Snow-that-is-in-colour-red - The Writer's Bastard

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Tommy is dead. The server reacts.

(word count: 1,732)

—————

“What have you done?”

His voice is a reedy whisper, thin with horror and the realization that he is too little, too late. He doesn’t expect the sound to carry over the lava, but a response comes soon enough.

“He wouldn’t stop talking. And he killed the cat.”

Dream’s voice is even, calm, almost a bit defensive, as if he truly believes that he is justified in his actions. Sam swallows down his mounting nausea, places his trident against the floor to steady himself. The lava crackles, hisses, bubbles, orange and glowing, and he can’t cross it. Not now. Not when the security threat remains unresolved. Not when any wrong move on his part could very well mean Dream’s escape.

But he’s already made the wrong move, hasn’t he? Made the wrong move, and Tommy has paid for it. Has been paying for it, this whole last week. He kept him in there, kept him locked in a box with Dream even though he knows very well how it would effect him, kept him locked in with the reasoning that it was temporary, that he would let him out as soon as he could, that he couldn’t risk Dream’s release for anyone, even for Tommy.

But it’s not temporary.

Tommy was sixteen and loud-mouthed and bright-eyed when Sam last saw him, when he said that this would be the last time, that he was going to put his past behind him and look to a new start. Tommy will always be sixteen and loud-mouthed and bright-eyed, and locked in a box. There will be no new start. No seventeenth birthday. No triumphant return, no shining hotel. No tricks, no scams, no pranks.

Seguir leyendo

"You smoke?"

Tommy looked over at Schlatt. He was shaking a cigarette out of a pack and into his hand. Where he'd gotten it, Tommy didn't know. It was the afterlife; he didn't expect drugs to be in the afterlife.

"Fuckin'... no, I don't smoke," He huffed back, "What do you fuckin'..."

Schlatt shrugged, brought the cigarette to his lips, produced a lighter, and lit up. "Your loss."

Wilbur had warned Tommy that occasionally they'd fade in and out. The afterlife wasn't a concrete plane to be in, he'd said, so Tommy should prepare for him to pop in and out occasionally.

Tommy had thought he was ready. He was not.

He'd clung to the man ever since he'd died. He was the only person he had left who cared. At least, the only person he had left who cared and he could still talk to. And even if Wilbur was only going to be gone for a little bit (though time worked so strangely here, who really knew?), Tommy wasn't ready for that separation.

And he sure as hell wasn't ready to be left alone with Jschlatt.

He didn't like kids, that much was obvious. Or anyone, really.

Apparently he and Wilbur had talked quite a bit before Tommy's arrival, which Tommy couldn't blame him for; Wilbur had to talk to somebody, and until now the afterlife didn't have any options except for the previous tyrant. But the moment Schlatt had seen Tommy, palpable disgust had formed on his face and he had fled the scene.

That was fine by Tommy. He didn't like Tommy, and Tommy didn't like him.

But now that Wilbur was gone for a while, being around Schlatt was better than being alone.

Schlatt coughed after a drag. Tommy eyed him uneasily.

Schlatt didn't have scars, Tommy was noticing. Wilbur did. He had a big ugly one in his chest from where Phil had stabbed him, gaping and hard to ignore. Schlatt, having not died to something so physical, had no such thing. But his eyes looked vacant, tired, and bloodshot, and drool seemed to constantly drip down his chin. Disgusting motherfucker, Tommy thought.

It did get him thinking, though. He hadn't seen himself once since his death. When he'd asked Wilbur about his gash, Wilbur had confessed that all the injuries they'd received subsequent to their death would probably remain and hurt forever. Tommy himself had aches all over his body; Dream had done a number on him. He was left with a head that pounded almost constantly and a body that throbbed with every movement.

He wondered how he looked.

He cleared his throat and called, "Oi, bitch."

Schlatt looked to him, unimpressed. "Hm?"

"Ey, uh... so we're all a bit ghost-y now, yeah?"

"Sure."

"You gots your little... red... devil horns, 'n Wilbur's got his scar..." Tommy crossed his arms, "... What do I look like?"

Schlatt took pause, pulling the cigarette from his mouth. His lips fell to a frown as he scanned Tommy up and down, his eyes filling up with something that was almost, almost pity. Tommy's stomach sank; that didn't bode well.

Schlatt tore his eyes away from him and shook his head, gaze cast down.

Tommy swallowed nervously. "Well?"

The only thing Schlatt said after a long pause was, "Stay away from mirrors, kid."

In South America, after Cas says "I love you", Dean says "and I you, Cas".

If the reciprocation was in the original script and the CW cut it off cause they decided to go with that shitty ending, this is the proof. They forgot to tell their homophobic plans to SouthAmerican countries.

