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translations-by-aiimee · 3 years

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The Husky and His White Cat Shizun - Chapter 20

Original Title: 二哈和他的白猫师尊

Genres: Drama, Romance, Tragedy, Xianxia, Yaoi

This translation is based on multiple MTLs and my own limited knowledge of Chinese characters. If I have made any egregious mistakes, please let me know.

Chapter Index

Chapter 20 - This Venerable One Will Tell You a Story (Part 2)

Early the next morning, the members of the Chen family walked back from their relatives and saw that the orange tree in their courtyard had fallen down and the oranges were spread all over the ground. There weren't many other residents around here. They were only close with the Luo family. When they thought of how Luo Xianxian drooled over those oranges every day, the Chen family were sure——

The oranges must have been stolen by that bastard child, Luo Xianxian!

Not only did she steal them but she got jealous and chopped down their orange tree!

The Chen family immediately went to Luo Shusheng to complain. Luo Shusheng couldn't bear such humiliation. He immediately called his daughter over and asked her angrily if she stole the oranges.

Luo Xianxian cried and said no.

He asked if she had cut the tree down.

Again, Luo Xianxian said no.

He asked her if she had eaten the oranges.

Luo Xianxian couldn't lie so she had to admit that she did.

Before she could explain, her furious father ordered her to kneel down. She was beaten with a ruler in front of the Chen family. While he beat her, he said: "Raising a daughter is much worse than raising a sun! At such a young age, how could you do such a thing? Shame on you! You disgraced your father! As punishment, you won't have anything to eat today and you'll face the wall for three days. Think about your mistakes and repent--"

"Dad, it wasn't me! It really wasn't me!"

"How dare you talk back to me!"

No one believed her. Although the Lower Cultivation World was in chaos Caidie Town was an exception. The town had always been simple and honest, no one locked their door. What was she supposed to say; that a bloody lunatic ran in in the middle of the night? Who would believe it?

Luo Xianxian's small hands were split open from the beating.

The members of the Chen family looked at her coldly. Only the oldest boy among them, pulling at the corner of his mother's clothes, hesitated to speak.

His mother ignored him and there was nothing he could do about it. The boy's small face scrunched up. He couldn't bear it, and he stood off to the side, unwilling to look anymore.

At night, Luo Xianxian didn't dare go back to her room, squatting under the eaves of her house, standing pitifully.

Her father was a scholar and couldn't tolerate stealing. Moreover, he had a rotten and sour aura, and he was stubborn, unwilling to listen to explanations.

Luo Xianxian's head was dizzy after a day with no food. Suddenly someone whispered to her: "Miss Luo."

Luo Xianxian turned his head and saw a well-groomed head protruding from the edge of the dirt wall. It was Chen Bohuan, the eldest son of the Chen family who tried to help her plead her case earlier.

Chen Bohuan did a couple checks over the dirt wall to make sure no one was watching. He was carrying a hot steamed bun in his arms, and without saying a word, he shoved it into her hand.

"I know you've been standing by the wall all day and haven't eaten anything. Here's a steamed bun. Hurry up and eat it."

"I..." Luo Xianxian had always been shy. She had lived here for several months and had never spoken to her neighbour's son. Now, they were so close together that she inadvertently took a few steps back and banged her head against the wall. Still, she stammered out: "I couldn't. . . Dad won't let me. . . He said. . ."

She was incoherent and couldn't even form a complete sentence.

Chen Bohuan said: "Oh, your father's watching you at all times? What do you care what he's doing? If you're hungry, don't starve yourself. Eat it. If you don't, it'll get cold."

The steamed bun was soft and white, looking so enticing, steam rising from it.

Luo Xianxian looked down and stared for a while, taking a large gulp.

She was so hungry, too. Regardless of whether she was supposed to be a gentleman or not, she grabbed the steamed bun and inhaled it, gobbling it up in no time.

After eating it, she raised her round eyes and rushed to explain to Chen Bohuan: "I didn't cut down the orange tree, and I try to steal any."

Chen Bohuan was taken aback, and slowly smiled: "Okay."

"But they don't believe me. . ." With such an emotional gaze, Luo Xianxian's heart slowly opened, her anger melting away like snow. She wailed, her mouth wide open. She wiped her tears and wept loudly: "None of them believe me. . . I didn't steal. . . I didn't. . ."

Chen Bohuan patted her back: "I know you didn't steal it. Like come on, you stand under the tree and stare at it every day yet you never took an orange. You would've stolen some a long time ago. . ."

"I didn't do it! I didn't do it!" Her crying became more fierce, tears and snot rolling on her face.

Chen Bohuan consoled her: "You didn't do it, you didn't do it."

The two children got to know each other very well.

Later, there was a murder in a neighbouring village. A few nights ago, a bandit covered in blood entered a family's home and wanted to borrow the family's bedroom to sleep. When the man did not agree, the bandit stabbed the family to death. Then, in the room full of corpses, he slept peacefully and leisurely left the next day during the daylight. He left and even left a message written in blood on the wall. He wrote out a large message, detailing everything he had done to make sure the world knew that an evil individual like him existed.

This tragedy immediately spread like wildfire, and soon reached Caidie Town. That was the night Luo Xianxian admitted she had met "Mr. Madman".

Luo Shusheng and the Chen family were speechless.

After the misunderstanding was cleared up, the two families were in much closer contact. The Chen family saw that Luo Xianxian was cute hardworking little beauty. They thought that, based on their current situation, it would be difficult to find a daughter-in-law, so they quickly arranged the marriage of Chen Bohuan and Luo Xianxian. Once they reached adulthood, they would officially be wed.

When Luo Shusheng saw his daughter and Chen Bohuan were good childhood friends, so he readily agreed.

As the days passed, if it weren't for Luo Shusheng's love of elegance and fragrance, then the Chen and Luo families would live lives of poverty and tranquillity as they had originally expected.

Unfortunately, Luo Shusheng accidentally made the "Hundred Butterfly Fragrance Powder".

Although the scent of the powder was nothing special and it wasn't much different from the typical powders in town, it had a benefit that ordinary powders didn't——

It could last for a hundred days with a neverending afterglow.

Hundred Butterfly Fragrance Powder lasted for a long time and it didn't wear off easily. It was exactly what everyday people were looking for in terms of good quality and low price.

Luo Shusheng, Mr. "Everything is inferior; the only excellence is in academia." Even though he made the powder, he didn't want to sell it, thinking that he "would lose his identity."

If he didn't sell it, naturally others will worry about it.

Madam Chen repeatedly tried to get the recipe out of him and urged Luo Shusheng to open a shop, but she was always rejected. After going back and forth, Madam Chen got embarrassed, so she stopped bringing it up, but she silently always kept it in mind.

The year Luo Xianxian reached adulthood, the opportunity came. Luo Shusheng's sickly body had contracted tuberculosis. He suffered for a few days then died. As Luo Xianxian's in-laws, even though she wasn't officially their daughter-in-law yet, they were still close friends, so they got busy helping her arrange the funeral.

Luo Xianxian burst into tears of gratitude. What she didn't know was that Madam Chen had a plan to quietly walk away with the secret powder recipe while she packed up Luo Shusheng's things.

That night, Madam Chen, under the light of a soybean oil lamp, was full of excitement, ready to read the recipe. After only one glance, she was at a loss.

Luo Shusheng's words danced across the page, calligraphy that typically would be considered elegant and unrestrained. She stared at it for a long time, but she couldn't understand half of the words.

She had no choice but to return the recipe quietly.

A few months later, after Luo Xianxian had a chance to grieve, she invited the girl over to their house for dinner and "inadvertently" mentioned the Hundred Butterfly Fragrance Powder in a passing conversation.

Luo Xianxian thought to herself there was no point in keeping the recipe at home. Her mother-in-law treated herself so well. If she wanted it, she'd give it to her.

So she found it her father's things and helped Madam Chen to distinguish the individual characters and sort out the precise recipe.

Madam Chen was ecstatic. When she got the recipe, she and her husband opened a perfume shop together.

Of course, she was still very fond of her gentle and sensible prospective daughter-in-law. The more Luo Xianxian grew, the more beautiful she became. Although her family was unfortunate, her looks were some of the best in town and many young people in the town began to pay attention to her.

A long night is filled with dreams*, Madam Chen thought to herself. They'd need to hurry and secure the marriage.

*(T/N: 夜长梦多 - means that the longer something is put off, the more likely something will happen before you're able to do it)

However, Luo Xianxian just lost his father. According to the custom of Caidie Town, she couldn't get married for three years after the death of her parent.

How could Madam Chen wait for three years? She deliberated and thought of a way--

One day, Luo Xianxian was braiding the hair of the Chen's family young daughter. She had a very good relationship with the youngest Chen daughter. Luo Xianxian pulled the hair over and under and the braid trailed down her back.

Madam Chen walked into the courtyard and called Luo Xianxian to the inner hall. She said to her: "Xianxian, you and Bohuan were childhood sweethearts and had a marriage arranged. Now that your father is gone, you must be lonely. It can't be easy living by yourself. You should be getting married this year. But we have the three-year mourning period, so you can't get married, so I got thinking: if you wait for three years, how old are you going to be?

Luo Xianxian lowered her head. She didn't say anything but she was clever and could guess what Madam Chen was insinuating. Her cheeks grew slightly red.

Sure enough, Madam Chen went on to say:

"Living alone must be so difficult and tiring. How about this - you two get married behind closed doors. No one needs to know. If anyone asks, just say that you're living with your auntie to help care for her and preparing to be her daughter-in-law. This will not only complete the wedding rituals without the worry of being criticized, but also give your father some peace in the underworld. After the three-year period is up, we'll have a beautiful proper wedding for you two, alright?"

Her remarks sounded like she cared about Luo Xianxian. Luo Xianxian was a person who always saw the best in others and would never think badly about someone else so she agreed.

Later, the Chen family made a fortune by selling the Hundred Butterfly Fragrance Powder. They moved out of their old house, bought a large piece of land in the town, built a mansion on it, and became a powerful family.

Luo Xianxian had become a shadow among the many figures of the large household, an infrequent presence.

People in the town thought that Luo Xianxian had been taken in by Madam Chen, so she lived in the Chen house. They didn't know that she was actually married to Chen Bohuan.

Although it wasn't perfect, Luo Xianxian thought that her mother-in-law was doing this for her own good so that people didn't gossip, so she didn't complain. In addition, Chen Bohuan was dear to her, the couple living a sweet and fulfilling life. They only need to wait for the three-year period to pass then everything would return to normal.

But Luo Xianxian didn't wait for the day of the official wedding.

The Chen family business was growing larger and larger. In addition, Chen Bohuan was handsome. Not just in Caidie Town but even the daughters of the big families in the surrounding towns had begun to play with the idea of marrying Young Master Chen. With this development, Madam Chen's mind was racing.

Back then, she decided to secure Luo Xianxian because she thought she wouldn't be able to find a good daughter-in-law when they were nothing but a farming family.

Who would have thought that the heavens would bless the Chen family and allow them to soar into high society? Now, when she looked back at Luo Xianxian, she felt that the girl was not good-looking enough and she wasn't intelligent enough. Like her dead father, she was unpleasant to look at.

She regretted it a bit.

The appearance of Yao Qianjin turned her "a bit" into "a lot".

Yao Qianjin is the daughter of the county magistrate. She loved men in positions. One day she returned from hunting on a horse. She passed by an incense shop and picked out a few fragrance powders. It didn't matter what fragrances she picked out, but she caught a glimpse of the busy handsome young man in the hall.

The gentleman was no other than Luo Xianxian's husband, Chen Bohuan.

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#2ha novel #2ha translation #2ha #the husky and his white cat shizun translation #the husky and his white cat shizun #english translation #chinese bl #chinese novel #bl novel #danmei novel #danmei #yaoi novel #yaoi #mo ran #chu wanning #ranwan

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aspoonofsugar · 3 years

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The Maidens: The Cycle of Life and Death

This post is inspired by @hamliet’s alchemy metas... I know nothing about alchemy, but after discussing it with her, this idea came up and I am sharing it on her behalf too.

In short, in alchemical stories (which RWBY apparently is) there are 3/4 phases. Each phase is linked to a specific color:

1) Nigredo (black)

2) Albedo (white)

3) Citrinitas (yellow)

4) Rubedo (red)

That said, often the yellow phase ends up being fused with the red one, so in most alchemical stories there are only three phases. Now, for each phase there is a major death, so there are usually 3/4 key deaths, each one linked to a specific phase.

For example, in Harry Potter there is

a) Sirius BLACK dying

b) ALBUS Dumbledore dying

c) Harry dying and being carried by RUBEUS Hagrid

Let’s highlight that each one of these deaths is especially resonant and important for the story. Sirius dies when Harry discovers about the prophecy. Dumbledore’s death leads to Harry leaving Hogwarts to look for the Horcruxes and finally Harry’s own death leads to Voldemort’s defeat.

What I mean is that the deaths linked to each phase must be resonant and meaningful either in terms of plot or in terms of themes. They must have weight and be felt both by the audience and by the characters.

So far, in RWBY we have had two such deaths:

Pyrrha’s death is linked to Nigredo, while Penny’s to Albedo. Interestingly, both deaths happened to two (supposed to be) Maidens.

This is interesting on multiple levels.

First of all, I have been asked about the Maidens in RWBY here and here. However, Penny’s death helped me gain a new perspective of their overall meaning.

In the first meta I have written this:

In a sense, the story keeps repeating. Salem kills Ozpin, he is reborn and his daughters are victims of the conflict between them.

Because of this, the four Maidens have become one of the many symbols of this endless cycle, which is clealry breaking its protagonists more and more.

This is well conveyed by the Maidens having a season theme. Seasons are in fact linked to the repetition of time aka one of Ozpin’s motifs.

