?" OE: "You know the legends, of course." (NOTE: Idiomatic, and could have even come out as "You know about the legends of the Minish, do you not?")

Ezelo: „Die Minish übergaben einst den Menschen das Licht und das Schwert." DT: „The Minish bequeathed once (to) the humans the Light and the Sword." EQ: "The Minish once bequeathed the Light and the Sword to the humans." OE: "The gifts the Picori gave the humans..."

Ezelo: „Das Schwert der Minish und das Force." DT/EQ: „"The Sword (of) the Minish and the Force." OE: "What you call the Picori Blade was the first of these gifts. The second..."

Ezelo: „Force ist grenzenlose Zauberkraft! Vaati darf sie nicht erlangen!" DT: „Force is limitless magic power! Vaati must it not obtain!" EQ: "Force is limitless magic power! Vaati must not obtain it!" OE: "Well, you call it light force, but it is a source of limitless magical power."

Ezelo: „Ich kam in die Welt der Menschen, um Vaati aufzuhalten." DT: „I came to the world of the humans, in order Vaati to stop." EQ: "I came to the world of the humans in order to stop Vaati." OE: "If Vaati were to get it now, it would be devastating. I came to the world of men hoping to stop Vaati,"

Ezelo: „So trafen wir uns im Wald. Ich werde wohl mit dem Fluch leben müssen." DT: „So meet we us in (the) Forest. I will probably with the curse live must/have." EQ: "So we met in the Forest. I will probably have to live with the curse." OE: "and I met you in the woods. But it seems we won't be breaking the curse on me anytime soon." (NOTE: If the "honourable" line is my favourite of German Vaati's, then THIS one is my favourite of German Ezlo's. ...No, Ezlo! You won't have to live with the curse!!!)

Ezelo: „Doch Prinzessin Zelda kann gerettet werden! Mit dem Heiligen Schwert!" DT: „But Princess Zelda can rescued become! With the Holy Sword!" EQ: "But, Princess Zelda can be rescued! With the Holy Sword!" OE: "However, with the sacred blade, we can certainly restore Princess Zelda."

Ezelo: „Es ist meine Schuld, dass es überhaupt so weit kommen konnte." DT: „It is my fault, that it ever so far come could." EQ: "It is my fault that it could ever come so far." OE: "I'm sorry. All that has happened has been due to my own pride. My folly." (NOTE: Basically, what he's saying is, "It is my fault that it even got this far at all.")

Ezelo: „Deshalb werde ich dir helfen und alles tun, was in meiner Macht steht." DT: "Therefore will I (to) you help and everything do, what in my power stands." EQ: "Therefore, I will help you to do everything within my power." OE: "I must rely on you, on your power, until we've put an end to Vaati."

Ezelo: „Gut, Link! Genug gesprochen! Lass uns das nächste Element suchen!" DT: „Well, Link! Enough speaking! Let us the next Element seek!" EQ: "Well, Link! Enough speaking! Let's seek the next Element!" OE: "Well, Link, enough fairy tales! We must search for the next element!"

ITEM GET: „Großen Roten Rubin (= 200 Grüne Rubine) erhalten! Grins!!!" DT: „Big Red Rubin (= 200 Green Rubine) received! Grin/Smirk!!!" EQ: "Received a big red Rubin (= 100 green Rubine)! Grin/Smirk!!!" OE: "You got 200 Rupees! Your face is beaming!" (NOTE: Okay, this is a weird one. „Grins" is from „grinsen", which means to "grin" or to "smirk". The way it is written is like a sound effect/action cue on Link's part, as in, he's smirking when he found it, which is weird considering all the rest of the "Ruppee get" scenes had actual exclamations of joy and not an implied action/movement. At least the English verison said "your". Strange.)

Aiya: „Ein Bumerang. Das macht 300 Rubine. Eine Große Hilfe bei deinen Abenteuern." DT/EQ: „"A Boomerang. This costs 300 Rubine. A big help with your adventures." OE: "That boomerang is a real bargain at 300 Rupees."

Aiya: „Kaufst du das?" DT: „Purchase you this?" EQ: "Will you purchase this?" OE: "Will you buy it?"

POSSIBLE REPLIES: „Ja." oder „Nein." DT/EQ: „"Yes." or „"No." OE: "Buy" or "Don't buy"

ITEM GET: „Bumerang erhalten! Er kommt immer zurück - ein tolles Ding!" DT: „Boomerang received! It comes always back - a terrific thing!" EQ: "Received the Boomerang! It always comes back - a terrific thing!" OE: "You got a boomerang! This well-crafted weapon returns when thrown!"

