You’ve got uu and UU’s symbols shackling a single person (apparently
They have Doc Scratch’s gun. They’re holding it in their right hand.
The gun is on the same side as the Sister’s symbol, which may or may not mean anything.
It’s also odd that the side with her shackle is red given that the Brother has shown himself to be the more violent one.
Okay, I’ve got to think back to everything that the Brother and Sister have said about themselves and each other.
They’re probably not a troll. The sister’s fascination with trolls feels detached from them
They’re definitely not human. There are some basic things about humanity that the Sister doesn’t know about.
They have a two player session
The Brother believes that their session is unique, but whether or not he’s correct remains to be seen.
They’re not really brother and sister. That’s just a close approximation for the sake of easily describing their relationship.
Hang on, there was that one really suspicious conversation in the middle of Myststuck:
UU: really, as if my dreadfUl nap were not bad enoUgh, i woke Up to find my coplayer has made a terrible mess in here. UU: bUt the good news is he has at least agreed to play with me once and for all. some people make nothing easy. GG: That’s good. GG: But wait… GG: I thought you said you’ve never met him? UU: Um. UU: i haven’t! UU: not in person. GG: Then how did he make a mess in there? GG: Did he break into your room while you were asleep? UU: oh, yes, well, hmm. UU: the thing with that is this. UU: the thing with that is that we shoUld talk aboUt something else!
They can’t meet in person, but the Brother can still get into the Sister’s home and “make a terrible mess”?
[Looks back at the picture up top]
Are they the same person? Is this a multiple personality thing or something? If the shackles represent the Brother and Sister, is there a third entity represented by Calmasis themself? Or is Calmasis just the combination of the two? Canonically, Calmasis uses “s/he” pronouns, so it’d make sense for them to represent the combination of a masculine and feminine personality.
But then Rose’s book series also seems to be an allegory for Lord English so where does he fit into all this!? GAAAAAAAAH!
Didn’t feel like doing a full narrative today, but after over two years of TLC I can dash off pesterlogs in nothing flat. Remember back when I was getting all those kid shuffle asks? I’m basing this off this one.
I messed with my custom css specifically for this post.
tuesjade prompt: kidswap
Interview with Tominaga Yoshihiro (producer) and Asano Naoyuki (character designer) from Osomatsu Roku Nensei.
I was looking through my half-finished translations and I found
this from the Roku Nensei/ Sixth Graders magazine. No idea if anyone’s translated
this before or not. The first few questions are asked by the sextuplets while
the rest are just general. At the end are some comments from Asano on the
origin and features of the sextuplets design.
Asano Naoyuki – Animator. Was involved in character design,
animation direction and the story boarding, direction and animation direction
of the opening for the TV anime Osomatsu-San.
Tominaga Yoshihiro – Born in 1978 in Miyagi Prefecture.
Joined Sunrise as a production assistant in 2001. Currently a producer at
Studio Pierrot after working for Manglobe. Works include Yona of the Dawn
Todomatsu: Erm, which of us do you think you are the most
Asano: I lean towards Choromatsu, perhaps. Like I don’t
really need any friends. Well, I try not to show that kind of darkness on the
outside though. Tominaga is Osomatsu! The way he stays calm even in a tricky
situation and says it’s probably alright has kind of an Osomatsu feeling.
Tominaga: Hehe, well, it’s part of my job. Inside I’m
panicking. How I get carried away when I drink alcohol is probably similar to
Ichimatsu: When making the anime….did you
feel…..pressure or anything like that?
Asano: You know how the ending changed after the New Year?
When I was making that, everyone around me was expecting a lot, so I was under
pressure. I didn’t know what I’d do if they said the first one was better. I
thought about changing my name if I failed.
Tominaga: Nothing much was expected from us to begin with,
or rather, we were told that anime with cute character designs doesn’t sell, so
I didn’t feel any pressure in particular. It was an environment where we could
pursue what we liked, without sensing any obstacles.
Asano: And as a result of pursuing that, it became popular,
so we were like “In your face!”
I’ll be introducing you to the Kinuk’aaz language of the Omec bit by bit over the course of the season, and today I thought I’d start with the fun stuff: the sounds and the writing system.