I still think it is a part of the truth, but as for now I think the framing of the series over the cycle is more nuanced. It is a cycle of death and rebirth:

Goodwitch: The Maidens have existed for thousands of years. But much like in nature, the seasons change. No two summers are alike. When a Maiden dies, her power leaves her body and seeks out a new host, ensuring that the seasons are never lost, and that no individual can hold on to that power forever.

Seasons live and die, but new ones are born. It is a death that leads to a new life and that protects life itself since the Seasons are supposed to be Guardians.

This fits with the actual cycle of seasons where “no two summers are alike”, but that also accompanies humans’ lives and makes many human activities possible.

Secondly, both Pyrrha and Penny’s deaths have to do with the theme of choice, which is central to the series:

Ozpin: Maidens choose themselves.

In particular, Pyrrha and Penny’s final choices are two different declination of this idea. At the same time, they are linked to the theme explored by their respective relic as well (in Pyrrha’s case it means that her link to choice is twofold).

1) As the (supposed to be) Maiden of Choice, Pyrrha is given a choice in the Vault of Choice:

Ozpin: You, Miss Nikos... have a choice to make.

(...)

Ozpin: Are you ready? I... I need to hear you say it.

Pyrrha: Yes.

Ozpin: Thank you, Miss Nikos.

She is given some time to think about it and in the end she chooses to accept her new duty. Still, the power is stolen from her and the choice she was given is negated to her:

Pyrrha: But I can help.

Ozpin: You'll only get in the way.

However, this does not stop her:

Red-Haired Woman: She understood that she had a responsibility... to try. I don't think she would regret her choice, because a Huntress would understand that there really wasn't a choice to make. And a Huntress is what she always wanted to be.

Pyrrha’s death is about doing the right thing even if it comes with a high personal cost. She is able to make the choice to keep fighting against an enemy impossible to defeat an arc before our protagonists are strong enough to make it.

This is why... even if she never receives the powers.. Pyrrha is the true Maiden of Choice of the Vale arc. She does not need the powers because deep down being a Maiden is something deeper than that.

Pyrrha embodies the idea that Maidens choose themselves because she chooses to be a Maiden at Heart and dies true to her choice:

Pyrrha: Do you believe in destiny?

2) As the Maiden of Creation, Penny is created anew in the Vault of Creation:

As I have stated in previous metas Creation as a concept is linked to free will. Creations are free to develop and to change independently from their “creators”. This fits Penny’s transformation, who ultimately gives her back the free will that the virus had stolen:

Penny: I...I must...open the Vault. I, I do not want...Ah!

And in the end she uses her free will to make a specific choice:

Penny: Let me choose this one thing.

I have actually a lot more to say about Penny’s death and final choice, but I will write a longer meta about it, so for now let’s just say it has to do with self-actualization.

Penny embodies the idea that Maidens choose themselves because she chooses who she wants to be and how she wants to live.

What is more, her choice has to do with Creation because she saves Winter’s life and also (symbolically) makes her a whole person as well:

Winter: No, Penny, you were always the real Maiden at heart. I was just a machine. Just... following orders.

Penny: You’re my friend.

Winter: Perhaps, but I’m choosing it now. I’ve made it my own. And I take great pride in it.

Winter: You chose nothing. This was a gift.

At the same time, Penny’s sacrifice also saves the people of Atlas and Mantle who are stranded in Vacuo. If Cinder had stolen the power, they would have all died.

As a final note, we are directly told the themes linked to both Pyrrha and Penny’s death back in volume 5:

Ruby: When Beacon fell, I lost two of my friends: Penny Polendina and Pyrrha Nikos. I didn't know them for very long, but that doesn't change the fact that they were two of the most kind-hearted people I have ever met. But that didn't save them. Pyrrha thought that if there was even the smallest chance of helping someone, then it was a chance worth taking. And because of that, she died fighting a battle she knew she couldn't win. And Penny... was killed... just to make a statement.

Pyrrha died to make the right thing.

Penny died the first time as a result of her being objectified, so the second time she herself chose how to end her life in a way she found meaningful.

In short, Pyrrha and Penny’s deaths can be read as the two deaths linked respectively to Nigredo and Albedo. What is sure is that they are meant to be compared and foiled.

All this leads to a question... will we have other two (or one) major death(s) that will be linked to (the yellow and) red phase(s)? Will they be other Maidens?

As for now, I think it is possible, even if not sure obviously.

First of all, I do not know if we are gonna have a death for Citrinitas since from what I understood usually the yellow phase gets conveyed as a part of the Rubedo one. Moreover, if we have it, it might not be linked to a Maiden. After all, another pattern one could find is that both Pyrrha and Penny died at Beacon and so did Ozpin, so maybe he will be the one to die (once and for all?) in the yellow/red phase. However, as for now, I don’t think so and I am gonna theorize that the yellow and red deaths, if they happen, will have to do with the Maidens and will be other declinations of the themes explored above.

As for now, we know nothing of the Maiden of Destruction, so I am not considering her.

Still, there is another Maiden whose arc was left unsolved and who needs to come back in the story:

3) As the Maiden of Knowledge, Raven is told the truth about herself in the Vault of Knowledge:

Yang: Oh, shut up!! You don't know the first thing about strength! You turn your back on people, you run away when things get too hard, you put others in harm's way instead of yourself!! You might be powerful, but that doesn't make you strong.

And it is possible that this self-knowledge will eventually lead her to make a choice, which is what she has failed to do up until now.

If she chooses to sacrifice herself, her death will be a redemptive one and it might come to embody that Maidens choose themselves because they can always change and become true Maidens.

Finally, there is the Rubedo phase, which is the last phase. If we are gonna have a red death, it should be a key one for the whole series and one which leads to its resolution. As for now, I think there is only one character who can pull it off:

4) Cinder is a key character for the whole story. Personally, I think this volume was a turning point for her, but she failed to learn the lessons she needed to learn. What she did was to take these lessons and to twist them in a hypocritical way:

Cinder: I suppose I have only you to thank for one last lesson… Sometimes, if you want to win…you simply can’t do it alone.

And this has made her even more similar to Salem:

Salem: Why....do...you...keep...coming...back?!

Yang: Why do you?!

Penny: Why did you come back?! Why couldn’t you just learn your lesson?!

I would also like to highlight that so far Cinder has failed to learn the lesson of each relic.

In the Vale Arc, it is implied her concept of Destiny and Choice is different from Pyrrha’s. She wants to be “worthy” and to be chosen. Moreover, her idea of agency is linked to stealing others’, just like she stole the Maiden’s power and Pyrrha’s destiny.

In the Mistral Arc, she receives a warning about her Shadow Hand:

Raven: Aura can't protect your arm, it's Grimm. You turned yourself into a monster just for power.

But she chooses to ignore it.

Finally, in the Atlas Arc she manages to make herself anew. She recreates herself, but fails to truly change.

I am expecting all these failures to come back at her with the Vacuo Arc, which is about Destruction and will probably lead to everything coming together to crush Cinder (the people she used, the Shadow Hand, Salem’s true plan).

Once this happens, I think Ruby will save her with her eyes and will offer her that pity she was never shown as a child. This will lead to Cinder’s final choice which might be a synthesis of all the choices made by the Maidens she killed.

It will be a selfless choice, like Pyrrha’s, in contrast to the selfishness she displayed throughout the series.

It will be a self-actualizing choice, like Penny’s, which will free her from Salem’s shadow and influence

It will also be a redemptive choice, where Cinder finally lives up to her name and becomes the true Fall Maiden.

I am also expecting this choice to somehow solve the conflict or to be a part of the reason why the conflict is solved.

It would also be interesting if the Maidens’ sacrifices become progressively more effective in solving the conflict.

Pyrrha’s death is the most pyrric (obviously). She did not manage to stop Cinder, but barely gained enough time for Ruby to arrive and wound the villain. Still, it is a choice who clearly inspired her friends and I think that in the end it will inspire Cinder as well:

Cinder: You know, Neo, someone once asked me if I believed in destiny. And I'm happy to say I still do.

Penny’s death is framed as a sad, but powerful conclusion to her arc and saved both Winter and the people of Atlas and Mantel. It still did not prevent Salem from taking the relics and did not save the Kingdom.

So, maybe Cinder’s death, if it happens, will be key in saving the world.

This would also fit with the idea that we are going through a journey where we are getting to know the four gifts the Gods gave humanity.

Pyrrha sacrificed herself even before our protagonists received Knowledge, Penny did so after both Knowledge and Creation, while Cinder perhaps will do so after the characters have aquired all the four gifts.

#rwby #rwby spoilers #rwby vol8 #rwby meta #rwby theory #pyrrha nikos #penny polendina #raven branwen #cinder fall #my meta

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bread-and-roses-too · 3 years

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oh my GOD sex work isn't fucking "violent". What's violent is that we have to work to survive.

In an ideal world, women would be able to do sex work freely to earn a little extra cash for luxuries like a nicer computer or fancy clothes. There would be brothels where potential clients would be searched and rid of anything they could use to harm sex workers and there would be an emergency system to call in a security guard if things got out of hand. Sex work sites would have identity confirmation and facial recognition to catch and liberate minors who were trafficked. Bots would scan the internet for stolen media so sex workers would have full agency to take down images and videos they no longer wanted to be available. People who find sex work arousing and fun could do it safely and leave as soon as they no longer enjoyed it.

Until then, sex work has to be decriminalized. There's no other way. A few more things need to happen too:

- Trafficked women need to be able to go to the authorities and be immediately taken to safety without questions about their legality or whether they're telling the truth. It's been proven time and time again that people, especially cis men, are willing to go out of their way to traffic women, with or without legal approval. The only way to prevent trafficking is to make it safe to report.

- ICE has to be abolished so trafficked illegal immigrants can report without being threatened with deportation, separation from their families, or criminal charges.

- Brothels and strip clubs have to be monitored and regulated, and the workers checked in on regularly to ensure no coercion or trafficking is taking place.

- Orgs need to be set up to help consenting sex workers who wish to retire transition to other jobs.

- Sex work sites that host rape and child porn need to be shut down.

- Sex work sites that want to continue to exist need to require proof of identification to post and have report features for suspected rape or child porn.

- Report sites need to be set up to report porn featuring children or where rape might be or is taking place.

- Police need to be held accountable for ignoring the pleas of raped and sexually assaulted women.

- The justice system needs to be held accountable for giving cis men who are sex criminals slaps on the wrist for their vile treatment of women.

- Disability payments need to be made more accessible so disabled people don't need to do sex work to survive.

- Any bills involving free necessities like healthcare and housing need to be religiously and intensely supported.

You'll notice this plan isn't as simple as "just make it illegal!" That's because simple solutions to complex issues don't fucking work and people who think they do are naive and need to take time off to consider how their naivety could be hurting people. There's no arguing against the fact that there are sex workers, trafficked or not, who are struggling financially. Putting every sex worker out of a job and basically saying "have fun dealing with that!" isn't the solution. This will result in thousands of women being made homeless or dying from lack of health care. Moreover, it isn't necessary because there are women who legitimately enjoy sex work who aren't in any real danger. The only logical solution is to allow women who enjoy it to enjoy it and allow women who don't (or don't anymore) a safe exit path. That requires a lot more work, a lot more laws, and a lot more time. Until we can get everything working as intended, the best we can do is what we do for any other marginalized group, offer compassion, support, and willingness to act.

#I worked with a Christian org in Atlanta who would drive around the red light district #and immediately take any woman who expressed a desire to leave #into their van and drive her to a safehouse where she would be cared for #we need that but government-sanctioned because no one should be so desperate to be free that they jump in a random white van #actually if anyone knows of an org that helps sex workers transition to other work #send me a link to their website I'd love to support something like that /gen #sex work is work #sex worker inclusionary feminism #inclusive feminism #intersectional feminism #why we need feminism

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x0401x · 4 years

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Animate Times Interview with Centimillimental

Discussing his journey so far and his love for this series, saying that he “felt something like fate” upon coming across “Given”! Interviewing Centimillimental, who did the theme songs and sound production of the summer anime “Given”.

The artist Centimillimental composed the opening of the TV anime “Given”, which aired in Fuji TV’s Noitamina and gathered a great amount of attention. Garnering comments about the sound production of the show’s band, Given, he released the opening theme “Kizuato” as a single on September 11!!

This is the debuting work of the solo unit Centimillimental, in which Atsushi-san does the vocals, keyboard, guitar and programming. In this article, which is surprisingly his first-ever interview, we shall introduce plenty of his journey until reaching this point and his thoughts regarding “Given”!

His current style was earned through “wanting to express joy and sorrow with music” as much as possible.

——Thank you for your time today!

This is actually my first time being interviewed (laughs). I will be in your care.

——Your first interview?! Please let us ask all kinds of questions. Firstly, could you tell us about the origins of Centimillimental?

Although it has the name Centimillimental, this is a solo unit. Rather than a singer and songwriter, I am more of a solo artist with a band stance. But it was originally a band. The band name remained just the way it was... that is all.

——What sort of band was it?

A four-piece one, with myself in charge of the vocals and keyboard. The band had a style close to pop, with a lead guitar, bass and drums, but the members pulled out one after another... Ultimately, I was the only one left. For that reason, people from the live concert houses were quite uneasy. Like, “Does the vocalist have a nasty personality or something?” (laughs).

——(Laughs) That is so not true.

Each one quit for their own reasons. But I had an obsession with the band, so I was like, “I’ll do this even if it’s just out of stubbornness” (laughs). And so, the band name stayed.

——Atsushi-san, what are the roots of your admiration for bands?

My root is Remioromen. I actually used to play classic music. I was so much of a classics boy that I would... turn off the TV whenever a music program was starting, but when (an insert song) “Konayuki” started playing in the drama “1 Liter no Namida”, which I watched back in fifth grade, it had an impact on me. Like, “So a singing voice can be this cool when it accompanies a melody”. From then on, I began looking up to bands.