Aiya: „Danke, dass du so viele Rubine ausgegeben hast!" DT: „Thanks, that you so many Rubine spent have!" EQ: "Thanks for spending so many Rubine!" OE: "Well! You ARE a big spender, aren't you? Thank you!"

Maximus: „Ich bin Maximus, der wahre Meister der Schwertkunst von Hyrule!" DT/EQ: „"I am Maximus, the true Master (of) the Sword-arts of Hyrule!" OE: "Believe not what others tell you! I am the true master swordsman of Hyrule!"

Maximus: „Wenn du bei mir trainierst, wirst du schnell Fortschritte machen!" DT: „When you with me train, will you quickly progress make!" EQ: "When you train with me, you will quickly make progress!" OE: "My name is Grayblade, and if you train with me, you will learn much!" (NOTE: Maximus = Grayblade.)

Maximus: „Bist du willens, bei mir zu trainieren?" DT: „Are you willing, with me to train?" EQ: "Are you willing to train with me?" OE: "So? Would you like to train here?"

POSSIBLE REPLIES: „Ja bitte." oder „Nein danke." DT/EQ: „"Yes, please." or „"No, thank you." OE: "Please" or "No, thanks"

Maximus: „Wohlan. Ich werde dich die Technik des Wirbelhiebes lehren!" DT: „Now then. I will you the Technique of (the) Swirl-thrust teach!" EQ: "Now then. I will teach you the Swirl-thrust technique!" OE: "You will learn the amazing Roll Attack!!" (NOTE: HOW IN THE WORLD IS "SWIRL-THRUST" THE GERMAN EQUIVALENT FOR "ROLL ATTACK"?!)

Maximus: „1. Drücke (Steuerkreuz) und R für eine Vorwärtsrolle." DT/EQ: „"Press (D-Pad) and R for a forward-roll." OE: First!! Roll with (D-Pad) and R..."

Maximus: „2. Drücke kurz vor dem Aufstehen den Knopf für das Schwert." DT: „2. Press briefly before the stand up the button for the Sword." EQ: "2. Briefly press the button for the Sword before you stand up." OE: "Second!! As soon as you get up..." (NOTE: Yes, the English version cuts off abruptly like that.)

Maximus: „3. Du zückst das Schwert mit einem Schrei!" DT/EQ: „"3. You whip out the Sword with a scream!" OE: "Third!! Scream "Hiyaa!" and swing your sword!"

Maximus: „Dies ist der Ablauf!" DT/EQ: „"This is the procedure/process!" OE: "That's all, young swordsman!!"

Maximus: „Hast du das verstanden?" DT: „Have you that understood?" EQ: "Did you understand that?" OE: "Do you understand?"

POSSIBLE REPLIES: „Ja." oder „Nein." DT/EQ: „"Yes." or „No." OE: "Yes" or "No"

Maximus: „Hohoo! Gute Antwort! Du bist ein guter Schüler!" DT/EQ: „"Hohoo! Good answer! You are a good student!" OE: "Hoho! Well answered! You have much promise!"

Maximus: „Doch Schwerttechniken muss man mit dem eigenen Körper erlernen." DT: „But Swordtechniques must one with the own body learn." EQ: "But one must learn Sword-techniques with their own body." OE: "But one must feel the technique, not just hear about it!"

Maximus: „Ich mache deinen Körper zur Marionette und lasse dich die Technik ausführen!" DT: „I make your body to the puppet and let you the technique perform!" EQ: "I will make your body a puppet and let you perform the technique!" OE: "That's why I will now possess your body so as to demonstrate the technique!"

Maximus: „Nun also, die Marionettentheater von Meister Maximus! Sehe und staune!" DT: „Now so, the Puppets-theatre of Master Maximus! See and marvel!" EQ: "So now, the Puppet-theatre of Master Maximus! See and marvel!" OE: "I call this the Grayblade Switcheroo technique of training!" (NOTE: Ahh, why does he get a "Theatre", but Swiftblade is stuck with a "Technique"?)

Maximus: „Eins, zwei, drei..." DT/EQ: „"One, two, three..." OE: "Watch this!! Urrngh!!"

Maximus: „Marionette nun sei!" DT: „Puppet now be!" EQ: "Now be a puppet!" OE: "Switch...Ah...Roo!"

Maximus: „So! Nun versuche es selbst!" DT/EQ: „"So! Now try it yourself!" OE: "Phew... Now! You must try it yourself!"

