(Spoilers incoming for anyone who didn’t watch 5 and 6 of Hazbin Hotel)
so I watched the newest episodes of hazbin hotel….
I F-CKING KNEW THAT VAGGIE WAS AN EXTERMINATOR SINCE THE PLIOT AIRED
But no, my irl friends were like “she can’t be one, you can’t just call it because Of HeR eYe bEiNg A “X” or because she has a similar looking spear like the angels” = this is why I hate ppl /j
The only things that caught me off guard was how brutally they ripped her wings off like dang-; how Alastor cursed out Lucifer (I didn’t know the man had it in him) and was trying to steal Charlie away from her dad; and how my boi Angel Dust finally gave the middle finger to Valentino
On another random note, I took SO many screenshots of Alastor bullying Lucifer, Vaggie WITH short hair (a masterpiece), Angel and Nifty, and the bois eating popcorn :]
-Ender
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Bookmarks: More Useful Than You Think (FireFox Edition)
RSS feeds are great, but more often than not I don't really want to subscribe to a website, just save the link. This is where bookmarks come in. You're probably already using them for some things, but I tend to see bookmarks treated as messy and impractical.
This is only as true as you make it! There are really great built in tools that allow bookmarks to be organized and easy to access. Better yet, they don't impact performance! You can have a ridiculous amount of bookmarks. This is basic stuff, but I've seen a lot of people not know it's there so:
If your bookmarks look like a digital landfill and you want them to look like this ⬇
You're probably used to navigating bookmarks like this, or directly from your toolbar. It works, but it's annoying.
There's a whole bookmarks sidebar built into FireFox for a cleaner, more useful interface!
This guy! Opens and closes with the click of an icon. If you don't already have it, add it like this:
Just drag it wherever you want it on your toolbar. (And change anything else you want while you're in there.)
Now that you can open the sidebar, you can start organizing your bookmarks however you like. It's as easy as managing files on your computer. Right click for new folder then drag and drop bb.
Folder before and after organizing. Took about 30 seconds.
If the sidebar isn't ~advanced~ enough for you, you'll be pleased to know there's a whole other UI you can access for even easier editing.
0o0 !! love this thing. You'll notice the bookmark I highlighted has a vague ass title. Directory of what? You can quickly edit titles and tags here to make them easier to navigate. The name and the url are separate, so you can title them however you want. You can also export(backup) bookmarks to an html or json file that you store locally. Something you should do every once in a while just in case. It means you can also share these with other people, or transfer between different browsers.
You can also edit bookmarks on the fly by just right clicking them.
Why complain about the lack of resources on the internet when you can start hoarding them in a clean and orderly fashion?
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back on my bullshit (thinking about translation theory in the context of my silly little monster cartoons <3)
(this ended up so so fucking long so i put it under a read more lmao)
specifically thinking about it in the context of like a handful of world/postcolonial lit courses we took and some anth courses
what i mean by that is like
when it comes to just literature there are already so many things that have to be taken into account for translation! let's say you're taking a poem. in its native language, that poem has a sound, a rhythm, a way of communicating that a lot of poetry in a lot of languages do. when you translate it to another language, like english, are you going to translate in a way that preserves the meaning most, or a way that attempts to approximate the meaning while preserving the synesthetic qualities of its sounds?
the homeric epics are a really fun example for comparative translation analysis imo. and i mean fun because there are so many translations of them into english, and at least one madlad decided to make a prose translation of an epic poem. only recently did the first translation of the poem by a woman get published, and that revealed that a lot of biases in the linguistic nuance were kind of getting smoothed over like a crease in clay.
(i have a copy of emily wilson's translation but am not the guy who reads classics in our system, i just write the essays lmao. but she wrote multiple times about the theory of translation she was working with and if you're at all interested in this topic, look her up.)
but even if you aren't translating a text from antiquity and are, say, working with a more contemporary example of literary translation, you still have to bridge the gap between two cultures that may be very different. just a word for word translation may not work too, because figurative language like idioms might not be understood by the language you're translating to.
the amount of cultural knowledge required to sculpt a truly effective translation that preserves the image of the original while making it comprehensible to an otherwise ignorant audience is just. so cool to me. i say this as someone who could never really do translation work myself, on account of not having that kind of complex grasp on another language than my native one, of course, but you don't have to be fluently billingual to understand what i'm talking about here, imo.
another example, and one that i actually wrote comparative analysis on, is work from charles baudelaire's les fleurs du mal ("the flowers of evil"). works of short poetry are effective case studies in what different translations can look like, because translations of baudelaire's poetry still portray the subject matter in a way that is presumably true to the original french. while something may always be lost in translation (there's a saying for a reason there), the philosophy behind one's translation can also highlight one's own reading of a text, and offer a closer insight into said text for foreign audiences (me, it's me, i'm the foreign audience reading charles baudelaire in world lit and going absolutely insane about translation theory).
for my mileage, you end up seeing a paradigm between translations that span between "strict" and "loose," if that makes any sense. a strict translation makes no changes in its translation, preserving the literature in its entirety as it is translated, to the best approximation possible where a direct translation is impossible. a loose translation meanwhile may make more artistic choices in its translation, foregoing certain details in order to better articulate the artistry in the original work.
okay, now, the reason i'm thinking about this today, right now.
in literature this is already a complex subject, but when you get into other forms of art, like animation in the case of this blogs primary topic, there become a lot more moving parts. like with literature, there's going to be the simple fact of looking into a cultural window and trying to communicate that snapshot to foreigners.
with subtitling, you can add things like translator's notes. this is a non-diegetic method of communicating information to your audience, and you can see it present in literature as well (footnotes or endnotes are a frequent addition to many translated works; hell, they're common even in non-translated works). in animated works where there are vocal tracks (like anime openings or insert songs), you can also have subtitles for those, no problem!
however, when it comes to dubbing, you automatically include more elements to juggle in your translation work. you have to take into account individual voice, background tracks, visuals, etc. etc.. the method most dubs handle translating the work often discourages non-diegetic methods of communicating information, so you're less likely to see translator's notes in dub work. sometimes this even includes changing on-screen text so that a foreign audience can read it.
the lengths to which a dubbing company is willing to censor in translation is also, obviously, a conversation worth noting (see again my losing my shit at pinnochimon packing heat). a phenomenon i'm sure we've all noticed when it comes to dubbing (as opposed to most translations of literature i've seen) is that dubs may market to a specific age range in translation. sometimes that may end up defanging a work's themes, or changing them entirely. the censorship of a dub may come out of a cultural difference or hesitance to show certain subjects to a younger audience, but regardless it is part of the theory behind some dub work.
i don't really have a conclusion to this, but it's just in my mind a lot while i'm watching some of these series for the first time subbed. by all means, i don't think dubbing is a bad thing (if anything it's complex), but having the experience of watching the sub is allowing me to do a type of comparative analysis i don't think i've ever had the chance to actively do.
i know that there are folks who have done more thorough comparative analysis work than i'll probably end up doing, of course (there are so many wonderful blogs here on tumblr alone about that meta-analysis). it's just that i'm enjoying engaging with a childhood interest in a way that i suppose i didn't know i wanted to do so badly.
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