Fuck off homophobic CWUSA. We win.

“Nuku, nuku, nurmilintu Väsy, väsy västäräkki. Nuku, kun mie nukutan, Väsy, kun mie väsytän.”

Breathe in, breathe out.

Sleep, Little Bird ~George deValier

“Yo  a ti, Cas” Or how mexican dubbing gripped us tight and raised us from Despair.

Ok. So I promised a big meta about the dubbing thing and so while I don’t have all the answers YET, here’s a bit of perspective on the differences between Despair and The Truth.

First, a little background. I am a former professional dubbing translator. While I worked on anime series from Japanese to Spanish, rather than in live action ones from English to Spanish, the process is not that different. Also, I worked in Mexico, where Supernatural is dubbed, so that’s why I can make the assumptions I make. Finally, my specialization in college was translation from English to Spanish, so I guess I know what the hell I’m talking about.

So let’s start on HOW you translate something for a dub. Back in the day, you got a ton of VHS tapes with the episodes on them with time codes, and, if you were lucky, a shooting script. This is to say, it was not a transcript of the actual words said in the episode, but the script BEFORE the actors, directors, and everyone else had a hand on what was said and changed. And thus, anything adlibbed? Is not going to be in that script which, at least for the anime side of things? Was a nightmare as the script was usually “And here X actor can say whatever they want” and I had to go and listen to the scene ten thousand times. Now a days, you get either a video file or a streaming link, and sometimes, the shooting script. If you get a script, btw, you can also not get a script in the original language. I know that the person who had to translate Sprited Away to Spanish was working off a German script, not the Japanese one. So yeah, some things can be lost in translation there.

THEN you get to translate. BUT you can’t just translate word by word. You have to adapt it so that it will sound like something a person will say, and sometimes, literally is not the way to do it. And in particular, Mexican dubbing has a reputation to uphold as the “Neutral” dub that is send to most Spanish-speaking countries in Latin America, so we can’t use certain words (I don’t have the list at hand, but I remember that I couldn’t use “Llanta” for Tire, and so I had to use “Neumatico”. And no “sweaters” or “hotcakes” or stuff like that), AND we have to match the lips of the original video. Which is like, the worst nightmare ever because of what we call “labiales”, that is to say, the letters where lips close.

I can’t tell you how much we all loved when a character gave a long winded speech with their back to the camera due to those damned closed lip letters.

All this is to say that sometimes, the line could be “We are all in this together for good or bad”, and the translation become something more like “Estamos en esto, por las buenas o las malas” (We’re on this, the good way or the bad way) or “Estamos juntos en las buenas y en las malas” (We’re together in the good and the bad), depending on the translator, dub director, and voice actor.

Depending on the client, that is, the original owner of the series, sometimes they will review the translation once it’s all dubbed and edited. I know that in the Avengers movie, a Disney rep was present on the cabin and forbade any changes from the script, which resulted on a couple of awkward lines in the end result. I don’t know if that’s the case for Supernatural, but I honestly doubt it. Still, translators can’t make huge changes for the dialogue. One couldn’t just ADD a relationship that wasn’t there, no matter what.

(As an aside, due to the very conservative mindset of some tv stations, it’s more common that gay relationships become more ambiguous, by changing “I love you” to “Te quiero” which can be more of a filial love than a romantic one. And well, that one case in Sailor Moon where a gay character was changed into a woman because the dub director honestly thought the character was a woman. But that was in the nineties)

Now, let’s go to how Castiel’s speech was translated.

The original, according to Superwiki, went like this:

Castiel:  You’re the most caring man on Earth. You are the most selfless, loving human being I will ever know. You know, ever since we met, ever since I pulled you out of Hell, knowing you has changed me. Because you cared, I cared. I cared about you. I cared about Sam. I cared about Jack. I cared about the whole world because of you. You changed me, Dean.

Dean: Why does this sound like a goodbye? Castiel: Because it is. I love you. Dean: Don’t do this, Cas. Cas.

And the translation, as it was aired, went like this (And people, you have no idea the war flashbacks transcribing this gave me, so I hope you appreciate it):

Castiel: Eres el hombre mas amoroso sobre la Tierra. Un hombre sin egoismo; el hombre mas generoso que haya visto, y que jamas vere. Sabes que desde que nos conocimos y desde que te saque del infierno, el conocerte me ha cambiado. Porque a ti te importa. Y a mi me importa. Me importas tu. Y me importa Sam, me importa Jack, me importa todo el mundo. Y fue por ti. Tu me cambiaste, Dean.

Dean: Porque suena esto a despedida?

Castiel: Porque asi fue. Te amo.

Dean: Yo a ti, Cas. (The empty appears and Billie opens the door) Cas…

Castiel: Adios Dean

Dean: No!