Maximus: „Drücke (Steuerkreuz) und R zum Rollen. Ziehe dann das Schwert..." DT: „Press (D-Pad) and R to roll. Pull (out) then the Sword..." EQ: "Press (D-Pad) and R to roll. Then pull out the Sword..." OE: "Roll with (D-Pad) and R, and then..."

Maximus: „kurz vor dem Aufrichten." DT: „briefly before the raising." EQ: "briefly before you raise." OE: "...swing your sword as you start to get up!"

Maximus: „Sehr gut! Ich überreiche dir diese Schriftrolle der Schwertkunst." DT: „Very good! I hand over to you this Scroll of the Sword-arts." EQ: "Very good! I hand this Scroll of the Sword-arts over to you." OE: "Yes!! Fine work! You know the way! I will now give you this Tiger Scroll!"

Maximus: „Falls du eine Schwerttechnik vergessen solltest, kannst du dort nachsehen!" DT: „In case you a Sword-technique forget should, can you there check back!" EQ: "In case you should forget a Sword-technique, you can check back there!" OE: "If you ever forget this technique, you can review it with this scroll!"

ITEM GET: „Du hast den Wirbelhieb erlernt! Jeder Hieb ist von enormer Kraft!" DT: „You have the Swirl-thrust learned! Every stroke/thrust is of enormous power!" EQ: "You have learned the Swirl-thrust! Every stroke/thrust is of enormous power!" OE: "You learned the secret Roll Attack fighting technique! Slay with one stroke! Aim and release!"

Hohe Feenkönigin: „Willkommen am Brunnen den Abenteuerer!" DT/EQ: „"Welcome to the Well of (the) Adventurers!" OE: "Welcome to the adventurer's spring..." (NOTE: The Great Fairy of Butterflies became the High Fairy Queen. Cool.)

Hohe Feenkönigin: „Ich brauche Rubine! Viele, viele Rubine! Wirf bitte all deine Rubine..." DT: „I need Rubine! Many, many Rubine! Throw please all your Rubine..." EQ: "I need Rubine! Many, many Rubine! Please throw all of your Rubine..." OE: "I need many Rupees right now."

Hohe Feenkönigin: „in diesen Brunnen!" DT/EQ: "„in this Well!" OE: "Please throw all of yours into the spring."

POSSIBLE REPLIES: „Okay." oder „Spinnst du!?!" DT: „Okay." or „Crazy you!?!" EQ: "Okay." or "Are you crazy!?!" OE: "Sure" or "No way"

Hohe Feenkönigin: „Echt?!?" DT/EQ: „"Really?!?" OE: "Really?"

Hohe Feenkönigin: „Du weißt schon, dass du dann überhaupt keine Rubine mehr hast!" DT: „You know already, that you then absolutely no Rubine more have!" EQ: "You know that you will have absolutely no Rubine, then!" OE: "You know that, if you do this, you will have absolutely no Rupees left, right?"

Hohe Feenkönigin: „Wirfst du all deine Rubine hinein?" DT: „Throw you all your Rubine inside?" EQ: "Will you throw all of your Rubine inside?" OE: "Will you really throw them all in?"

POSSIBLE REPLIES: „Ja." oder „Quatsch!" DT/EQ: „"Yes." or „"Nonsense/Yeah, right!" OE: "Yes" or "No" (NOTE: Just like „Quatsch" in „Quatschbirne" meaning "Gibberish/nonsense/rubbish" in the huge Jabber Nut fiasco earlier, here's yet ANOTHER meaning behind „Quatsch": "Yeah, right!")

Hohe Feenkönigin: „Du bist aber lieb! Ich brauche gar keine Rubine!" DT: „You are but lovely/sweet! I need at all no Rubine!" EQ: "You are so lovely/sweet! I don't need Rubine at all!" OE: "You are most kind. I do not really need your Rupees."

Hohe Feenkönigin: „Weil du so freundlich bist, möchte ich dir bei deinen Abenteuern helfen." DT: „Because you so friendly are, would like I (for) you with your adventures help." EQ: "Because you are so friendly, I would like to help you with your adventures." OE: "But I must reward such a kind adventurer with some of my power."

ITEM GET: „Große Geldbörse erhalten! Jetzt kannst du mehr Rubine tragen!" DT: „Big Money-purse received! Now can you more Rubine carry!" EQ: "Received the Big Money-purse! Now you can carry more Rubine!" OE: "You got a big wallet! Now, you can carry more Rupees!"

Hohe Feenkönigin: „Mögest du erfolgreich sein..." DT: „May you successful be..." EQ: "May you be successful..." OE: "May you fare well in your quest..."

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