The original version of the language sounded way different. It had the long vowels, but it had a lot more consonant clusters and a different phonetic inventory. Kevin Murphy wanted it to be more…more, if that makes sense. He wanted it to really stand out. I told him I’d have to open up the phonemic inventory—bring in some sounds that’d be tough for the actors to produce—and he said, “Do it.” This was the result:
Plain Stops/Affricates: p/b, t/d, ts/dz, k/g
Glottal Stops/Affricates: t’, ts’, k’, q’, ʔ
Fricatives: v, s/z, h
Approximants: l, ʀ
Nasals: m, n, ŋ*, ɴ*
Some notes on the above. The sounds above are written in IPA, and the romanization I used with the actors is identical, save that [ʀ] is written r and [ʔ] is written ’(also, [ŋ] and [ɴ] are just written n, as they’re predictable allophones of [n]). You’ll notice that, comparatively speaking, this is a small phonemic inventory. That was done on purpose. In particular, there’s a dead scar running down the ol’ “palatal” column. This language has no palatal sounds whatsoever. I think that helped to distinguish it from the other Votan languages quite nicely.
The most distinctive sounds above are the ejectives and the trilled uvular r. I think the latter especially is one of the most noticeable features of the languages, and Kindzi in particular trills it beautifully. The q’ sound is probably the rarest, and that’s because it really is quite difficult for English speakers, and I figured poor Nichole and Conrad were going to have a tough enough time with the rest of it. Before leaving the consonants, if you’ve never seen or heard an ejective before, an ejective is just like a voiceless obstruent pronounced while holding your breath. Try it with t and see how different it feels. It’s like the consonant becomes a weapon and you’re trying to kill someone with it.
Okay, now for the vowels!
High: i/iː, y/yː, ɨ, u/uː
Mid: e, ø, o
Diphthongs: ia, ai, øy, oy
Those are the vowels. Long vowels are written doubled, otherwise everything is written as its IPA symbol suggests, aside from [y], which is written ü; [ø], which is written ö; and [ɨ], which is just a predictable variant of i. This should look pretty French or Greek, because it basically is. If you’re wondering why there are no long mid-vowels, it’s on account of the “I’m never writing a romanization for English-speaking actors featuring ee or oo” sound change. No matter what, those digraphs will be pronounced [i] and [u], respectively. That’s all right, though. It was all part of a fairly extensive “Great Vowel Shift” that happened in this language which you’ll see a bit of when we get to the orthography.
This was the first Votan language to use front-rounded vowels or long vowels. I thought the long vowels came out pretty well, but both actors had a tough time with the front rounded vowels. I think they proved to be an annoyance. Oh well.
For the rest of the phonology, I’ll just do a bullet point summary of some of the highlights:
Generally the last syllable of the root is stressed. Verbs end up taking one to two suffixes routinely, though, so it often sounds like stress is penultimate or antepenultimate. It’s usually the nouns where you consistently hear word-final stress.
Stops/affricates all simplify to plain voiceless at the end of a word. For example, the word for “language” is nuk’aaz, which is just the word for “tongue” with an augmentative suffix on the end. The word for “tongue” is nuk.
The old vowel *u goes to v all over the place.
Obstruents undergo progressive voicing assimilation, so a word-internal cluster like *sd could come out zd.
Syllables can begin with a consonant followed by an approximant or v maximally. Syllables can end with a single consonant only (note that ts, ts’ and dz count as a single consonant).
High vowels lowered to mid vowels after q’ and the old implosive consonants *b’ and *d’. More on this later.
Where a word-final obstruent became voiceless, the previous vowel lengthened.
The vowel changes are too numerous to list. Some key ones: *ai > e; *ae > ai; *ee > ii; *uu > üü; *oo > uu; *ou > uu unless it was the end of a word, in which case it became ov.
Consonants can occur as geminates. They also undergo two types of mutation which I call N-mutation and V-mutation. You’ll hear a bit about that below, and it’ll make more sense when we talk about morphology.
There are some other odds and ends, but that’s the gist of it. With that done, let’s turn our attention to the orthography.
The Kinuk’aaz orthography is called Zaduusel, which translate as “writing”, basically. Unlike the rest of the Votan writing systems, Zaduusel is a fully alphabetic writing system—with a couple of quirks. Before getting into it, though, let me give you a little of the background on it.
