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@deardeer-doods

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My question to Ken Stott at Hobbitcon (yeah it’s the Bagginshield one)
So, for those who weren’t there, and wanted to know the context of Ken’s quote, here’s what happened:
Me: Hi, I have a question for Ken. In the end of “The Battle of Five Armies” when Bilbo is about to leave Erebor, he says goodbye to Balin and Balin tells him that “Thorin Oakenshield will become a legend”. And Bilbo says “To me, he never was. He was…” and then Bilbo doesn’t quite finish his sentece and doesn’t say what Thorin was to him, but Balin gives him this this look, as if he knew what Bilbo was about to say. I was wondering, what was going through Balin’s mind in that moment?
Ken: Well… Balin knew what Thorin felt for Bilbo.
*audience cheers*
Ken: And I think he wanted to let Bilbo know… that Thorin held him in such high regard… That’s what I think he was doing.
so what ken stott’s saying is that when bilbo tries to explain what thorin was to him in this scene:
balin gives him this look that in fact means ‘thorin felt the same way about you’:
SO YOU’RE TELLING ME BILBO REALIZES AT THIS MOMENT THAT HIS FEELINGS WERE RECIPROCATED?? WHEN THIS IS TOO LATE????
(gifs by x)
there’s been a really bizarre trend in the past couple years of TERFS/radfems getting pissed off about biology posts. posts about the bilateral gyandromorph cardinal (one half male, one half female), posts about older hens beginning to crow and act like roosters, posts about animals being animals. and it’s hilarious because they interpret these posts as some kind of agenda. no! these are animals not choosing any gender identity or sexuality but being born into bodies they have no control over. weird how that happens in nature huh
never tell terfs about white-throated sparrow or they will lose their fucking minds
Do you want to hear about white-throated sparrows?!
Of course you do, they’re fantastic. They come in two models, one with tan head stripes and one with white head stripes. But the gene that controls stripe color also has a bunch of other effects! It’s a supergene!
To briefly sum up a grueling amount of fieldwork by people who were probably not getting paid nearly enough, basically the tan-stripes are nurturers and the white-stripes are fighters, across both males and females. White-stripes chase away intruders more, tan-stripes bring more food to the nest. Tan-stripe females bring more bugs to their chicks than white-stripes, white-stripe females are more aggressive and sing more.
There is a reason Jordan Peterson picked lobsters, not sparrows, to get all MRA about, because the sparrow ladies are ALL about the tan-striped males. Sexy nurturing tan-stripe males are immediately grabbed up by the more aggressive white-stripe females (who are also dead sexy if you’re a sparrow.) Then the remaining birds pair off, so you get tan and white couples reproducing in virtually all cases—nurturing male with aggressive female, hyper-aggressive male with hyper-nurturing female.*
And this is good!** Because it turns out that they can have a tough time if they don’t mate across stripes—white x white sparrows often come out undersized if they come out at all. There was some cool recent genetic sequencing and one particular chromosome is way funky, inverted, and scrambled in the white-stripes. So now every white-stripe has a funky chromosome and a normal one, and every tan-stripe has two normal ones.***
This is all really unique and means that white-throated sparrows effectively have four sexes, because they now only reproduce with a member of the opposite stripe and sex chromosome, and their offspring may be any one of the four sexes. The stripes have essentially become a second sex chromosome.
The geneticists involved think the funky chromosome probably showed up as a weird import from somebody gettin’ jiggy with another sparrow species. Presumably this created a hypersexy female whose white head stripes brought all the boys to the yard, and very unusually, that bred true.
Is that cool or what?!
*No word on whether there is a resulting sparrow tradwife media genre.
**Leaving aside the impact on the emotional health of the non-sexy sparrows.
**A population solely of tan-stripes can reproduce safely, they’re just not that into each other.
I reblogged this a minute ago but I’m going to reblog it again, because I want to add another non-binary bird species: the ruff.
First of all, look at it.
That’s a male ruff, specifically. You can see how they get their name. The females don’t have that fancy collar. They just look like sandpipers, which is what they are.
Like other sandpipers, these are wading birds, but they live in wet meadows and marshes instead of by the seashore. During the breeding season they gather together and the males hold territories, called leks, in which they display to attract females.
At least, some of them do.