——How did you handle classics from that point onward?

I continued playing for a long time, until I was around 20 years old. But then I was charmed by pop music and could no longer dedicate myself to classics (strainer laugh). I used to dream of becoming a pianist, but I felt that the mindsets of classics and pop were different, and then chose the way of pop.

——When you think about it now, what do you believe to have been the reason that a classics boy had his heart stolen by pop?

I had the feeling... that something more essential for my inspiration was set on fire, so to say. I think this something also exists for people who like classic, but in my case, I personally felt joy at the fact that “their singing voice is cool”, “their words pierce me”. So I was like, “This is what I actually prefer”. Also, I was drawn to the freedom of pop. The world of classics is devoted to music sheets, so in concourses, for example, it is important whether or not you can play true to the sheets, but I end up playing the way I want to on my own accord. Which is why the judges’ votes became worse year after year (bitter laugh). During this, there were also people who told me, “This is an insult”... But if I were in a world of originals where I could give birth to my own songs, wouldn’t my beliefs be justice? So I started to think that I was “the kind of person who wants to express himself freely”. To begin with, I have liked creating things since the distant past. I used to write stories of my own and making picture books with them in preschool, and from first grade on, I would be writing song compositions and poems. At any rate, I like creating things, so wouldn’t making them freely suit me better?

——So, if it is on the topic of “wanting to create things freely”, the way you are now is best, in a sense?

That is right (laughs). My degree of freedom has increased ever since I went solo. One of the reasons the band did not work was that my ideals and the image of my unshakable, inertial nature were very strong. I believe that so-called bands are supposed to get together in a studio and consolidate and gather up arrangements, but right as we formed ours, I would take the stance of writing down everyone’s parts and saying, “I want you to play this”. So I think that the current Centimillimental is what turned out from me doing everything I could, the place that I was supposed to reach.

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——Nowadays, you are in charge of all parts, right? Did you play instruments other than piano from the start?

That is not the case. When our guitarist left the band, I did not want the quality of our music to be reduced, so I thought about supplementing it somehow, then learned how to play guitar. Also, I had to put my heart into it, but I started studying bass and drums when the others left, wondering if I could cover for them. The fact that the members pulled out had an influence on it.

——How was it coming in contact with instruments besides the piano?

The structures are completely different. Bands are formed so that each person can compensate for the other. When it comes to the beauty of such arrangements, I came to feel them more keenly the more I delved into them. And then I started obsessing with the arrangements.

——After these twists and turns, did Centimillimental become in 2015 what it is now?

No, there were actually twists and turns from this point on too... There was once a time when the band became just the bassist and me. Back then, the band was not doing too well, so we decided to do a different unit. That was the band called “Nee, Wasurenaide Ne” (“Hey, Don’t Forget”). In the end, I mostly had to do it by myself, but doing things separately from the main activities gave me a high degree of freedom. And then people started finding us interesting and we gradually earned their praise. For me, that was extremely frustrating (laughs

——So it became a “sub”-like band.

That is right. And then I thought about quitting, so I applied for an audience as a commemoration for quitting, to make one last memory... but then the work I had applied won a Grand Prix. I was like, “No way!?”. This happened in summer 2015. And that was when the main and sub switched (laughs). And so, only the band’s original name remained. The label respects us in the sense that we “can make the music that we always wanted to”.

——What is the origin of the band name “Centimillimental”?

“Remioromen” is a coined word, so I looked up to a coined word in katakana. I personally like katakana. Plus, I like “sentimental” things. That sentimental feeling when you are going home after a fun day thinking, “Today was a good day” and it suddenly makes you feel lonely, or that sentimental mood from when you are purely sad... I believe that sentimental emotions regarding anything are something that we should nestle close to. I had this thinking that I want to express joy and sorrow with music, so while using “sentimental” as the pillar, I added the “milli” with the meaning of “not being too caught up with it”.

——Come to think of it, both “Given” and “Kizuato” are written in katakana.

I guess I have a connection with katakana (laughs). If the words are in kanji or in hiragana, doesn’t that change the appearance and interpretation of each? While katakana has a coldness to it, it doesn’t feel too sharp. I have the feeling that these kinds of words are interesting.

“Gender doesn’t matter when you’re in love with someone.” – He also has experience with composing music having a BL series as the impetus?!

——How did you feel when you received the proposal about “Given”?

It was the first tie-up of my life, so I turned into a mess of nervousness, uncertainty and expectations. But “Given” is a series about music and the theme is bands, which was something I looked up to. Moreover, rather than just the sparkle and shine of a band, it also focuses on sadness, the tremor from losing something... these delicate parts of it.

I think music has a close relationship with meetings and partings, so I felt happiness to be involved with a series that faces this directly. It was like something that was supposed to come at me had arrived, and at the same time, I felt something similar to destiny. That was my first impression.

——The sensible portrayal is one of the charms of this series, right? I read on the topic that this series was the first-ever BL comic that Noitamina has adapted into anime, and there is an indescribable appeal in the words “boys’ love”...

It allows you to smoothly immerse yourself into their worldview, right?

I have bought a BL manga in the past. In my middle school days, buying a book after looking at just the title was trending. At the time, what I took in my hands was a short story collection titled “Saigo no Sangatsu”. I thought at first, “I might’ve jumped into a terrible world!” but turns out it was a really good work...

Gender doesn’t matter when you love someone; it’s all the same. It was a really good work, so I was quick to wrote a song for it (laughs).

——That is a good story. By the way, did you use to watch anime back then?

I was not the type to watch anime in-depth. But what I thought to be odd was that, whenever you finish watching a series, doesn’t the way that you listen to the opening themes, ending themes and insert songs change?

Through the filter that is the series, the tone of the music changes, and the story stands out instead as the music overlaps with it... While watching, I would find myself thinking that this way of snuggling up to the music was interesting.

——What were your impressions when you read the original work of “Given”?

Kizu Natsuki-sensei’s focused viewpoint on pain is quite sharp. Her poetic depictions, which sometimes get you caught in them, are impactful and sensible. I thought it was a series that cherished words a lot. Since it is a manga, I think the art is the main point, of course, but I felt a literary beauty in it that resides not just in the drawings. It also felt close to the world of songs that I take part in, so I truly had the feeling that it was fate.

——So the image of the song came readily to you?

Right you are. That is where I arrived once I wrote down my own perspective of romantic love and the ways that people become involved with each other. The sense of suitability was incredible. That’s why I was able to write it so frankly, managed to say what I wanted to, and got close to the series. I feel that the compatibility was really good.

But of course, there were walls. I write even the arrangements by myself, so I had to make changes over and over, and I had never had any experiences with being the producer of a band before, so there were things I was not used to. Also, my main instrument is the piano, but there is no piano in the show. That’s why I had to delve into the guitar, so there I had a hard time sound-wise...

“I want it to be an important song for everyone from ‘Given’ too!”

——Can you tell us about your particularities regarding the sound of “Kizuato”?

For the anime size version, I purposely sealed away the piano and classic strings that I had been specializing in until now. For the whole song, in order to nestle closer to “Given”, I cherished the band’s scene, with a guitar, bass and drums.

——I felt a big meaning in the fact that it starts with a breath. Is it something that you gave importance to?

I like the sharpness of songs that start with the singing. That feeling of getting taken aback without thinking. Same goes for sighing - I feel that people’s emotions mount on their breathing. Through “the drawing of a breath”, you can sense a beauty and strength unique of vocal songs. For that reason, I cherished the breaths from the very start.

I also think that the breaths are very important in “Given”. For example, in the teaser trailer, the video ends with a breath, and in the PV, the scenes change with breaths too. That’s why I think it was good to be able to start the song like this.

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——I felt that the lyrics portrayed the sensible feelings of all four, starting with Mafuyu, but how was it made?

They are human beings, so I think there is definitely a part of their emotions somewhere that they can share. The loneliness and agony of losing something, the conflicts of loving someone... anyone has that. I looked for keywords that would connect everyone from “Given”, including me. For me and for all the characters that appear in “Given”, it could not be a lie...

——The “four seasons” bit in the lyrics was also a good keyword.

I think that is one of the main points of the series, and that this part of it can connect even within me.

——The words “I can hear it and it’s still real, so I’ll carry your heart in your place” from the latter half are extremely painful, but at the same time, it conveys resolve and determination. Were you conscious of the machinations of their hearts or something like that within the song?

I think it is wonderful when emotions get into motion as the song goes on. Aren’t there moments in everyday life where wounds heal little by little and changes of heart where we try to get back on our feet even if they do not heal? I like story-songs that head towards hope in this fashion. I also want everyone in “Given” to be happy. I gave importance to how they should head towards hope while sharing those wounds.

——The song changes dramatically after the aforementioned verse.

I finished it with a classic orchestra sound. That is one of the strong points of my music, so I had the desire to approach “Given” through it. If I sealed away my music too much and made it into just a “Given” song, it would feel like I was standing on formality. I am a person who gets hurt and even so lives on crying and laughing, just like them. I pieced together that part of the song because I wanted to convey this message.

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——So you let your uniqueness show in order to join hands with “Given”. Indeed, both with love and friendship, getting close to the other person is not all there is to it.

Right. That alone is not a connection, and you end up concluding that your own love is too deep... I believe there is a 50:50 beauty to it. Isn’t that what acknowledging one another and joining hands means?

“Kizuato” is my debut song and an important song for me. That’s why I also want it to be an important song for everyone from Given (the band). I thought about intersecting that. After thinking a lot, I managed to change the charm between the anime size and the full size.

At the beginning of the A-melody from the second chorus, I tried changing the rhythm, transforming it into an electro loop, and did all sorts of approaches. I hoped it would be wide-ranging as music.

——How did you feel when you watched the opening?

I was extremely moved. I had gathered with all the recording members to watch it, and everyone shared their joy too. It was a really good scene.

Having my own music playing in sync with an animation was my dream, so I was tremendously happy, and I felt like I had connected with the viewers who had the same feeling... I was truly overjoyed.

When I looked on Twitter, people had written up several opinions, making me go, “So there’s this many people enjoying my music”.

“It’s exactly because the desire to protect someone isn’t something simple that we feel uncertain.”

——Other than the OP, you also did the sound production of the band Given, so what impressions did you have from the production work?

I already liked production work to begin with. Until then, I had been doing producer-like things, such as arrangements for the musical compositions of artists around me, but this was my first time doing production as a job.

I mentioned Remioromen earlier, but I also looked up to Kobayashi Takeshi-san, who was Remioromen’s producer as well, so I had also wanted to work on production one day.

——Given’s debut single, “Maru Tsuke/Fuyu no Hanashi”, was released on September 18 2019. “Maru Tsuke” is also included in Centimillimeter’s single as a self-cover, but what kind of route did you take to complete this song?

To tell the truth, I had a song called “Maru Tsuke” for quite a long time. I already had its base form since 2015, so the song was in a state similar to an accompaniment material.

“Maru Tsuke” came into light during the meetings, and I didn’t think this song would have made it into the topic of discussions, so I was surprised. I was anxious at first, but when I tried facing it once again, there were so many fitting aspects to it that it even made me say, “So it can get this close to the series”. I felt like it connected with “Given” on a deep level, despite not having written that song for it.

——Holding someone dear, becoming a coward because of it, shouldering all sorts of feelings, and continuing to live in spite of that... What you talk about in “Maru Tsuke” might be things that everyone thinks.

The moment you start loving someone, you feel fear at the same time and become fragile. It’s exactly because the desire to protect someone isn’t something simple that we feel uncertain, and there is not only light to it, but I think loving someone is something beautiful. I get the sense that this swirling feeling itself is beautiful. That is what I threw into the song, and it was also one of the themes of “Given”. The fact that I managed to connect them goes without saying, but it’s like being told that I wasn’t mistaken about the things I gave importance to, which made me happy. In order to connect even better, I reconstructed the sound making and structure one more time, aiming for higher heights as a composition for “Given”.

——What were you conscious of for the direction?

Yano Shougo-san (the voice of Mafuyu) is a workaholic, so he sings all sorts of songs, but I thought there was a difference between songs sung by band vocalists and songs sung by voice actors. So I figured that it would be good if I could share with him the methods of band vocalists and band sounds in my own way, thus I have him that kind of direction.

I was also very conscious of “conveying words”. I believe that the author, Kizu Natsuki-sensei (who is also a producer of Given), also cherished words a lot. I think this also reflects on the songs.

——Was there anything you felt when you actually conducted the production?

First of all, I was extremely happy that a song I made was sung. It was expressed in a way that I myself couldn’t do, and even if the emotions are the same, the way people view it changes depending on who’s singing. Seeing it hand-in-hand with the series, spreading up just like that and growing bigger made me happy.

——The other song, “Fuyu no Hanashi”, played during the show in episode nine.

From the very beginning, there was already a song titled “Fuyu no Hanashi” in the drama CD, but this song began from me creating a new “Fuyu no Hanashi”. “Fuyu no Hanashi” already existed for the fans, so I saw plenty of everyone’s love for it on Twitter and such, and also how it comes close to their daily lives. I dreaded painting over it, but... I believed it was fate that I had received this proposal, so I thought, “I’m going to do all I can”. While there was pressure, there was also joy, so it was a strange feeling.

To tell the truth, when I received the proposal for “Given”, the offer for “Fuyu no Hanashi” came first-thing. That’s why I actually started the production from there. Afterward, I received proposals for the session track that plays in the middle of the show and for the theme songs... That is how it went.

——Was that so?! The seed, the piece that would give you most pressure came first, so to say.

That’s right. But for me, this was a comfortable wall. I worked on it while thinking that, if I could make many people happy with it, then it would be a big step for me.

——What kind of feelings did you put into it?