I created three writing systems for three other Votan languages (Irathient, Castithan and Indojisnen), and I have always felt (and will always feel) EXTREMELY fortunate that I was afforded the opportunity to do so. It absolutely blows my mind that I was not only able to create these systems, but that the art department ran with them. My entire life I’ll never be able to thank everyone for that opportunity. That’s why when I was told at the outset that we would not be needing a writing system for the Omec language, I was disappointed, but there was no way I was complaining. I mean, three writing systems in one show?! That’s enough for a lifetime.
At that point in time, I didn’t even bother giving it a second thought, because I was busy enough creating the language. That was my entire December and January plus parts of November and February. I was already into script translation when Suki Parker, one of the amazing creative individuals working in the art department, e-mailed me and asked me if I was creating an Omec writing system. I said that I was told it wouldn’t be needed, but that if the art department felt differently, maybe they could run it up the flagpole. That was at the end of January. I’d entirely forgotten about that exchange when I got another e-mail from Suki in April: The Omec writing system was a go!
Considering how late in the game it was, I was actually shocked and delighted to see it in episode one. But anyway, my point in sharing this is that I owe the creation of the system to Suki, and to the powers that be above her who gave it the okay, and I couldn’t be happier about it. At the outset, I didn’t even entertain the possibility that I’d get to do it, so it was awesome to see the situation turn all the way around.
In designing the system initially, I asked Suki for some interior shots of the Omec ship for inspiration. After playing around with shapes, I had to decide on the system itself, and I decided to do an alphabet. I did so for a couple reasons. First, I wanted every aspect of the language to emphasize how non-connected the Omec were to the other Votans. The other Votans all use palatals in key places? The Omec would have none. The Votans use base-20? The Omec would use base-10. The Votans have syllable-based writing systems? The Omec would have an alphabet. The second reason is that since this request came in April, I would not have all the time in the world to font and kern. Alphabets have fewer characters which means less to create and code. Plus, I wanted to turn this thing around quick as a thank you to Suki and Steve Geaghan and the rest of the wonderful art department that made this happen. An alphabet just made sense.
Of course, I couldn’t make it just an alphabet…
So, enough with the introduction. Let’s get to it!
The Zaduusel alphabet is written from left-to-right (because the programs hate anything different. Lord, I have stories trying to format Arabic in The Art of Language Invention. I’ll tell them one day when I’ve recovered), but it can be written from top-to-bottom effectively. The art department was always bugging me about being able to write stuff from top-to-bottom, and none of the other Votan writing systems work well written that way, so I wanted to make double sure this one would!
Each letter of the Zaduusel alphabet is shown below (this table is in Zaduusel alphabetical order going from left-to-right and from top-to-bottom):
Ignore that little half-box between z and l (lousy screenshot… Taking a picture of everything it sees…). Here are the notes from above:
* These are the implosive phonemes that are no longer in the language. Both d’ and b’ are pronounced like their regular voiced counterparts d and b respectively.
† These are the original long vowels that are now pronounced differently. As a reminder, what was *ee, *oo and *uu is now pronounced ii, uu and üü, respectively.
But yeah, otherwise, that’s it! Unlike for the other Votan languages, you can use that chart to write whatever in Zaduusel. The only catch is the system of mutation.
All consonants in Zaduusel have four distinct forms:
The four different forms aren’t always pronounced differently, but they’re almost always written differently. When these forms are used is something I’ll discuss later. For now, the Imperfect Form is basically n + C; the Geminate Form is a doubled version of the consonant; and the Perfect Form is used sometimes when a consonant comes between two vowels. Below are two tables illustrating all four forms for each consonant:
Looking above, you’ll notice that m and n have Geminate Forms in the imperfect. That’s actually what’s used when you need an Imperfect Form for m or n. There exists an actual Imperfect Form for both characters, but these are analogized forms that are only used in formal writing. (Kind of like the umlaut in words like coöperate, which is really only used by The New Yorker.)
Otherwise, here’s the number system:
The Plain Forms are all shown with a leading zero. Essentially, numbers are broken up into three number chunks with a comma separating each chunk. The first number in a chunk gets the little flippy-doo on the left, and the other two numbers are written in their plain form.
And lastly, here are the punctuation marks used in Zaduusel:
I don’t really know what the stroke is for, but it had a purpose when I invented it…
Anyway, that’s the system! It writes fairly well with an edged pen. Here’s one of the pages I used as I was designing the system:
Kind of fun to write. Anyway, tonight is the third episode of Defiance season 3! I hope you enjoy it! Things just keep heating up.