Some male ruffs do not display in leks. They have plainer, often white, neck ruffs, and they sort of wander around the display grounds courting the females wherever. The interesting thing is that the territorial males tolerate this. Research suggests it’s because females are more interested in a display ground that has both kinds of males. The ladies like variety, it seems.
But it gets even more complicated. In 2006, a third male form was discovered. This form is extremely rare, and doesn’t have male display plumage at all. It looks just like a female ruff in the field. The other birds, however, can tell the difference, judging by their behavior. These female mimics travel with other males when the sexes split for the winter, and during homosexual mountings (which are common, as they are in many other animals), they often top.
What’s really interesting about these ‘cryptic males’, or faeders, is that they are apparently super sexy. Seriously. Females and males both prefer mating with them. And it’s believed that, like the satellite males, the presence of a faeder attracts more females to the area, which benefits all three forms.
And the thing about these forms is they are fundamentally different from one another. The plumage and behavior differences last throughout a bird’s life, and are determined by genetics. They are functionally three different genders - one of which shows natural intersex characteristics. All three can breed with females, and females are more interested in breeding when all three are present. They know that diversity is the good shit. Which makes them much, much smarter than TERFs.
That rabbit/hare post is messing me up. I’d thought they were synonyms. Their development and social behavior are all different. They can’t even interbreed. They don’t have the same number of chromosomes. Dogs, wolves, jackals, and coyotes can mate with each other and have fertile offspring but rabbits and hares cant even make infertile ones bc they just die in the womb. Wack.
These
are more genetically compatible than These
and that’s why morphology-based phylogeny has Issues
@aviculor
The problem is perspective. People always think dogs are the ‘standard’ animal, the metric to use for whether or not two organisms “look like” they’re related. When in fact they’re a massive outlier due to the fact that we fucked up this lineage of wolf beyond recognition with selective breeding. It’s why people always say “breed” when they mean “species”, especially when talking about groups like lizards which can’t even be defined cladistically since some of them are closer to snakes than each other. To say nothing of fish.
I once read an article that emphasized there is no such thing as a fish. Sharks and rays, lamprey, lobe-finned fish like lungfish and coelacanth, bichir and sturgeon, and of course the multiple infraclasses of more “modern” fish groups are all only very distantly related to one another. They’ve maintained semi-similar body structures only because there are limited ways to efficiently move through water as a vertebrate.
This
And this
Are more distantly related from one another than you and I are from a lungfish
Which is absolutely fuckin wild.
Not only that, but all of us air-breathing land vertebrates, all the lizards and chickens and people and frogs, are closer to one another than those three “fish” are to one another as well.
these
are genetically closer than these
and…
these
are genetically closer than these
and my personal favorite, it really fucks with people…
these
are more genetically similar than these
COOL.
the thing you need to realize about localization is that japanese and english are such vastly different languages that a straight translation is always going to be worse than the original script. nuance is going to be lost and, if you give a shit about your job, you should fill the gaps left with equivalent nuance in english. take ff6, my personal favorite localization of all time: in the original japanese cefca was memorable primarily for his manic, childish speaking style - but since english speaking styles arent nearly as expressive, woolsey adapted that by making the localized english kefka much more prone to making outright jokes. cefca/kefka is beloved in both regions as a result - hell, hes even more popular here
yes this
a literal translation is an inaccurate translation.
localization’s job is to create a meaningful experience for a different audience which has a different language and different culture. they translate ideas and concepts, not words and sentences. often this means choosing new ideas that will be more meaningful and contribute to the experience more for a different audience.
There was an example during late Tokugawa period in Japan where the translator translated, "Я люблю Вас” (I love you), to “I could die for you,” while translating Ася, ( Asya) a novel by Ivan Turgenev. This was because a woman saying, “I love you,” to a man was considered a very hard thing to do in Japanese society.
In a more well-known example, Natsume Soseki, a great writer who wrote, I am a Cat, had his students translate “I love you,” to “the moon is beautiful [because of] having you beside tonight,” because Japanese men would not say such strong emotions right away. He said that it would be weird and Japanese men would have more elegance.
Both of these are great examples of localization that wasn’t a straight up translation and both of these are valid. I feel like a lot of people forget the nuances in language and culture and how damn hard a translator’s job is and how knowledgeable the person has to be about both cultures. [x]
Important stuff about translation!