I figured it would probably be used for the live concert scene in the middle of the show, so I read the scene and imagined the concert over and over. In the drama CD, it could only be portrayed with sounds and voices, so I think they probably gave importance to how they would insert the monologues into the lyrics. In the anime’s case, there would be an animation accompanying the song, so I reflected on what the “Fuyu no Hanashi” that I could compose was. Like a shout for a person who has been lost... It’s a requiem, but also a follow-up of one’s true intentions... I wanted to treasure those messed-up feelings. Also, I thought it was a song that had been preciously loved until then, so I had a strong sense of duty not to ruin this.

Being involved with “Given” changed his life!!

——Could you also tell us about the track “Sessions” (The Seasons) that plays during the show?

I received the proposal for this one after “Fuyu no Hanashi”. “There’s a scene in the show that goes like this, so if you’d like, couldn’t you make a track for it,” they asked.

I had never made an actual instrumental band track. Counting the fact that three pieces had already been decided for the story, it was quite a pressure on me.

When I actually watched the scene where they are performing it in the anime, my spirits went right up. Like, “So this is how the band will go”. The sensation that oozed from my hands and spread into me felt truly good.

——Lastly, Atsushi-san, could you tell us... about the things you have realized and earned through the music production of “Given”?

It’s a series that has several places where everyone can join hands. I think that is exactly why so many fans love this work.

Being involved with “Given” has changed my notions of life, and I feel that it was a huge feat, if only for my musical life. I am filled to the brim with happy feelings for being part of it.

——Thank you very much for telling us so many things today.

#given #dailygiven #givendaily #fyeahgiven #given anime #satou mafuyu #uenoyama ritsuka #nakayama haruki #kaji akihiko #centimillimental #interview #animate times #my translation

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shijiujun · 4 years

Text

On Translations

Once again, I’m just plain incensed by dumbasses who think it’s okay to firstly, steal someone else’s hard work and secondly, think they’ve got some right to edit that person’s work because they think they’ve got a better grip on English (not true btw) - It didn’t happen to me (well, as far as I know) and I’m not in the Guardian fandom and I don’t personally know the person who’s dealing with this ridiculous shit, but oof am I angry after seeing the tweet.

Just saw on twitter that some asshole stole a translator’s works (Guardian, Chinese to English) and edited it - Yes it’s just like the MDZS saga a few weeks ago when some white person who doesn’t have any Chinese language knowledge, tried to ‘improve’ translations done by another person who actually knows what they’re doing in both Chinese and English - And then put in on Wattpad with a ridiculous letter and intro where they said: “Great things can be made greater” to explain why they edited the English of the original translation.

“Great things can be made greater,” said the thief.

“I hope my actions will be appreciated,” said the thief again.

Like wow, once again, the audacity - There’ve been extensive arguments on translations since the MDZS saga a few weeks ago and obviously the fan who took ExR’s translations and ‘made them better’ stupidly stepped on a landmine by fucking with the MDZS fandom that has a longer history, more resources and clout than the amount of time she’s been exposed to MDZS via CQL, and got bitch-slapped by the rest of the fandom where there exists a majority of fans knowing clearly what to do and not to do.

Unfortunately, the same can’t be said of all fandoms, especially smaller ones - The user i saw is a translator for Guardian and the mofo 1. Stole their translations 2. Edited the translations to ‘better english’ 3. Wrote that they don’t know who did the original translations but “they know where to find me” *cue my eyeroll* 4. And after op commented to say please credit at the very least in May, they’ve been ignored so far - but luckily they’ve got some supporters as well to help report the mofo.

Aside from the ridiculous thievery (not crediting, blatantly lying and stealing, being an arrogant, indecent person stuck on that high horse) of course, the “I believe that great things can be made greater” is a fucking load of bullshit in this instance, and I mean taking someone else’s translations and adding your own spin to it because you think you’ve taken tests in English as a first language in school all your life (fuck off, a lot of these translators did too), that you’ve got some superiority over English or because you think it reads funny?

Granted, most fan translators don’t put up flawless translations (once again, these translators are FREE LABOUR), but you get it for free and you don’t have to (and can’t) read the original text, so suck it up.

Moreover, the disgust that I feel at the claim that the thief’s work is now ‘greater’ is extremely visceral - It’s not a greater piece of work because the thief stole it, period. No one asked for the thief’s help.

(In case you guys are curious the stolen post on Wattpad is here: https://my.w.tt/7dehLj7D56 and if you’d like to report just follow the instructions)

On Chinese to English translations:

1. If you don’t have good grasp of the original language, you have no right editing the translated work after, regardless of language. Until you can clearly understand the original idioms, context, characters etc. or have at least lived with the language for a substantial part of your life, honestly, just stop, you’ve got no right!

Sure, some translators aren’t as good as you like them to be, but the argument is always, well, you wouldn’t even have this minimal translation if they didn’t do it, so yay you’re like a few sentences and words closer to the text than you were before. If it’s really that bad, hopefully there are better translations and you can ignore the one you’re looking at, but the same rules apply across all translations!! Don’t disrespect the translator (especially when they’ve done nothing wrong except try to give you access to more content).

2. For Chinese, it’s even worse because the language is known for its hidden nuances and complexities within just two to four characters that, when translated into English, can sometimes take up to two long sentences to explain. That’s why sometimes shit reads funny. It’s not that these translators can’t do English, but Chinese to English acrobatics is beyond your comprehension, hell sometimes it’s beyond translators’ comprehension, so thanks for editing something you’ve got no idea about. This user Bee made a very good argument thread IMO about this on Twitter which I suggest people read

3. Adding your edits to a translated piece of work especially without permission or discussion with the translator, honestly who the fuck are you to do that? Either work your damn ass off by painstakingly translating the original and then editing it however you like, or just... enjoy the free content. Chinese BL novels (in this instance and as in many instances i’ve seen) and some of these translators have been around for longer than you’ve been in the fandom, so suddenly when you have an interest in the content, in a culture and language that you’ve never seen before, are unfamiliar with and have zero knowledge about, you think that as a fan you now have the right to edit someone else’s work that was already done correctly?

The fact is if the translator wrote a bogus line in the English translations, you wouldn’t have known, and when you upload it as your own and ‘improve’ it, you would be a joke, but you didn’t read the original text did you, so what makes you are any sort of authority to edit the translations?

4. Of course this is not to say that non-Chinese speaking people can’t enjoy the same content or have excellent, poignant discussions and understanding over the content, but honestly a lot of translations don’t capture 100% of a Chinese novel because the nuances are just that complex, and translators do their best to convey it regardless - This is why RESPECT FOR THE TRANSLATOR IS IMPORTANT. And I don’t mean simply paying lip service and typing “we respect all translators for their hard work on this work”, and then disrespect it entirely by not crediting, by the simple act of editing without permission etc.

Respect their interpretation and translations, because it can differ from translator to translator translating the same sentence (and people who don’t speak the original language want to compete with that, I don’t understand?!)

5. Honestly, considering how people are still arguing on the semantics of the Bible for example, not only in its original language but also in English alone - if people can’t agree on every sentence of the holy text and what each sentence means to different people, fan translators get a fucking pass

6. I read in Bee’s threads where someone disagreed with their argument of ‘only people who understand the original language can translate and edit’, saying that it’s okay if the editor doesn’t have a grasp of the original language - I understand that yes, someone else’s English might truly be better (for e.g. actual editors but also please don’t proclaim that you’re one just because you think the translator hasn’t lived with English for most of their lives or whatever), but even then, the editor has to work really closely with the translator because the translator is the primary source of the translation i.e. they know exactly what is going on in a particular sentence in their heads that may not have been translated fully, so how can non-Chinese reading editors truly understand the translated text on its own, editing in silos?

7. Perhaps in actual publishing houses that deal with official translations, this is a fallacy that is ever-present and editors do that anyway without understanding the original text (not sure about this, I’m bringing up the point for consideration, hypothetically putting this out here), but my issue with ‘editors’ in the fan translations space is that they come off sitting on some high horse because they think they’re better in English than you are (which of course yes, might be true, but then read points 1-6 again)

8. A thief is a thief, don’t put up an open letter or disclaimer explaining your motivations. It’s plain and simple, you stole someone else’s work, claimed it for your own and are riding on the great (sometimes not so great but still great, if you get what I mean) work that the translator did. You don’t get to claim ownership for any part of it, even your edits. And once again, “original work belongs to the translators” without actually naming the translators? Fuck off.

9. God, I hate Wattpad and Instagram (okay sometimes Twitter but Twitter seems to be a halfway point) - The Sanctuaries for Lazy Content Thieves Where The Platform Endorses Their Shitty Behaviour

10. Aside from translations, I’ve also seen assholes stealing like shitposts and jokes - These are the hardest to prove as well and it’s almost impossible to claim ownership when someone steals your jokes. Thieves only wish they had as creative a brain as some of you (didn’t happen to me but to a mutual) do. The audacity. The audacity! if the work was actually done and paid and recorded, if TurnItIn.com was available for fandom posts, these thieves would be out of gas.

11. Fan translators are not obligated to answer to any of their readers when it comes to why they translated something a certain way. You don’t like it or don’t agree with it, simply ignore, close the tab and go find another translation you like, it’s that simple. Nowadays readers 1. Threaten/Diss the translator directly and rudely 2. Steal the work 3. Add their own spin on it without understanding the original content and say: Yay! Look at this I made it so much better so give me some attention

*****

The point of this post is not to claim ownership over any fandom or content just because translators or Chinese-speaking/reading people in the fandom know the content better. It’s also not to say that non-Chinese speaking/reading people can’t enjoy, understand, have great discussions over original Chinese content, because just from MDZS alone you can see that they can. Of course there are also individuals who might not be able to speak the language but are familiar with Chinese culture etc. because they’ve studied or lived it well, or maybe they’ve actually watched decades of Chinese drama to be able to analyse it properly now, all that’s awesome.

Also, I’m all for people who are learning Chinese (or any language for that matter) to translate something as practice. That’s great, that’s good, that’s to be admired!!

It’s non-Chinese speaking/reading people who claim they know the original content better than translators without any discussions, claiming some superiority over the content because they think the translation is not done well enough without doing any of the ground work that I really have an issue with (and also the fuckers who steal of course XD).

*****

And unfortunately I had too much time on my hands today and got pissed off after seeing the tweet so some of you have to read through this drivel XD

#translations #guardian #mdzs #rambles #stealing #again XD #not me this time #but then again i keep seeing my stolen shit so it's pent up anger #HAHAHAHA #you'd think i would have learnt #but i also think it's important to get angry each time it happens #even if it's tiring and futile?#if in 100 complaints only 1 gets answered #then that's 1 less mofo and thief who got away #you know?#idk sometimes

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0lshadyl0 · 4 years

Note

May I request a Yandere Mirio from MHA please?

of course lovely, good for you that Mirio is one of my top ten of bnha characters that love to write, so come and enjoy~

since you weren't specific I will do headcanons and female pronouns

Yandere Mirio Togata headcanons

✬✧✬✧✬✧✬✧★✧✬✧✬✧✬✧✬ ✬✧✬✧✬✧✬✧★✧✬✧✬✧✬✧✬

You have to be clear about this, Mirio is a very popular person and got used to the great amount of attention he receives from people, especially all his colleagues, mostly girls, so you have to be really something else or do something that makes catch his attention

he loves teaching and helps everyone else to be their best version of themselves, but oh, you don’t need his help and guide, you are quite good at yourself, Moreover, you are even an example to follow for some of the first and second-year students

that’s right, Mirio likes people who foster authority and are leaders by nature, that is, people with character but sensitive to the feelings of other people, he does not like insensitive people

but you’re not only a capable by yourself, you are inclusive better than him (of course in academic studies) and you’re kind enough to give him private classes (let’s get real here people, he totally suck in academic studies, his grades are very close to being the worst in the class) you definitely had his gratitude (he really needs help) and more importantly his attention

but the deal maker is how good is your relationship with Nejire and Tamaki, knowing how to deal with those two in a way that makes them like you and accept you as part of their group is the signal for him that you, a beautiful, independent and kind woman like you must be a perfect partner (and perfect wife) for him

and before you ask, yes, Mirio would only date someone if he already has the idea that in the near future he will make her his wife

Before asking if you would like to go out with him, first he will do an exhaustive investigation about you, basically, he will stalk you during all his free time

earlier than you think he will spy on you while you sleep, sometimes he will even be tempted to touch you and believe me that he tried not to do it … the first three weeks but in the fourth one you had to wear those short pajamas that fit well to the curves of your ass, he just couldn’t help it, after that night after making sure you were absolutely asleep, enjoy touching you all night

Mirio is a person who loves physical contact since he is so sweet and doting, he is a pleaser but also a kind of lonely touch starved person, that’s why cuddles are very important to him

after all, from his earliest childhood he was the subject of mockery and humiliation for not knowing how to handle his quirk, when he became the best he was no longer seen by others as a companion but as someone superior, a celebrity, so the truth, beyond Nejire and Tamaki, he has not experienced much affection, well… not a sincere one, and that has made him a touch starved

and you will wonder why I am explaining this to you, easy, you are so soft and perfect for him, that during the day he uses his charisma and great personality so that you reveal all details of you, he doesn’t forget any word you say, while without you noticing the every time he ignores your personal space to the point where it no longer exists

of course, he is physically close with his friends, but do you think it is a coincidence that only when he hugs you he decides to last longer? or is it normal for him to try to breathe your scent when he thinks you will not notice it? or that those rubs of his hand to your breasts and your butt are an accident? they’re not, all the above has been planned before, and believe me when I tell you that this is nothing in comparison at what he do to you in the night

that quirk of his really comes handy in the nights, since at night he goes to your room and takes things from you which he keeps for his collection, your panties are also stolen but they are masturbation material (you have to buy new ones almost every week because he won’t return them, but he will gladly go shopping with you! he even will give you a few suggestions of which ones should you wear)

when he does not do that he will grope your ass, occasionally he likes to put his fingers in your pussy to feel the warmness of your sweet hole that he will claim later while with his other hand he rubs his dick like there is no tomorrow, imagining that he is making love to you and when he finishes, which is usually in his hand if not in your tits, he takes his time to insert his semen in your mouth until you have swallowed everything and there is a lot of cum there

did you know, Mirio is a boob guy, size doesn’t matter to him, he adores boobs and he spends a lot of time playing with them, groping them, sucking your nipples, he enjoys that a lot making sure he takes a good amount of time worshipping your tits, and titfucking you, only in the days he has drugged you to make sure that you won’t wake up since another thing that he likes is somnophilia, having your lovely body at his mercy to please makes him cum even more since also in those nights he can have the pleasure to eat you out, and this man is already a pro at it thanks to you

When the time comes for him to ask you for a date and that you consider being his girlfriend/future wife, (because by accepting the first one basically, he understands that you also accepted the second only that you do not know yet) he will know everything about your mind (what do you think) and body (how to please you), by that time he will have already adapted his way of being so that it is impossible for you to reject him

in the fatal case you do, by that time he will already have at his disposal a safe place where you two will live when he kidnaps you and you better start accepting him quickly by the moment you wake up in your new sweet home because he has always wanted to be a father

#bnha #bnha headcanons #yandere #yandere posts #yandere bnha #mirio #mirio togata #yandere mirio #big three #yandere mirio togata #big 3 #shady spicy

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fayewonglibrary · 4 years

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A Cantopop Dream Girl’s First Film Reverie (2019)

By Oliver Wang

If you weren’t a devotee of the Cantopop world in the early 1990s, the casting of Faye Wong in Wong Kar-wai’s Chungking Express (1994) may not have caught your attention. Starring in her first major role, the singer looked much the fresh ingenue, cropped coif, tinted sunglasses, and all. Her character—also named Faye—was played with such a frenetic, awkward energy that she may well have been the blueprint for the “manic pixie dream girl” trope.

