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gayregis · 3 years

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As much as i hate twn it's been very interesting seeing the surge of interest around the witcher and seeing how people outside of poland/EE interpret it and what they focus on? Like I dont mean this in any negative way at all but in a "its fascinating how people's cultural background shapes how they look at foreign art and it's weird to be part of the original culture that produced it and not the alien culture consuming it like it is with american movies or something" like it's just Fascinating

it is interesting, i don't have much to add as an american, but i think this should be an open discussion. i think cultural background definitely shapes how one sees characters interact, reads lines that were said, etc...

in my experience, what i've appreciated is reading the books once just to get my first impressions, then going through it over the past couple of years with additions and translation notes from a variety of sources (polish mutuals and other eastern european people on here that post about the witcher, r/wiedzmin commentary, random wordpress blogs, etc) to get a better understanding of what's going on in certain contexts and understanding some of the cultural differences. because i believe translator notes do not just begin and end with "this is what this word means," but rather are needed to understand whole characters and scenes, because of a variety of aspects. for translation in the sense of translating words, the syntax and diction changes a lot from the polish to english official UK translation. of course, some change is inevitable because of the way that polish and english grammar works. but in some cases it's so severe that it changes how the prose sounds and in many cases changes how the characters come off. @karanfile has spoken about this, where in english geralt is pretty wordy, whereas in polish geralt is brisk and curt, and it makes them entirely different characters.

here is also, of course, context surrounding cultural references, such as torque saying “goodnight” at the end of edge of the world, or the bounds of reason/limits of the possible with regards to villentretenmerth and sheepbagger. the witcher does draw on a variety of european mythology (and even extends as far as japanese mythology in season of storms), and many tales are utilized and inverted. but i think where an american audience will know sh’eenaz and duke agloval from hans christen andersen’s the little mermaid, we will be completely in the dark when it comes to princess adda, torque... i have seen many american and british reviews of the witcher praising it for its uniqueness and never-seen-before quality in including kinds of creatures from slavic mythology, and i can’t help but chuckle a bit because it’s not really a matter of uniqueness, just that the american and british audience are not familiar with the mythology! plus, since it loses that “familiarity” like these characters are living in a strange, inverted rendition of a story from your childhood, the message highlighted right on the page that “THIS IS A SERIES ABOUT INVERTING FANTASY TROPES” can be missed sometimes (though i also feel like it still remains obvious, with main characters who are blatant inversions of their tropes...)

another thing i have noticed (also spoke about this with karanfile and others in the discord) especially is how love and romance is interpreted by polish and american audiences. i was reading this wordpress article by sylwia of warsaw about the differences between how polish and american cultures concieve of friendship (i was thinking about how geralt calls dandelion his przyjaciel as his first introduction). (also here is another good article by her on the subject). a few things which came to my mind from reading this, and these thoughts are about broad cultures, not individuals!:

americans generally seem to not recognize that “a friend” can mean someone very close. the word “friend” basically stands in for any kind of friendly relationship, you may spoken to someone once or have known them closely for 20 years, and both are your “friend.” it is also suggested usually that one’s friend is at odds with their boyfriend or girlfriend, i.e., it’s usually suggested that people will prioritize their boyfriend or girlfriend over their friend, nevermind how close either relationship might be to their friend (again, there’s only one real word for “friend”). there is also attitude against this, in a counter-culture manner, in which you get the “bros before hoes” type of sayings. this attitude i think affects how many americans see geralt and dandelion’s relationship - i.e., it is read that dandelion is just geralt’s “friend,” so he is not important to geralt, and that being “friends” doesn’t insinuate any closeness, and is “lesser” to romance. this i think also affects how many geraskiers from twn have changed the dynamic between geralt and jaskier in their fanon, because much “happy” or “ideal” geraskier content is of them calling each other pet names, doting on one another, being overly and overtly romantic. geralt and dandelion have never acted like this in either netflix or the books, and in the books where they are actually friends, they do not treat each other like this and there is nothing to suggest that if they had a romantic relationship that their dynamic would change to fit this idea of what romance is like.

similarly, dandelion’s floweriness and “hyper-romance” (i have no idea how else to phrase it) in the books has been interpreted by some american fans as being genuine, cute, sweet, romantic, and admirable -- when it’s pretty clear that the intention is to make him look foolish and absurd. when he flirts with women such as detchka in eternal flame (the landlord’s daughter), he whines some bullshit (UK translation, made even more flowery and out-of-place by david french, “Forest dryad! Sylph! Fairy! O, Divine creature, with eyes like azure lakes. Thou art as exquisite as the morn, and the shape of thine parted lips are enticeingly…”) geralt and dudu (in the form of dainty) cringe at his performance. and this is who dandelion is, he plays with love and acts embarassingly dramatic and forward about it. but to an american audience, this behavior comes off as sweet, romantic, dreamy, desirable... not utterly stupid like it’s intended to?

i also think about geralt and yennefer. this is barring actual qualms about the writing of their relationship itself, but i have also seen american fans say that they do not act like a couple because they are not constantly doting on one another. and of course, misinterpreting yennefer’s sarcasm about the house dream in time of contempt as a genuine response (i do believe she also longed for a home, but was simply teasing geralt for being so optimistic as to think that they could ever achieve something like that, as it seems improbable (especially to her, as she is older than him and has seen more of life)).

bringing it back to what you have said, anon, i think “romance” is something the american audience definitely bangs their fists on the table to demand, and focuses very closely on couple relationships. not that this isn’t the case in ANY other countries’ cultures, but from my experience, a tie in for deep, blinding romance it seems to be essential to american storytelling. this is unfortunate to me because i believe romance is only one element which makes the witcher strong.

this attitude is also highly reflected in netflix’s witcher series, as they did not show how geralt and jaskier are close friends, did not show how geralt is ciri’s father, and did show geralt and yennefer together, BUT with the caveat that they ruined their entire relationship and made geralt insanely dominant, merciless in rebuking and taking advantage of yennefer. romance is prioritized and it’s only a certain type of romance that is...?

i invite more discussion on this post, if anyone else has thoughts, reblog at will

#ask #anon #the witcher #the witcher netflix #me: 'i dont have much to add' / me: [adds]

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