Note that you can apply this to your own translations even if they aren’t big pieces of literature or something. Don’t feel bad about not translating word for word. An everyday sentence may sound odd translated literally - it’s okay to edit a little bit so it feels right!
Oh my god, I’m about to go on a ramble, I’m sorry, I can’t help it, the inner translation nerd is coming out. I’m so sorry. The thing is–there is actually no such thing as an accurate translation. It’s literally an impossible endeavor. Word for word doesn’t cut it. Sense for sense doesn’t cut it, because then you’re potentially missing cool stuff like context and nuance and rhyme and humor. Even localization doesn’t really cut it, because that means you’re prioritizing the audience over the author, and you’re missing out on the original context, and the possibility of bringing something new and exciting to your host language. Foreignization, which aims to replicate the rhythms of the original language, or to use terminology that will be unfamiliar to the target culture–(for example: the first few American-published Harry Potter books domesticated the English, and traded “trousers” for “pants”, and “Mom” for “Mum”. Later on they stopped, and let the American children view such foreignizing words as “snog” and “porridge.”)–also doesn’t cut it, because you risk alienating the target readers, or obscuring meaning. Another cool example is Dante, and the words written above the gates of hell: Abandon hope, all ye who enter here. In the original Italian, that’s Lasciate ogne speranza, voi ch'intrate. Speranza, like most nouns in latinate languages, has a gender: la. Hope, in Italian, is gendered female. Abandon hope, who is female. Abandon hope, who is a woman. When the original Dante enters hell, searching for Beatrice, he is doomed, subtly, from the start. That’s beautiful, subtle, the kind of delicate poetic move literature nerds gorge themselves on, and you can’t keep it in English. Literally, how do you preserve it? We don’t have a gendered hope. It doesn’t work, can’t work. So how do you compensate? Can you sneak in a reference to Beatrice in a different line? Or do you chalk her up as a loss and move onto the next problem? You’re always going to miss something–the cool part is that, knowing you’re going to fail, you get to decide how to fail. Ortega y Gasset called this The Misery and Splendor of Translation. Basically, translation is impossible–so why not make it a beautiful failure? My point is that literary translation is creative writing, full of as many creative decisions as any original poem or short story. It has more limitations, rules, and structures to consider, for sure–but sometimes the best artistic decision is going to be the one that breaks the rules. My favorite breakdown of this is Le Ton Beau De Marot, a beautiful brick of a translator’s joke, in which the author tries over and over again to create a “perfect” translation of “A une Damoyselle Malade”, an itsy bitsy poem Clement Marot dashed off to his patron’s daughter, who was sick, in 1537. This is the poem: Ma mignonne, Je vous donne Le bon jour; Le séjour C’est prison. Guérison Recouvrez, Puis ouvrez Votre porte Et qu’on sorte Vitement, Car Clément Le vous mande. Va, friande De ta bouche, Qui se couche En danger Pour manger Confitures; Si tu dures Trop malade, Couleur fade Tu prendras, Et perdras L’embonpoint. Dieu te doint Santé bonne, Ma mignonne. Seems simple enough, right? But it’s got a huge host of challenges: the rhyme, the tone, the archaic language (if you’re translating something old, do you want it to sound old in the target language, too? or are you translating not just across language, but across time?) Le Ton Beau De Marot is a monster of a book that compiles all of Hofstader’s “failed” translations of Ma Mignonne, as well as the “failed” translations of his friends, and his students, and hundreds of strangers who were given the translation challenge (which you can play here, should you like!) The end result is a hilarious archive of Sweet Damosels, Malingering Ladies, Chickadees, Fairest Friends, and Cutie Pies. It’s the clearest, funniest, best example of what I think is true of all literary translations: that they’re a thing you make up, not a thing you discover. There is no magic bridge between languages, or magic window, or magic vessel to pour the poem from one language to another–translation is always subjective, it’s always individual, it’s always inaccurate, it’s always a failure. It’s always, in other words, art. Which, as a translator, I find incredibly reassuring! You’re definitely, one hundred percent absolutely, gonna fuck up. Which means you can’t fuck up. You can take risks! You can experiment! You can do cool stuff like bilingual translations, or footnote translations! You write your own code of honor, your own rules that your translations will hold inviolable, and fuck it if that code doesn’t match everyone else’s*. The translations they hold inviolable are also flawed, are failures at the core, from the King James Bible right on down to No Fear Shakespeare. So have fun! It’s all in your hands, miseries and splendors both.
this in particular has bearing on more than just translation, but possibly in any adaptive or interpretative creative work:
knowing you’re going to fail, you get to decide how to fail
which is actually quite freeing, once you think about it

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I had a dream about Columbo at a drag show. This is what came from it.