In Asia, though, Wong had already become one of the region’s biggest pop stars by 1994, and the movie premiered a month after Wong had released Random Thoughts, her eighth album in six years. To put her casting in contemporary terms: imagine a promising but still unproven art-house filmmaker convincing Ariana Grande to star in a low-budget indie film that happened to come out weeks after the release of her chart-topping Thank U, Next. For Wong Kar-wai (WKW), Chungking Express was a breakout international hit, but for Faye Wong, it was one highlight in an already meteoric career.

Landing a genuine pop star was a kind of capstone for a director whose previous films had already shown a deep love for the power of pop songs. A key scene in WKW’s debut film, As Tears Go By (1988), is built around a jukebox playing Sandy Lam’s Cantonese cover of Berlin’s “Take My Breath Away.” The mysterious, mesmerizing title scene in Days of Being Wild (1990), set amid jungle foliage, makes use of the minor 1964 instrumental hit “Always in My Heart,” by the Brazilian guitar duo Los Indios Tabajaras. One wonders if, in an alternate timeline, WKW would have made a great, taste-making DJ.

Chungking Express is WKW’s greatest “jukebox” film for many reasons, including its casting of Faye Wong and its prominent placement of pop tracks, plus the fact that the director uses not one but two different jukeboxes in pivotal scenes. The actual number of songs isn’t as extensive as in Scorsese or Tarantino films of the same era, but the four tunes used most strategically in Chungking Express are each repeated at least twice. In the film’s first half (which features a young Takeshi Kaneshiro alongside the legendary Brigitte Lin in her final film role), Dennis Brown’s somber 1973 reggae single “Things in Life” plays four times. In the second half, which focuses on the unconventional relationship between Faye Wong’s Faye and Tony Leung’s Cop 663, we hear Dinah Washington’s 1959 version of “What a Diff’rence a Day Makes” twice and the Mamas and the Papas’ iconic 1966 single “California Dreamin’” a staggering nine times.

Most of these uses are diegetic, played on jukeboxes, CD players, or stereos. As we, the audience, listen to the music, we’re also watching people on-screen listening to music. Because of this, the songs in Chungking Express don’t just enhance ambiance, they also craft character, and these two streams flow together sublimely with “Dream Lover,” the Cantopop cover of an alternative rock hit by the Cranberries from 1992, performed by none other than Faye Wong.

Born Wang Fei in mainland China, Wong moved with her family from Beijing to Hong Kong in the eighties to pursue a performing career. Her first record label, trying to avoid associations with the mainland, gave her the generic, Anglicized stage name “Shirley Wong.” Her early albums sold, but after a few years, frustrated with her lack of creative control, she took a hiatus and relocated to New York City in 1991 as a gesture of escape and self-discovery. We can only assume she was also immersing herself in the trans-Atlantic pop scene of that time.

We don’t know if Wong heard the original “Dreams” in New York, but by the time she covered the song on Random Thoughts, the Cranberries’ song had become a signature hit twice over. It was the Irish band’s debut single from the fall of 1992, but they also rereleased it in the spring of 1994, after the massive success of their follow-up single, “Linger.” My friend, music writer Ned Raggett, described it as “a brisk, charging number combining low-key tension and full-on rock,” which is to say it’s a song filled with a sense of taut control but also giddy release. It’s easy to imagine how Wong, seeking to reclaim her artistic autonomy, might have been drawn to it.

Upon returning to Hong Kong in 1992, Wong reclaimed her birth name by changing her stage name to Faye Wong, and she immediately began to score a string of best-selling albums, many featuring covers of alternative rock hits. “Dream Lover” isn’t the only example to appear on Random Thoughts; the album also includes a pair of Cocteau Twins’ covers.

Showcasing “Dream Lover” in Chungking Express so close to Random Thoughts’ release was surely a savvy marketing move, common in the Hong Kong entertainment industry. However, the use of the song—alongside Wong’s real-life stardom—also works beautifully with the narrative and logic of the movie. From the moment Faye is introduced at the start of the second half, she’s already living in a dream of sorts. When we first meet both her and Cop 663 (Tony Leung), she’s working at her cousin’s food stand and blasting “California Dreamin’” out of a kitchen stereo. It’s so loud that 663 has to awkwardly shout at Faye just to put in his order, but Faye seems unfazed by the volume. With each repeated playing of the song, we’re meant to hear it as a commentary on Faye’s dissatisfaction with the drudgery of work and her weariness of Hong Kong’s gloomy, wet climate. California—“safe and warm”—represents a fantasy to escape to, first in her imagination, later in reality.

“Dream Lover” obviously extends the same “dream” theme, but as it’s also performed by Wong the singer, in scenes featuring Faye the character, there’s a rich meta-text at play. In “Dreams,” the Cranberries’ Dolores O’Riordan sings of trying to grapple with her sense of fantasy and reality in the context of an existing relationship. Wong’s “Dream Lover” has different lyrics that seem to recast the song as one about a lover who may be real or may be imagined. That ambiguity echoes Faye’s infatuation with 663, which she goes out of her way to avoid making explicit. 663 may be the lover in her dreams but not one she is keen to pursue in reality. As if to stress this point, we first hear “Dream Lover” after Faye has stolen his apartment keys in order to sneak in to dust his shelves, swap labels on his pantry cans, even drug his water bottle so she can continue her clandestine cleaning while he’s passed out. (This probably seemed more quirky and charming in 1994. Today, it’d likely be cause for a restraining order and psych eval.) Faye wants to be in 663’s presence, but only indirectly. She has more of a relationship with his domicile than with him.

That first use of “Dream Lover” is played under a montage of an extended cleaning session, and cinematographer Christopher Doyle shoots Wong with a handheld camera, adding to the already off-balance feeling of the scene. My colleague Brian Hu has astutely noted in a video essay that this shooting style seems to deliberately mirror the aesthetics of Wong’s music videos of the time. Hu’s analysis posits both the movie and music videos were shot in such a way to present Wong/Faye as a “whimsical dreamer,” “a free spirit,” “inquisitive and mysterious.” Moreover, in real life, Wong left Hong Kong to “find herself” in the U.S., and that story would have been well-known to any Cantopop fan watching Chungking Express. Film Faye is so tightly interwoven with Faye Wong that one wonders, if Wong had been unavailable or uninterested in the role, would WKW have abandoned the character or storyline completely?

When I first sat in a Bay Area theater to watch Chungking Express in the mid-nineties, I knew absolutely none of Wong’s backstory, and yet I still found the song immensely affecting, especially when it returns a second time, forming a coup de grace moment during the film’s final scene.

To recap: the last chapter in Chungking Express occurs a year after Faye has decided that, rather than meet with 663 at the California Bar, she’s going to travel to the actual California instead to see if it lives up to her dream. Now a stewardess, Faye drops by her cousin’s food stand only to find 663 there, no longer a police officer but now the stand’s owner. Before, Faye was the one infatuated with “California Dreamin’,” but now it’s 663 playing the song, also loudly, on the kitchen stereo. He is surprised but clearly pleased to see her. She, however, is nervous about having her “dream lover” in front of her and begins to make excuses to leave. At this point, the will-they/won’t-they tension from earlier in the film returns, and as viewers invested in their potential pairing, we’re left anxious that this moment too will end without resolution.

But 663 then retrieves the letter Faye had left him the night she departed. It’s a hand-drawn boarding pass but rainwater has blurred out the destination, and Faye offers to write him a new one. When asked where he wants to go, 663 replies, “Wherever you want to take me,” and the last we see of the pair is Faye inking a new pass on a napkin while 663 stares with affectionate intensity. One final moment flashes back to the stereo, where “California Dreamin’” had been playing just before. This time, it’s “Dream Lover” that swells up and kicks in before the end credits flash on.

Ending with a song as robust as “Dream Lover” doesn’t just reinforce the movie’s unique, unpredictable energy, it also captures something of how we often experience dreams themselves: as intense but disjointed bursts of images and emotion that we wake from, momentarily disoriented yet filled with feeling. The exuberance of the song offers a form of musical catharsis for all the deliciously confusing tension that’s built up over the past hour. We don’t know for certain what will happen to Faye and 663 after this scene, but what the sound of “Dream Lover” offers in the moment is a rousing sense of possibility. The song’s sonic verve—with its “low-key tension” and energetic release—fuels hope that our lovers may not be so star-crossed after all, as they pursue their romantic dreams, wherever those may take them.

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SOURCE: THE CRITERION COLLECTION

#2019

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tszhangherbertlam · 3 years

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Can Bitcoin create a virtual world?

1) What is Bitcoin?

Have you ever heard of a story of a man who bought two pizzas using 10,000 Bitcoins? What is Bitcoin then? It is a tradable digital currency. It can be spent globally like real-world money but without the need for converting to different currency between countries (e.g. from $ to £), which is very convenient. But from a country's perspective, the most important power is the issue and control of the currency, they lost those power due to the existence of Bitcoin and they failed to shut it down. Therefore, they do not accept Bitcoin as a currency, only as a financial product, people can hype it but not consume it.

2) How was Bitcoin created?

An article called ‘Bitcoin: A peer-to-peer electronic cash system’ was published in 2018 by Satoshi Nakamoto. It perfectly described an advanced virtual currency system. Two months after the article was published, engineers built the system by following the instructions in that article. In 2009, the Bitcoin system was successfully launched.

Like the real-world currency (e.g. gold), Bitcoin was also dug out from the mine, but it is a virtual system. People use computer programs to dig out Bitcoins and the total amount is set to be 21 million (maximum authorised amount). Three factors will influence the digging speed: 1) the production rate of the mine. 2) the speed of the computer. 3) the numbers of diggers. However, the Bitcoin system has been operated for 11 years, most of the Bitcoins have been poached, the production rate of the mine has been dramatically dropped. If you want to join the diggers, it may take you years to dig out your first Bitcoin!

In 2009, when people started to mine Bitcoin, it almost worth nothing, so people use it to buy pizza, and this is the story at the beginning of this blogpost.

3) Advantages and disadvantages of Bitcoin.

The advantages of Bitcoin are: firstly, it has a constant value. As mention above, the maximum authorised amount is 21 million Bitcoins, so its value is set from the beginning. Moreover, the value of Bitcoin will not influence by political situations such as wars or social unrests. If wars are happening, the existing cash will be affected e.g. depreciate, the real cash can get lost by falling-off your pocket, but Bitcoin will not, and this leads to the next point: it has a high-level of security. Bitcoin is only a digital currency that exists on the internet, you just need to make sure you do not lose your Bitcoin banking account then you are safe. However, if your account has been stolen or forgotten, you will be unable to find it back. This because Bitcoin is highly digitally encrypted and cannot be cracked or traced, which means that your Bitcoins are gone, for good. Thirdly, low transaction fees. Usually, the transaction activities are free for Bitcoins, if it does, it will still be lower than the real currency since there is no intermediary agent, therefore all the transactions are point-to-point unless you invited a third party to join the transaction e.g. trading platform. From a government’s perspective, it is bad. Because they cannot control and trace the money, then it will be difficult to control their people.

On the other hand, the disadvantages. Firstly, it is easy to lose your account, despite Bitcoins are powerful and secure enough, but that does not mean the Bitcoin trading platforms are secured, due to hacking attacks, causing the trading platform supervisor to temporarily shut down the platform, or even permanently. Secondly, the transactions are not reversible. As they are digitally encrypted, you cannot prove that Bitcoin is yours, unless the seller is nice enough to transfer your Bitcoin back. Thirdly, Bitcoin is easy to be exploited illegally, due to no one is managing the Bitcoins and it cannot be traced, it can easily be used to do illegal things e.g. money laundering and drug-dealing. Lastly and most importantly, the Bitcoin system can be duplicated. is not duplicating the Bitcoin mines, but anyone can follow the instructions on that article to create their own virtual currencies and we do not know which we shall use and use world-widely. IMF (International Monetary Fund) has warned the world that every country needs to issue their own CBDC (Central Bank Digital Currency), which is a traceable and manageable currency, to prevent everyone from using virtual currency and giving up on trust in banks.