Ok. So… At first glance, they’re pretty much the same until we get to the I love you. BUT let’s dissect it a little bit.

Cas begins with a “Eres el hombre mas amoroso sobre la Tierra” which is not how I would’ve translated “The most caring man on Earth” since “caring” is more like “Cariñoso” rather than “amoroso” which would be “loving”, and yes, there’s a difference. Plus, “el hombre mas amoroso” sounds a bit clunky, so Personally, I’d have gone with “Eres el hombre mas cariñoso en la Tierra”, that would’ve given us more time for the rest of the speech, but I wonder if the translator choice for Amoroso instead was more due to the fact that “amor” (love) is more clearly romantic than “care” (cariño, in a sense, more on this later) and so it foreshadows the end.

Again, with the literal clunkyness we have “Un hombre sin egoismo” (A man without egoism) which sounds weird no matter what language you speak, and it should’ve been “Un hombre dadivoso” (A giving man) or “un hombre desinteresado” (a selfless man) although the second could be mis-construed as “a man without interests” so “dadivoso” would’ve better. But the more puzzling is that the Spanish separates the selfless man from the next, which is REALLY confusing as the English is “the most loving man”, which would be “el hombre mas amoroso” making it quite redundant, so the Spanish changes it to “the most generous man”, “el hombre mas generoso”. To add to this, Cas continues with “that I have seen and I will ever see” instead of “That I know”, because it’s far more poetic. And loving.

So yeah, Mexican Cas is basically saying that Dean Winchester is made of love and puppies.

Ahem.

The next part “You know, ever since I pulled you out of hell, you’ve changed me” is more or less word for word, and the only thing that changes is that the English sounds more like a question and the Spanish one is an affirmation. YOU KNOW that ever since I pulled you out of hell, you changed me.” Little verb tense play, that doesn’t change much except Cas’s resolution to say what he has to say.

And then we get to the part that made me squeal out loud. Because we go from

“Because you cared, I cared. I cared about you. I cared about Sam. I cared about Jack. I cared about the whole world because of you”

To

“Porque a ti te importa. Y a mi me importa. Me importas tu. Y me importa Sam, me importa Jack, me importa todo el mundo.” Which at first glance is the same, but NOPE.

First change: The original is in past tense “I cared”. Spanish version is in present tense: “I care”.

Which is a little non important thing except when you remember that simple present means “immutable absolute truth that won’t change with time”

Second, the choice of word for care.

I mentioned before that Care can be Cariño, as in filial, non romantic love (Or romantic love pet name, as it can also be Darling. It’s one of THOSE words). Other translations for care include “cuidado” (as in attention, concern, keeping, and worry), and of course “interesarse” (Which also can be care), “preocuparse” (care, bother, trouble, mind, fuss), and yes, “importar” but “importar” ONLY translates to English as a verb as “import”, “matter” “amount to” and notice how none of those words include “love”.

Mexican Cas is not saying “you love the world, and so I do”. Mexican Cas is saying “The world matters to you, and thus it matters to me, but my feelings for the World (and Sam, and Jack) are not in the same league as my feelings for you.”

And then Dean asks “Why does this sound like a Goodbye”, just like in English, in present tense…

And Mexican Cas replies in PAST tense. “Porque asi fue”. And THIS is important because it means that everything he said before WAS the goodbye, and not what comes next. All the rest? Is in the past. “Because it was”. Not “Because it IS”. And the next part? Is their future.

I love you.

Te amo.

Simple present. No ambiguity like “te quiero”. Spanish Te amo is for romantic love. Not brotherly, not family, not bro-mantic. ROMANTIC.

It’s like “I’m IN love with you” (Although that’d be “Estoy enamorado de ti” and I doubt that would’ve fit in the time Misha spoke)

And of course, the answer. “Yo a ti, Cas”. Not “And I, you” as I’ve seen it before (And I also thought it was, until transcribing the scene) but a simple “I, you, Cas.” Which ok, pretty cave-speak, but the meaning is pretty clear. Dean Winchester loves his gay angel.

It is also telling that the empty doesn’t appear until AFTER Dean confessed, so no, Mexican Cas is not “happy with the saying”, he had to get to the “happy with the having”.

And when Billy appears, it does seem as if he wants to say something more, but Cas is a love-sick selfsacrificing dumbass and so we all get our hearts broken.

I did get in contact with Dean Winchester’s mexican voice actor, and am waiting for answers to a small interview I did with him which includes the question “did that And I you, Cas” was in the script, and am trying to contact Castiel’s mexican voice actor. So I will be updating you on that. But I hope this clears up some of the questions about how Mexican dubbing made Destiel Canon :D