I cannot fucking believe how much I'm losing my mind right now over soy sauce history. I'll tell all of you about it after I finish this essay because I need to un-distract myself enough to finish it but what the fuck? What the fuck is going on? I'm losing my fucking mind.
During World War 2 there was a push to industrialize the Japanese soy sauce industry to be better for mass-production. This innovated the chemical fermentation technique and the semichemical fermentation technique utilized by Kikkoman; rather than ferment for four years in gigantic cedar barrels, kioke, instead fermentation takes place for six months or a year in stainless steel barrels which utilize electrolysis to artificially speed up fermentation processes.
During Postwar occupation by Americans, Japan was experiencing massive shortages for the raw materials needed to make soy sauce nationwide, and was forced to rely on exported materials from America to make production. A single American woman named "Ms Appleton" was given total control of apportioning all American soy bean rations to companies, how much, and to who. She had no knowledge of soy sauce, allegedly.
She apparently had so much power over Japanese soy sauce production that she could singlehandedly shape its future by threatening to not give soy beans to any company, family, or factory which did not utilize her specific requirements of semichemical fermentation (reduced from chemical fermentation, since it was that abhorrent). These days, the term soy sauce is distinct from traditional shoyu, and requires distinguishment because of such a radical difference the two products are.
Here's the problem, folks:
I can find absolutely no evidence that Ms Appleton ever existed. There are no sources about this specific period in Japanese history that I'm able to definitively confirm. All of the sources which reference Ms Appleton are referencing in circles with each other; there is no listed source for any of them. Kikkoman's official English website is a veritable goldmine of information regarding this piece of history, with an entire 4 size 13 paragraphs. It not only gives me a first name, Blanche, but also tells me she worked for General Headquarters and that her policies and decisions shaped governmental policies heading into the future.
Except any variation of searching for Ms Appleton, Ms Blanche Appleton, and so on gives me absolutely no information about her ever existing. By appending keywords such as Ms Blanche Appleton+soy sauce, or Ms Blanche Appleton+GHQ, we can find the same couple of sources that are circling each other--or, in the case of the latter, only Kikkoman.
But there is NOTHING else. I'm getting pageantry from some minnesotan town; I'm getting world war 2 veteran records and obituaries when trying to follow that route; I'm getting k-12 teachers and a Titanic survivor named Charlotte. There is no fucking evidence of a Blanche Appleton to substantiate these claims.
And this is fucking massive. Because there should be way more information on her if this was the case; she was apparently powerful and influential enough during the occupation that she could singlehandedly enforce whatever arbitrary rules she wanted on the soy sauce industry and they had to comply or else have no product at all. That level of power is fucking insane. Imagine having so much raw influence over Japan that you could order them to completely renovate and change how they produce and make SOY SAUCE, literally one of if not THE most important thing in Japanese culinary history--and yet there's absolutely zero reference to this outside of like, three specific sites, and none of them have sources, or if they do, they source those sites.
What the fuck is happening here? There shouldn't be radio silence about this woman. There should be records of her policies, there should be legal documents in America which record how she apportioned out American exportation of soy beans to Japan, there should be sources talking about this woman's ability to transform Japan's soy sauce production so heavily that today only 1% of all soy sauce is made with pre-WW2 traditional techniques.
So if she's that big a deal then why does she not exist?
I feel like I'm losing it. I can't think about this too hard because it gives me a headache trying to comprehend any possible answer. There is so many levels to how this shouldn't be happening that I can't settle on just one. I don't understand how some foreigner American could have an iron fist over soy beans so hard that she could apparently influence national policy heading into 2022 but I can only find a first name on the Kikkoman website.
I literally just sent in a Freedom of Information Act request to the national archives asking for any records of a Ms Blanche Appleton, her reports, census information, anything. I can't believe that I'm having to use FOIA to try and ask the government to prove a woman existed because she was that big of a deal in SCAP/GHQ.