4) A more futuristic world?

If every country is going to issue their own CBDC, then the world’s currency will be virtualised, cash will be no longer existing. The wealth of the entire world has become an encrypted string of numbers, stored in a bank. One thing we can sure about is that governments must eventually virtualise their money, to get their power back (right of issuing and control of the currency) to control their people. Therefore, we need Fintech to have better management of our money in the bank (refers to my blogpost 1). Moreover, the policing of online transactions will be improved since every virtual currency transaction can be tracked.

Between 2013~2015, the Rockefeller financial group and Rothschild Family have issued their cryptocurrencies: ‘Ethereum’ (ETH) and ‘Ripple’(XRP), to promote the virtual currency market. Many countries have certified these two virtual currencies are safe e.g. Japan. So far, many countries have launched their own cryptocurrency such as China, Singapore, and Senegal, etc.

5) Conclusion

To sum up, currency virtualization is inevitable, and it has accelerated the virtualisation of matters. Because money is a representative of matters, only money can purchase physical items. Let us think about this in another way. Combining my blogpost 1, we can use Fintech to pay-off our debts and even make a purchase online, then the item will be delivered to our acquired location, throughout the transaction, we do not use cash for payment, and we do not even need to touch our wallet. The only thing we do is to make a few finger-taps on our mobile screen. By doing so, we only feel the deduction on digital numbers since our money is already transformed into numbers in our bank account. Therefore, in my opinion, this kind of life is virtual, and the world will eventually be virtualised because money has already been virtualised, it is about time.

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alatismeni-theitsa · 5 years

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What do you say about Greek culture VS what do you really mean. A mastrpost.

(All of those I have seen on Tumblr.)

What do you say: "The images of gods were created by rich white racist Athenians, so they are not valid".

What do you mean: "I must change the race of the gods as shown in ancient Greek depictions to suit my own view of a proper society. No, I don't find that racist. I won't accept worshiping a White pantheon, because I will feel uncomfortable. (Because white = evil, duuuuh). So, the past and the ancient art MUST be ignored. The ancient Gods need to be redifined to fit my standards. I don't say this for any other gods of any other religion. But I don't think that's racist or hypocritical. I also have never looked up antiquities found in the rest areas of Greece and in remote areas, made by simple people and not rich Athenias. I have no idea that their depictions were the same with the Athenian. My arguments only include Athens because the other places didn't exist, apparently. Additionally, I blindly believe that race was so important in ancient Greece as it is for America and Australia today".

What do you say: "Gods could have any skin color because they were worshipped from people of all colors".

What do you mean: "I completely ignore the fact that as subsaharan Africans and people from Middle Eastern and Mediterranean nations could go to Greece, so Greeks could also go to those places. So there were White/Caucasian people worshipping the Persian, the Hindu, the Egyptian and the subsaharan African gods. I don't believe the gods of those other nations should change to reflect all skin colors of the people who ever worshiped them. I only want the Greek ones to change (despite ancient Greeks never changing them) because Greek culture is popular right now and everyone MUST be included in there. (See answer 1). I don't usually like seeing them in various Mediterranean skin tones because they still look Caucasian and White™ (because a tan or a bronze skin doesn't automatically make you a POC*)".

*the only part I actually agree with 😂😂😂

What so you say: "There were POC in Greek mythology because I learned about some deities and some characters who lived in remote places".

What do you mean: "Because Poseidon went to Ethiopia I say he is Black. Andromeda is also from Ethiopia, so she is Black. I have no idea about the fact that Ethiopia for Greeks was an Asian exotic country. I have no idea that Poseidon and Andromeda were depicted Caucasian (and Andromeda also pale) in Greek art. I don't care if Posseidon, Andromeda and her family had Greek given names. Even if I know it, I feel the need to change it because it doesn't resonate with me. And I will forget that Ethiopia was a different place for Greeks and I will refer to the modern country I know today. Also some sources I have said Dionysus went to India once. So he must look Indian. I ignore the fact he was always depicted Caucasian by the people who worshiped him. What? Helios disappeared in the Hyperboreia at times? Oooh that means he is... um... a Viking god! I take everything literally and don't see the myths as religious stories and fairytales crafted by and for Greek people".

What do you say: "Greek heroes and gods were fictional, so we can depict them however we wish".

What do you mean: "I don't say this for any other national heroes or gods, but I think it's alright for the Greek culture. When I Japanese heroes or Indian heroes are depicted in media, I ask for Japanese and Indian actors to be hired, because that's the respectful thing to do. I assume the people of those nations had heroes who looked like the majority or them. But Greeks? Naaaah not the same. Every rave can play every race, right?? Ah, no, sorry, that's not politically correct. That can only happen for the Greek culture. I also think it's good to ignore the original material which describes those heroes (for example "blond" and "they washed his white skin" have no importance. The important thing is there is representation! What do you mean that mainly *Greeks* mainly be represented in media which profit off their heritage? Get outta here!! We all know Greeks are Caucasians so they are already represented! It's not like they are different from the other Whites because of culture or anything... And representation in my mind means only "skin tone representation" not "representation of ethnicity"! After all, where I come from, one skintone = one ethnicity. And the fact that the overwhelming majority of Greeks complains for the racebending means nothing to me. They are not entitled to their heritage and they are a bunch of racists anyway. They hate all POC! (Oh, but when other nations complain about the racebending of their heroes and gods I listen to them because I am woke)".

What do you say: "The Greek gods are not really Greek because they were borrowed from other religions of the Middle East".

What do you mean: "I found that both Ishtar and Aphrodite were goddess of beauty and sexuality, so they are basically the same. I have only assumptions to "prove" the rest of the Greek gods were borrowed, but most of the cases follow my previously stated point. Despite Greek gods having the same Greek identity kept for eons, I still don't believe they are truly Greek. (But I call them by the Greek name "Theoi" anyways and use ancient Greek prayers and words to communicate with them). Perhaps the Greek language is also not Greek because it was partly taken by the Phoenicians".

What do you say: "You are modern Greeks, you have nothing to do with ancient Greek culture".

What do you mean: "I am ignorant when it comes to modern Greek traditions and I have no idea about the customs (many times baptised "orthodox Christian") which continue since the ancient years to our days. I also have no idea about Greek names or that the modern language is 70% similar to the ancient. I have no idea that Greeks in all historical periods were taught about their mythology or studied the classics, to keep in touch with their past. I have no idea that Greeks have fought and died to prevent antiquities stolen or sold away from their country".

What do you say: "Greek culture belongs to everybody".

What do you mean: "Because it's become popular, the Greek culture no longer belongs to the original people of the country. The two of them must be detached, because I and other foreigners say so. I don't accept ancient Greece is their heritage because so many generations have passed. And apparently heritage is given by blood ratio and not by who is continuing and evolving the culture. I don't say this for any other nation, but I don't think this statement is racist. Perhaps, if their culture is public domain they need to give us marbles and more antiquities.. hmm... My ancestors stealing Greek antiquities are excused that way. Moreover, I am more entitled to have an opinion on the culture than the Greeks themselves. They are a living example of the living and evolving Greek culture, but I took some classes, sooo... Plus, I was taught about the ancient Greek culture and gods in my school, so it's part of my culture too and I can bastardize it and treat it as a fandom. (Yes I ignore that Greek children were taught the same things too, and even earlier than me, by the cradle). I learned about other cultures in school too, but I don't treat them as badly because they are not *western* (which is an evil word)."

What do you say: Cleopatra was a POC (or Black) because she lived in Egypt.

What do you mean: I have no idea that her dynasty was Greek, that the names of herself and her parents were Greek or that her dynasty practiced interbreeding (to be kept purely Greek*) like the Pharaos. I have no idea that the family was so absolute in their Greek ways that Cleopatra was the first member to speak the language of Egypt at that time. Ah, also for me "living in Africa" = "being POC and usually Black". I have no idea how Mediterranean Africans look like.

*It must be noted that some say that her mother, was a part Persian. We don't know for sure, though. We don't have many information about her.

What do you say: "Greeks are Black and dark skinned anyways. After all, Greece is so close to Africa".

What do you mean: "I ignore all ancient art that depicts Greeks Caucasian or with Mediterranean skintones. Moreover, I haven't seen any modern Greek media or actual Greek people. I am entitled to say to Greek people that they don't look Greek, because they don't fit the image I have in my mind for them. And, apparently all nations close to Africa have dark skintones so Greeks must have those too. Again, I have no idea about the populations of North Africa and I have no idea what they look like".

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aliceslantern · 4 years

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Retribution, a Kingdom Hearts fanfic, Chapter 17--Epilogue

Newly a person again, Ienzo is weighed down by guilt and his humanity. He's prepared to do whatever it takes to atone... only to find unexpected solace in a familiar face. With more insight into the bonds between people than ever before, Ienzo reaches for a dangerous element from the past to help Kairi and Riku in their search for Sora. What is his life if it means saving another, brighter light?

Chapter summary: A chapter of Ienzo's life closes, and it's time to move on.

Read it on FF.net/ on AO3

Ienzo blinked. Once, then again. There seemed to be something wrong with his eyes.

He could breathe. There was that.

Too slowly the world slid into focus. He twitched his fingers, to see if he could. Something was… off, felt substantially different about his being.

“Child?”

He tried to turn his head towards the voice.

“Easy. Easy. There. It’s alright.”

Ienzo put a hand to his face. His hair was dirty, and it itched. He tried to speak. “Ans--” The sound was weak, halting. He attempted to prop himself up.

“Careful. You’re very weak.”

Ienzo swatted the hair out of his eyes. He could see Ansem at his bedside, exhausted and haggard. There was the distinct pinch of an IV in his hand. “I--”

“You’re alive.”

“Where’s--”

“Asleep. It’s the middle of the night. The child has held almost a nonstop vigil. I told him to get some rest."

He felt wetness in his eyes. “I’m sorry.”

“Oh, Ienzo.” He took Ienzo’s free hand.

“Aren’t you angry?”

“I’m much more relieved you’re alive. It’s been an uphill battle for quite some time. By the time we got to you your body and will were pulling apart. We weren’t convinced it would return.” He was so pale, so washed out. “You did die, for some minutes. It’s lucky that your heart let itself be restarted.”

“Why? Why am I still--” He wasn’t asking Ansem this question, but rather the world.

“You must be meant to be here.”

“She… she disappeared?”

“...Yes. We believe she’s found Sora. There’s still data coming from her, so she hasn’t vanished from existence. Whatever you two did, insane as it was… did bring results.” He sighed heavily. “I don’t know why I’m surprised. You always did take enormous risks.”

For a moment he turned his focus back to his body. The way breath was normal again. Something had shifted. He realized, almost with a start, that the magic was no longer sapping his vitality.

Mostly because it was gone. Sealed away. Buried. “I will take no more,” he said. “I’m sure I’ve tortured you all.”

Ansem smiled a little. “We’ve raised you to be this way,” he said. “How can I be mad at that? We raised you to disregard your body, your self , your wants and needs, for the sake of the greater good. Compounded with the psychological devastation of your transition to humanity… of course this was the only logical outcome. I only wish I’d realized it sooner.”

The door opened. Even, in a dressing gown, his hair mussed. “The monitors--” He began, before his eyes fell onto Ienzo. “Child. What a stupid, stupid thing to do.”

“I’m sorry.”

Even came over and drew him into an embrace. Ienzo couldn’t help but give into the comfort of it. “How are you feeling?”

“Weird. Weak.”

‘Thankfully you are rebounding well. I’ve been giving you ether on top of the medication. It seems to be helping. Your color is no longer so sallow.”

“I think…” He swallowed, placing a hand on his breastbone. “I think it’s partially because… for so long I was forcing my will to the forefront of my being, where it didn’t belong. But as Zexion… that’s how I grew up. With my heart where it’s meant to be… I feel more… me than I have in years.” He thought of his childhood self’s face. That must've been the purpose of getting rid of the lexicon--letting his being settle. Destroying the thing that was killing him. “It is jarring.”

“Fascinating,” Ansem said. “Given your unusual upbringing… your will had to overcompensate.”

“I’d embraced humanity, but I hadn’t embraced humanity, if that makes sense.”

“You had work to do,” Even said, with a sigh. “And now…”

“Now I can just be Ienzo.”

“Well, good,” Even said, with a sniff. “Because you deserve nothing more than a long and fulfilling life--even if it kills me to give you that.”

Ienzo smiled.

As soon as Demyx heard he was awake, he ran downstairs. He was still in pajamas; he hadn’t even put on shoes . He vaulted over to Ienzo and pulled him into an embrace so tight Even told him to be gentle, before giving them space. Demyx just said his name over and over again. “You’re here. You’re here.”

“I’m here.” He was crying freely, but not, he thought, out of sadness. “I’m sorry. I’m so sorry. I had to--I thought I killed her, Demyx.”

“You didn’t.”

“I know. I’m sorry. I can’t believe you saw me-- that you watched me--” He swallowed, feeling a wave of guilt. “How can I ever make it up to you?”

Demyx cupped his face. “Stay with me.”

“I promise.”

---

Ienzo tried to pull the shards of himself together. He was so embarrassingly tenderhearted now. Empathy stabbed him like tiny knives. When he was physically stronger, he worked alongside the restoration committee, with Ansem, to analyze the data coming from Kairi. They thought they might be figuring out a way for Riku to--safely--get to them.

He gave himself time. He spent hours with Even and Ansem, Aeleus and Dilan, wading through the muck of the past--tensions and betrayals and lies and atrocities. Sometimes Ienzo yelled at them. Sometimes he cried. Sometimes he was being the one yelled at, or cried over. But there was also a sense of things being worked through, of the bonds beginning to mend and heal. Again, they started to feel like the family they’d once been, even though it still felt rather noticeable that Braig was not a part of it. But he’d made his choice.

To a degree, there was a new member of that family, too.

It took a long while for the others to realize that Demyx was no mere fling of Ienzo’s. Longer still for some of them--well, Even and Dilan, mostly--to accept that, then to begin to get to know him as he was, and not as he used to be. Even insisted for days--weeks--that Demyx was not good enough for him. It did make things uncomfortably tense for a time. But, perhaps seeing how they interacted, he… began to change his mind.

Ienzo began to gather stories of a different kind.

Much like the photo app he’d developed, he worked with Ansem on an application. He wanted to give people a space to share their stories, their memories, how they were affected by darkness. Where they could be anonymous, if they so chose. It was only a beginning at catharsis for the people he’d hurt, but he had to start somewhere. In his downtime, he began to again study psychology, but with the pretense of using it to help others heal their minds and hearts.

There were still questions which may never be answered.

As the weeks and months passed, nobody heard anything from Sora, or Riku, for that matter. Everyone tried to be optimistic. But if they were out there… nobody knew.

Demyx was still missing memories.

Ienzo knew he was hurting, whether or not he realized it. Sometimes he would catch Demyx staring into space, and his fingers would stop wandering over the frets of his sitar. He would go completely still until Ienzo called his name. Moreover, when they shared a bed at night, quite often Demyx would accidentally wake him whimpering or thrashing from some nightmare or another. But every single time, he insisted that he couldn’t remember what had happened. So together they went through Even’s notes. Ienzo tried to understand the neuroscience behind memory. It became clear that the problem wasn’t his mind at all, but rather his heart. The time travel had wiped it all clean. So Ienzo had to help him learn to grieve that.

“You know,” Demyx said, with a note of finality, “I’m… almost ready to not go digging in the past.”

“You don’t want to know who you are?” Ienzo asked.

He sighed. “It’s a little more complicated than that,” he said slowly. “It’s like… all that time trying to find out who I was … could better be spent being who I am . I… don’t want to go chasing ghosts, and I don’t want to spend one more fucking second thinking about anything that has anything to do with Xehanort. I think we’d be better off.”

Ienzo nodded once. “That’s very well said.”

“Besides… I have more now than I ever did. I know that.” He touched Ienzo’s face. “I have you, I have music. I have time . There’s one other thing, though.”

“Which is?”

“I quit my job.”

Ienzo’s eyebrows shot up. “I thought you liked it. I thought you were saving money.”

“Oh, I did,” he said, with a shrug. “I was just offered something better.”

“Like?”

“The committee wants me. As more than just a volunteer. People in town know me from the packages, and let’s face it, I have a pretty sweet connection to you guys. I don’t know what I’ll be doing for them, but… it’s a start.”

Ienzo smiled. “That it is.”

---

It was clear that the future would be something that constantly evolved. There was no easy happy ending. Being a better person took constant work and constant sacrifice. It meant working through things that had long been suppressed. But in it all… he felt as though he may be redeemed.

Ienzo wrote his story. He wove it slowly, in stolen hours, editing, cross referencing old reports and experiments he’d done. He took accountability and he accepted that some things were not his fault.

When it was finished, he took it to Ansem. The man was working to help jumpstart the new government, to rebuild, in his own way, though he was doing away with the monarchy and the nobility. (“Silly, useless, baseless titles,” he said. Ienzo was relieved; the last thing he deserved was for Ansem to suddenly name him heir.) A person would rule if they had merit; nothing more. “I admit I’m still startled to see your hair,” he said. He set aside his pen.

Ienzo touched it. He’d shortened the bangs, knowing full well they’d grow back in crazily within a few months. Having the light and air on that part of his face still was odd, but the change felt natural. He was no longer a stubborn child, an obstinate teenager. His appearance should reflect that. “You should’ve seen Demyx’s face,” he said, with a laugh. “He was rather upset.”

He chuckled. “What can I help you with?”

Ienzo took a breath. “We’re trying not to avoid the past anymore,” he said softly. “I have written… something of a memoir. I wonder if you might like to read it.”

“You’d be willing to share such dark content of your heart, when you’ve been given a clean start?”

“It has been necessary, to begin to heal,” Ienzo admitted. “I know you’ve forgiven me. But you deserve to know the truth.”

Ansem took the manuscript with a sigh. “Yes,” he said softly. “I know we’ve touched upon things in our conversations.”

“I’m afraid for a time I held bitterness towards you--despite none of that being your fault.” He knotted his hands.

“You were lied to and gaslit for many years. Of course that will take work to unravel.” Ansem took his hand. “But we are both willing to be better, and to make change.”

“...Quite.” Ienzo bobbed his head once. “Though those twelve years seem very, very long.”

“Yes… I rather missed most of your childhood.” He frowned. “It is something I think about with alarming frequency. I tried for--what must have been the equivalent of years to get to you. But once I finally escaped--a thing only done by succumbing to the darkness--said darkness turned the last remaining tender pieces of my heart to stone. I thought you were a monster.”

Ienzo swallowed.

“I know the situation was more complex than that, because not only were you a product of your environment, I acted rather monstrously as well. Seeing you again… Your heart has changed everything. It has brought you back to me. I just hope I can watch you grow.”

“What of your own life?”

Ansem laughed. “I do have many things to make up for, and much to do,” he admitted. “But having my family back is enough.”

When Ienzo left that room he felt lighter. Realer, more present. Not just hopeful, but energized for the work ahead. It was going to be a long road to atonement, but he felt ready.

All he had to do was take the first step.

#retribution #ienzo #demyx #zemyx #ansem the wise #even (kingdom hearts)

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kitsunebi-chan · 4 years

Text

IDOLISH7′s ninth ichikuji, Ayakashi Kaleidoscope.

This is my first time translate such a long script like this. To be honest I have zero confident on my skill but, better try than regret it later. I love this event too much that I can’t help myself.

English is not my main language so please feel free to tell me if you find any miss in my grammar. And it’s more that welcome for you to give your critics. Well, happy reading~

(DM me if you want the Indonesian version)

Event Part 1

[???]

‘what a small hands. Momiji, look.’

It was a nostalgic voice, that I heard somewhere long in the past. Just like being woken up by a sight of vivid crimson, and let it continuously smoldering inside my chest. Since that day, I feel like searching for something. Something I have lost, something precious. What is it that I lost, whose voice is it, was everything just a childish dream from my younger self. While still, doesn’t remember a thing…

[Katanashu’s headquarter. In front of the reception office.]

??? (Sogo) : Hey, paper doll.

Shikigami : ----

???(Sogo) : For someone who come early, this is quite a funny way to do greetings, huh. Does attacking all of sudden then push down human into bedridden is some kind of Shikigami’s hospitality? And, why are you stand on my belly? Get down from there, right now. Laying in the hallway and watching the ceiling is not my hobby at all.

Shikigami :-----

???(Sogo) : Oi, Are you hear me? Who is the person in charge here? I have waited long enough, but there is no one come to get me.

Shikigami -----

???(Sogo) : …. No reply….. could it be, it can’t understand my word? I think it can’t be helped then.

*-----sound of opening door*

???(Yamato) : Oh my, What are you doing laying here in the middle of hallway? Were you playing with the Shikigami? What’s more, with that look like you will draw you sword at any moment despite having such beautiful face, what dangerous combination.

???(Sogo) : A person...? Where did he….

???(Yamato) : I entered just now. From that big gate near the hallway. Did you too absorbed into your game with the Shikigami that make you lost your surrounding?

???(Sogo) : This situation is unavoiable. Because nobody seemed to come for me no matter how long I’m waiting at the reception office.

???(Yamato) : Hmm…And then, you want to search for someone and go to the hallway but ended up in this kind of situation, huh. Do not miss any suspicious person who roaming at the office, as expected of our excellent Shikigami!

???(Sogo) : Suspicious person…? I properly carry on my duty, from imperial capital…

???(Yamato) : Hm… It just getting more fishy. You suspicious people always say the same thing.

???(Sogo) :………From the uniform and sword that attached on my waist, you can tell that I’m part of Katanashu’s group too. I don’t want to say this on our first meeting but please stop smirking when you looking at me. It’s unpleasant.

???(Yamato) : Ahah, what a scary face. Relax for a bit, will ya? Even though you are now laying upside down just like a frog that was about to dissected, quite a bossy fellow, aren’t you. I’m sorry ‘kay. Looking down at someone’s face from above was lot of fun that I cannot help myself.

???(Sogo) : You are not very popular, don’t you?

???(Yamato) : To suddenly put it like that, you are really not cute.

???(Sogo) : It’s enough. More than this will just waste of time. I will deal with this myself.

*---Klak* (door open)

???(Nagi) : Aaaa… Wait a minute! Stop! Stop!

???(Sogo) : There is another one….

???(Nagi) : ---Captain Kasane, stop teasing him, would you please dispel the shikigami now?

Kasane ; Oh, Madoka, you came?

Madoka : I was behind you this entire time. So troublesom-…I mean, as a subordinate, at least I refrained from saying that it would be a good idea. Anyway, he is the new member who had just arrived today, isn’t he? There were talks about him will come to our second corps, right. Look at his uniform.

Kasane : Aa-… right, right, there were talks like that, I’m completely forgot.

Madoka : even though you were the one who told me about it yesterday.

Kasane : Sorry, I just cannot remember something I don’t care with.

???(Sogo) : The second corps captain? That’s mean this man is my superior….

Kasane : --Oi.

???(Sogo) : …! The Shikigami….

Kasane : I have dispelled the shikigami, with this you can move again, right? So hurry, get up from there. Or do you want to say you need a hand to help you up now?

???(Sogo) : …….. No need. I can stand up myself. Sorry for showed you this unpleasant sight.

Madoka : Uwaa… even though a while ago he was pressed under the shikigami and turned upside down, he stand up like it was nothing.

???(Sogo) : I’m really sorry for my insolent behavior earlier. You are the second corps captain, right? Here, my enlistment letter.

Kasane : Oh, thanks. Till your way to bow is so polite, showing such respectful attitude is more than enough.

Madoka : Uwaa… he look like a serious-type.

???(Sogo) : I the one who will assignment here from today. Katanashu’s second corps affiliation, Momiji.

Kasane : Ng? Momiji? So your name that written on the enlistment letter here is not read as ‘Kaede’ but ‘Momiji’ instead? Isn’t the way to read it a bit off?

Momiji : I wish for it myself. Because I heard when you assigned as a swordsman, you will work under a given name.

Madoka : Beside being a serious-type, you are also a weird one……usually, the upper ups will decided for the member’s name by taking one character from their real name. Because there may be a chance for youkai* to steal your mana* if you keep your real name. It also said if you got your name stolen, your enemy can take control on you.

Momiji ; Actually, it is still took after my name. I just change the way it read.

Kasane ; Hmmn… you have some nice hobby there.

Momiji : …..

Kasane : Well, nevermind. I’m Kasane. The second corps captain. I’m the boss of myself. The man with pointed nose over there is Madoka. He is our most reliable man, the shining ace. Your rank both are the same, so please get along.

Madoka : ….Thank you.

Momiji : Nice to meet you.

Kasane : Well, then. Since we finished greeting each other, it is okay for me go now, right? I will leave the task to guide the newcomer in your hand okay, ace.

Madoka : …huh?! But my duty hours will end this afternoon…

Kasane : That is a good news! That’s mean you still have some time.

Madoka : No, no, no, I really just have a little…

Kasane ; Okay, I’m counting on you Madoka~ Everything include our facilities, mission, till the meaning of become a swordsman, make sure to give him all the lecture perfectly ‘kay~

Madoka : Wa-…, captain!

Kasane ; Aa…,so busy, so busy~

*krieekkk.....blam*

Madoka ; He really gone…I’m sure it’s just an excuses….he always push all the job on me. Moreover, you, please read the mood. Momiji, right? Why you have to come before me off duty.

Momiji ; Isn’t it you own fault? If you guide me right after my arrival, it must be all over now.

Madoka : Uh.. about that… as a newcomer, to talk back at your senior like this, aren’t you being impudent?

Momiji : Even if you are the senior, we have the same rank.

Madoka ; Uwa… you are really not cute. But you really must have that kind boldness to be able to speak like that, either way you can’t do it with the fellow swordsman. *sigh*…. It’s troublesome but, since this is a superior’s order then is nothing I can do about it. I will guide you now so follow me.

Momiji ; okay…

Madoka ; We will start from the imperial capital. Since you are send to this neighborhood as a swordsman, I think you already understand about it but, as you see this place is no longer a human’s world.

Momiji : …hmm.

Madoka ; Actually, the existence of human’s world and youkai’s world are like a bunch of mirrors that overlap one to another. To put it simply, you can say this quarter as their ‘entrance’. And, to management all the youkai living here, is the mission that has entrusted to us, the swordsman. Behind this gate is what we called Katanashu’s inner citadel. Then, I will start from the explanation of our facilities here.

Momiji : Behind this….

*krieekkk....**sfx :opening door*

Madoka ; Welcome, newcomer-kun. To the place where no human lives, to the city of light and shadow—

***Naration

In the past, in place that was governed by samurais, there were they that performed a mysterious power. There was he whose body covered in flame, there was one that destroy a village in shape of wind, or a god who swallow a mountain like hand of water. Beast, monster--- again those are named as youkai. They are feared, despised, respected, used, and worshiped by humans. However, together with those who leave the land of samurai, they choose to hide themselves in land of immortal on the other side of mirror, as they entrusted the ‘Gate of Daimon’ to connect with people between two world.

And now, as the time passed, it will be told in the present days, about a story that may have existed, the story from Hinomoto’s land.

___________________________________________________________

Transltor’s note :

-I use Katanashu (刀衆）to refer their group's name as I don't know anymore how I should call them :’) but I decide to keep them refer theirself as ‘swordsman’ so please forgive me for the confusing word. :’’

*Youkai : Japanese, mythology ghost and monster.