This is a translated page of Kikkoman's .co.jp website, with an apparent picture of Ms Appleton.
But this says that she has an apparent good knowledge of soy sauce brewing--directly contradictory to the Kikkoman.com claim that she had "no experience". And it also claims she was in charge of GHQ, which I'm going to assume is a mistranslation, but still.
Major General Murcutt doesn't exist. Douglas MacArthur was appointed head of GHQ/SCAP during the occupation of Japan. This now just has more questions. How did this woman become so important to GHQ that she could directly speak with a Major General? Any level of power or public view she SHOULD have isn't here. You don't just get to be colleagues of a Major Damn General in Post World War 2 Japan. That isn't given to any random housewife.
I just emailed a shoyu brewer family, Yamaroku, about this. The Yamaroku brewery was established 400 years ago; if the company/family were affected during the 1950 import rations and under the thumb of the Supreme Command of the Allied Powers, they'd have records and memory of Blanche Appleton or what it was like during that period as a brewery.
I am at the point where I am genuinely considering the possibility of Blanche Appleton never having existed. There is the chance that Kikkoman invented an 'ambassador'-type person with high influence in the General Headquarters during the occupation to grant itself apparent influence/validity/power above the rest of the competition. "The woman who controls all soy materials coming into Japan visited our main factory and said she liked us :)".
It's incredibly fitting that my first act of serious investigative journalism is about soy sauce. Like, I'm a little annoyed at how on brand this is for me. Of course I'm overly invested in this weird little nitpick about soy sauce. Of course I'm making this the government's problem.
Of course.
It's currently 12:14AM. I have just learned that a private individual submitted a research query to the Japanese National Diet Library in 2008 regarding any information or proof of Blanche Appleton in relation to soy sauce production.
The researchers found absolutely no reference or evidence of her that was not directly related to the Kikkoman company, even after trawling the archives of the Asahi Shimbun Newspaper since 1945.
This information was told to me by a follower of mine--who asked to be anonymous. So right now we have evidence that Japan as an entity cannot find evidence of Blanche Appleton ever existing within relation to soy sauce production. And I can't find evidence of Blanche Appleton existing in obituary records, nor any publicly available birth/deaths.
Right now there seems to be more and more evidence that Miss Blanche Appleton was a complete invention of the Kikkoman Company possibly dating back nearly a hundred years. But why?
If nothing comes back from my Freedom of Information Act request, I'm going to be contacting Kikkoman directly. I'm not going to just let this slide. People have been noticing this since at least 2008. Who is Miss Blanche Appleton? Why would she be faked by Kikkoman? What's the point of this lie, and if it's the truth, if she was real, why can't I find any proof of that?
Who is Blanche Appleton?
Why is everything starting to point towards yakuza/organized crime Kikkoman origin story and why am I researching zaibatsu breakups of the GHQ and where assets from various clans got sent to.
Gaylois insanity collection 2
the game is called copy-reigen-when-he’s-not-lookin and dimple started it
Frodo Baggins of Bag End, beloved nephew of Bilbo Baggins!
There's absolutely no canonical reason for me to give him long hair, I just think he looks pretty.
Look at them, gossiping about annoying relatives

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Thorin, Fili and Kili. At your service!
The royal sons of Durin are all here
I designed Fili and Kili, I really wanted to keep their movie hair color (in the books they're both blonde but I liked the idea that one is blonde and one is brunette)
But I kept their blue capes, so when Thorins cape is dark blue, their are light blue to show that they are his heirs, yadda yadda, something something visual storytelling.
I hope you'll enjoy these good lads, I will probably draw more of them
Hope yall don’t mind me putting my hobbit headcanon up. Yes, I like my hobbits with mice feet 😔👉👈 and sometimes a tail 🥺
Wearing your boyfriends cape and boots AM I RIGHT FELLAS??
Gifs from my sad little short video
"Thorin, the Eagles..."
Great, now I made myself sad

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Thorin, please stop putting Bilbo in dwarf attire or worse - your big ass clothes!
The hobbit will drown in this stupid furr coat
My headcanon: when Bilbo and Thorin finally become a married couple it turns out that Thorin is a little annoying (lovable??) shit
Sir, it's very rude to pull an unsuspecting Hobbits tail