*Mana : Human’s life force, youkai’s source of power

#i7 #idolish7 #ousaka sogo #nikaidou yamato #rokuya nagi #translation

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an-incurable-affection-blog · 5 years

Text

Ivanhoe

Sir Walter Scott. 1819. “Romanticism and Gothic” list.

“Rebecca and the Wounded Ivanhoe” by Eugene Delacroix.

“The knights are dust, And their good swords are rust, And their souls are with the saints, we trust.”

In the style of Sir Walter Scott, whose books and chapters open with epigraphs, I begin with a quote that Scott adapts from Coleridge’s “The Knight’s Tomb” (although in Ivanhoe we find this in the main body of the text).

The quote is just one of countless places where the narrator calls attention to the fact that the book is set in an earlier age (the reign of Richard I, in the 12th century) than its time of publication (1819). Whereas a contemporary historical novel typically presents a self-contained story, without extradiegetic references to its nature as a period piece, Ivanhoe scuttles between its setting and (Scott’s) present-day: for example, to contrast what a certain building looked like in the period with how it does now; or contrast the customs of the time with current customs, sometimes to help readers understand an event (“And as there were no forks in those days, his clutches were instantly in the bowels of the pasty”), sometimes just because; or offer reasons why we should believe in the plausibility of his fictions, naming his historical sources. As the first historical novelist, Scott seems to feel called upon to explain and justify his new genre even within the text itself. In their context, the Coleridge lines are trotted out to justify why the narrative declines to include lengthy descriptions of the devices and colors of the knights at a particular tournament⁠—contrary, the narrator explains, to “my Saxon authority (in the Wardour Manuscript).”

Of course, no work of fiction needs to justify why it includes certain details and leaves out others—it is the author’s job to decide what material is relevant, and there are far too many choices involved to justify each one. But the narrator brings up his reasoning behind not describing knights’ heraldry—namely, because they’re all dead now—to play up the theme of nostalgia, a staple of the Romanticist movement. Not only are we, in the nineteenth century, looking back at knights (how nostalgic), but remember, readers, they no longer exist (aw!).

But the Romanticist project here is ambivalent, with the narrator both criticizing (explicitly) and glorifying (usually more implicitly) the Age of Chivalry. The narrator frequently opines on “the disgraceful license by which that age was stained,” and how “fiction itself can hardly reach the dark reality of the horrors of the period,” and so on. “In our own days...morals are better understood” (he’s no relativist). But on the other hand, as Richard the Lionheart comments upon hearing the Saxon noble Athelstane detail how he escaped from a crypt, “beshrew me but such a tale is as well worth listening to as a romance.” That’s because it’s a tale within a romance, and romances, the implied author seems to agree, are well worth listening to. “The horrors” are seductive. The horrors are romantic. (Cf. the Gothic.)

The title may be Ivanhoe, after its chivalric Saxon hero Wilfred of Ivanhoe, but the real hero(ine), arguably, is the beautiful and long-suffering Jewess Rebecca. Here we can see the real divergence of this 19th-century Romantic work from its medieval-romance inspiration. In what can be read as an implicit criticism of medieval romance and the age that gave rise to it, the show, I think, is stolen from the titular knight-errant by a Jewish woman.

The only character with no flaws or foibles, Rebecca is even more perfect than the heroine we would expect to star in this romance—Ivanhoe’s lady-love, the Saxon princess Rowena. As the similarity of their names suggests, Rebecca and Rowena are doubles. They appear in back-to-back chapters, simultaneously unfolding chapters that feature them, imprisoned in separate rooms of the same castle, spurning the sexual advances of their respective captors. Heroines locked up in castle chambers, besieged by would-be rapists and the threat of forced marriages; heroines demonstrating their noble character by rejecting wicked seducers—all tropes. Less predictable is the use of these tropes as a means of contrasting the situations of women from different classes, and with a Jewish woman emerging as the superior character, no less.

Both women do triumph in their goal of averting the fates their captors intend. But Rowena, normally haughty, crumples in a flood of tears when she realizes De Bracy’s power to force her hand in marriage. (Luckily for her, De Bracy is soft at heart—this would not have worked on Rebecca’s admirer, the still more wicked Brian de Bois-Guilbert.) Rebecca, though bearing herself with “courtesy” and a “proud humility” (in contrast to Rowena’s haughtiness), shows herself to have more spirit and strength of character. As a member of a despised race, Rebecca is approached with an offer far less honorable than marriage. (Also, Bois-Guilbert’s vows as a Knight Templar forbid his marriage to anyone.) Instead, the Knight wants to make her his mistress. In such a station she will be showered with riches and glory, he promises. She answers with true fighting words: “I spit at thee, and I defy thee.” In a classic (literally, going back to classical mythology) heroine move, Rebecca threatens to commit suicide, jumping to the ledge of the high turret and warning him not to come a step closer. This both dissuades Bois-Guilbert from his original intent and heightens his passion for her: “Rebecca! she who could prefer death to dishonor must have a proud and a powerful soul. Mine thou must be!...It must be with thine own consent, on thine own terms.”

Thus Rebecca finds herself at the center of a Gothic-heroine-threatened-with-rape-in-castle-chamber scene turned into a Samuel Richardson-style seduction narrative—that gives way, at this part, to a Gothic castle siege passage. Whereas Rowena’s persecutor uses the interruption presented by the siege as an excuse to desist in his ill-fated suit, the Richardsonian plot starring Rebecca continues as a dominating strand of the novel, another respect in which her character appropriates the literary territory of the highborn Englishwoman. Before Brian de Bois-Guilbert closes his first scene with Rebecca to go defend the castle, he established himself as that tantalizing character-type, the potentially reformable rake. “I am not naturally that which you have seen me—hard, selfish, relentless. It was woman that taught me cruelty, and on woman therefore I have exercised it...” He came home from knight-errantry, he explains, to find that the lady-love whose fame he spread far and wide had married another man. Here the reader can glimpse the possibility for Rebecca to be a Mary (another Jewess) to the former lady’s Eve, the means to redemption for a man who was led by a woman into corruption. Whether the Knight Templar will turn out like Richardson’s reformable Mr. B or the irredeemable Lovelace remains to be seen.

In another aspect of Rebecca’s and Rowena’s doubleness, Rebecca’s (rejected) lover is antagonist to Rowena’s (accepted) lover, the hero Ivanhoe. Brian de Bois-Guilbert is the ultimate 12th-century bad boy: he has “slain three hundred Saracens with his own hands,” and he slays with the ladies, too. He is described, in the Ann Radcliffe tradition, with all the dark fascination of a Gothic villain:

“His expression was calculated to impress a degree of awe, if not fear, upon strangers. High features, naturally strong and powerfully expressive...keen, piercing, dark eyes, told in every glance a history of difficulties subdued and dangers dared...a deep scar on his brow gave additional sternness to his countenance and sinister expression to one of his eyes...”

and so on. One of the most interesting things about the novel for me is the way that Bois-Guilbert—over and above whatever is appealing about bad boys—is a strangely sympathetic character, more so than Ivanhoe, and to what degree that was built into the narrative intentionally. When the narrator weighs in with moral judgments (as he often does), it can offer insight into what his take might be on those scenes unaccompanied by commentary. So for example, when the narrator calls “the character of a knight of romance” (here, describing King Richard) “brilliant, but useless,” it implies an author for whom Rebecca is a mouthpiece when she comes down on the anti-chivalry side of a debate with Ivanhoe. So the narrator—and most modern people—likely agree with Rebecca’s opinion of the laws of chivalry as “an offering of sacrifice to a demon of vain glory,” to which a highly miffed Ivanhoe responds that she can’t understand because she is not a noble Christian maiden (unlike Rowena, is the unspoken subtext).

Applying this to the case of Bois-Guilbert, the villain, we might conclude, to our confusion, that his views of race are closer to the narrator’s (more progressive). I have already discussed the novel’s treatment of Rebecca, one of two major Jewish characters; the other, her father Isaac, conforms to some offensive Jewish stereotypes (stingy, money-hoarding, obsequious etc.) but is ultimately portrayed as good-hearted. Moreover, anytime the narrator draws on negative stereotypes he accompanies it with vindications of the Jewish people based on their historic oppression. As in other areas, the storytelling is here flavored with a decidedly 19th-century sensibility (even perhaps progressive for 1819, when Jews still could not hold public office in England). The narrator repeatedly describes the anti-Semitism of his characters as “prejudiced” and “bigoted.” All the characters seem to feel Rebecca’s beauty and greatness, but Bois-Guilbert is the only one who sees her as an equal, without qualifying her noble traits in terms of her Jewishness. Her race seems to be a non-issue for him. Contrasted with Ivanhoe, whose admiring male gaze turns into a demeanor of cold courtesy when he learns Rebecca’s descent, the medieval villain looks more and more like a hero for the 21st century. Could he be Scott’s real hero?

Moving forward, the evidence piles in favor of Rebecca as the real star (despite her complete lack of mention on the back cover of my 1994 Penguin Classics edition). The penultimate chapter, the novel’s denouement, decides Rebecca’s fate in the Richardsonian narrative. The two chapters prior, separating the conclusion from when we last left Rebecca, in danger of being burned at the stake as a Jewish sorceress, are sort of like...okay, Ivanhoe, Rowena, Richard the Lionheart, blah blah blah. Every chapter in Ivanhoe is fun, and there’s a surprise in these chapters, but it’s ultimately an example of Scott’s mastery of the suspense trick of drawing out a cliffhanging moment by switching to a different plot, one that is slower and more predictable and less emotionally captivating. It’s all great reading, but whether or how Rebecca will be saved is what we really want to know, what we will read through anything to find out. Rebecca’s importance—and Rowena’s as her foil—is also borne out by Scott’s choice to close the novel on their farewell scene.

The penultimate chapter contains Rebecca’s trial by combat. Rebecca’s life is at stake, but the real trial is Brian de Bois-Guilbert’s. Since backing off the whole raping Rebecca idea, he has saved her life and then put it at risk again. Bois-Guilbert’s rescue of Rebecca from the burning castle of Torquilstone, by the way, is an example of Scott’s practically cinematic sense of humor and flair for dialogue. Essentially, the Knight Templar appears in the room where Rebecca has been nursing Ivanhoe, when they’re all about to go up in flames; Rebecca is more fiery than the fire (“Rather will I perish in the flames than accept safety from thee!”); Bois-Guilbert picks her up and carries her off anyway (“Thou shalt not choose, Rebecca; once didst thou foil me, but never mortal did so twice”); Ivanhoe, unable to move, yells hilariously impotent threats of rage from his sickbed: “Hound of the Temple—stain to thine order—set free the damsel! Traitor of Bois-Guilbert, it is Ivanhoe commands thee! Villain, I will have thy heart’s blood!” The perfectly timed next sentence: “‘I had not found thee, Wilfred,’ said the Black Knight, who at that instant entered the apartment, ‘but for thy shouts.’”

After this daring rescue, in which the Knight Templar uses his shield to protect Rebecca at the risk of his own life as they gallop on his horse through the flying arrows of the battle, he spirits her to the prefectory of his Temple with the purpose of keeping her captive until she feels forced to “consent” to sex with him. As one might expect in the case of two equally indomitable people with a difference in values, this isn’t going well, until it goes even worse: the Grand Master of the Knights Templar, a stickler for all those pesky rules about not drinking and fucking, makes a surprise visit and finds out about Rebecca. The leader of the prefectory, who knew about Rebecca and was cool with it but has to save face for himself and his most important Knight, convinces the Grand Master that the Jewess has literally bewitched Bois-Guilbert (an easy sell). So in all fairness, she should really be burned to death and he should be given a few Hail Marys. Learning of this horrific prospect, Bois-Guilbert returns to Rebecca with his final offer: he will leave England, abandoning the Knights Templar in all its attendant glory and ambitious prospects, in order to save her, on the condition that she accompany him to start a new life back in the Middle East, where he can conquer everything (his reigning passion) there instead; if not, he’s not giving up his whole life for nothing, and she will see that “my vengeance will equal my love.” For the third time, Rebecca’s answer is that she’d rather die. Bois-Guilbert despairs, wavers, makes a plot to save her without compromising his position—he gets her, when inevitably convicted, to request a trial by combat, imagining that he can be her champion in disguise. Then he is required to fight for the Knights Templar against her champion (if she can even find a champion). Brian de Bois-Guilbert is like the third best knight in the world, so that’s probably a death sentence for Rebecca. He offers to save her again when she’s at the stake, with no champion for her yet appearing and time running out, and is again rebuffed. Ivanhoe rolls up at the last minute to be Rebecca’s champion, still really wounded, and his horse is totally exhausted. Under these conditions, the Knight Templar knocks Ivanhoe off his horse, as everyone expects. But no one, not the live audience, certainly not me, expects Brian de Bois-Guilbert to fall off his horse for no reason, practically untouched, and die. The Grand Master says, “This is indeed the judgment of God.” True to genre, the narrator replaces divine intervention in human affairs with a very Romantic and scarcely more probable explanation: “he had died a victim to the violence of his own contending passions.”

Rebecca’s would-be seducer dies of being unable to decide whether he is a Mr. B or a Lovelace. Some readers may be left in similar indecision about how to judge him. Not so Rebecca, who has actually loved Ivanhoe the whole time, "imput[ing] no fault to [him] for sharing in the universal prejudices of his age and religion.” Rebecca is very unusual among Romantic heroines from the long 18th century in that her love goes unrequited. She may meet the type’s standards of perfection notwithstanding her Jewishness, but ultimately she cannot escape its limitations to claim her full literary-generic inheritance, the hero’s adoration. Happily ever after goes to the less deserving Rowena, and Ivanhoe only has the decency to recall Rebecca’s beauty and magnanimity “more frequently than [Rowena] might altogether have approved.” Rebecca must withdraw and devote her life to God. In this genre, there is no such thing as second love, and that is one of many points on which the narrator remains silent.

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