kaigou: so when do we destroy the world already? (3 destroy the world)
Reading several of the books I got in Philly (among them, currently, Berry's Hideyoshi and Borschberg/Roy's The Memoirs and Memorials of Jacques de Coutre), but also just yesterday got a hankering for fiction and picked up three more, although The Goblin Emporer has been set aside as an award for later.

Short comments about 'The Coffee Trader' and 'The Boy with the Porcelain Blade'. )

Eh, well. I'll keep slogging.
kaigou: this is the captain. we may experience turbulence and then explode. (3 experience turbulence)
Okay, this is for [personal profile] brainwane. The idea is to take some facets of the AAS conference and apply them to tech, as a way to incorporate people who might not normally present on their own.

The first thing to note is that each panel is run by a moderator, and other notes about how the panels were set up at AAS. )

If I think of anything else, I'll add it. Let me know where/when/how to send you the full post, B, although I reserve the right to cut a lot of this wordiness the hell out! I also expect [personal profile] starlady and [personal profile] branchandroot will probably be able to weigh in, too, being academics.
kaigou: have some tea with your round cake (3 tea and cake)
Over on Dribble of Ink, there's an essay that had me pondering the way we write fantasy, in the modern world. “Broader Fantasy Foundations Pt IV: The Tale of Genji, and Building the World of the Shining Prince”, in which Gladstone comments:
[Demonic possession and ghosts in Tale of Genji] are unexplained, but they’re not treated as explicitly supernatural within the narrative, since we’re talking about a time before Enlightenment nature-supernature distinctions arose. Ghosts and demons and gods are edge cases of Genji’s reality, but they’re not any less real than the people he encounters on a day to day basis.

[The] fantastical does not seem fantastical to locals. Genji’s reaction to a ghost, or to a demonic possession, is not the Lovecraftian narrator’s “THAT IS UNPOSSIBLE” followed by a prolonged paragraph on circles of firelight, mad dancing beyond the edges of reality, etc., so much as “HOLY SHIT, GHOST!” He—and the other people in his world—are afraid of ghosts because they are dangerous and terrifying, not because they represent a hole in a world system that does not incorporate them.
I didn't even need to add that emphasis; Gladstone did it already for me.

In a sidebar, Gladstone also notes:
Notably, the reaction to a hole in one’s world system varies widely even within the modern age. Folks who just live in the modern world system tend to have the Lovecraft reaction to the holes they discover; scientists, though—and philosophers—respond, or should respond, by examining the edges of the hole and trying to peer through. I can think of two great examples of this in modern fantasy: in Elizabeth Bear’s Eternal Sky novels, the wizards of Tsarepeth are presented as scientists and scholars with a near-modern understanding of the spread of disease. When they discover a demon plague that spreads through miasma, they’re initially flummoxed—since they’ve long known miasma theory to be false. Facts force them to revise their theory, in proper fashion. The Myth of the Man-Mother in Pat Rothfuss’s The Wise Man’s Fear is another example, played for humor—hyper-rational Kvothe fails to convince a friend of his that men have any role in the conception of children, since his arguments all devolve to an appeal to authority. The best part about this: it’s entirely possible that pregnancy just works differently in the Four Corners universe—or works differently among different peoples there.
A day or so later, Katherine Addison (Sarah Monette) wrote The Emperor and the Scullery Boy: Quests and Coming-of-Age Stories, in which she remarked that
...there are female protagonists in fantasy who quest. Mary Brown’s The Unlikely Ones, to pick a random example, is as straightforward a plot coupon fantasy quest as you can ask for (and it still ends in marriage). But they’re swimming valiantly against an undertow, which is the great preponderance of young men who come of age in fantasy by questing. I’m thinking particularly of the trope of the Scullery Boy Who Would Be King, and I can reel off examples by the cartload, from Lloyd Alexander’s Taran to Robert Jordan’s Rand Al’Thor. (Scullery Girls Who Would Be Queen are so rare as to be nearly nonexistent.) Fairy tales, too, are full of these young men, scullery boys or woodcutters’ youngest sons or vagrants, and there’s even a version of the motif in The Lord of the Rings: although Aragorn is not a child, his path through the trilogy is very distinctly from undervalued outsider to King of Gondor. All of them are the protagonists of bildungsromans, of quests, and the pattern they trace inexorably has shaped and continues to shape the way we think about fantasy as a genre and what we think it can do.

I don’t want to argue against bildungsromans in fantasy—far from it. I don’t want to argue against quests, or even against scullery boys. But I want to argue for awareness of the patterns that we have inherited—the grooves in the record of the genre, if you don’t mind a pun—and for awareness that patterns are all that they are. There’s no reason that scullery boys have to turn out to be kings. There’s no reason that women’s bildungsromans have to end in marriage. There’s no reason that fantasy novels have to be quests. It’s just the pattern, and it’s always easier to follow the pattern than to disrupt it.
Both essays are (obviously) worth reading, but that single line -- "Scullery Girls Who Would Be Queen are so rare as to be nearly nonexistent" -- started me thinking. There must be at least one out there, somewhere. Isn't there?

Hello? Hello? Don't tell me those are crickets I'm hearing.
kaigou: this is what I do, darling (2 candy mountain)
Sidenote: I think I got a stress fracture in my foot last monday. Foot's definitely reacting like it. I've been getting these off/on (in either foot) since 4th grade, so I'm pretty blase about it. It was a little more complicated by the fact that on Tues/Wed, my team at work had a major offsite team-building/innovation thing that I absolutely could not miss -- followed by four days in Philly for the Association of Asian Studies (AAS) conference that I absolutely refused to miss. I tried to minimize the walking on Tues/Wed, with minimal success, but there was no minimizing any walking between airports, hotel, going from panel to panel, and then going out to find things to eat. Only got to go to Chinatown once. If I hadn't been limping so much by that point, probably would've spent a lot more time in Philly's more-than-a-block Chinatown.

On the plus side, coming back, I somehow lucked out and got on TSA's pre-boarding. No more shoe removal! Which was both good and bad. Bad, because I really really wanted to take the boots off (I wore hiking boots in the possibly-false hope that some compression would help) and good -- because if I had taken the boots off, there was a good chance I'd simply not put them back on. My hiking boots have the least flex in the sole, which in this case is a good thing.

But enough about me. Some random observations about AAS. )


29 Mar 2014 08:26 am
kaigou: Edward, losing it. (1 Edward conniption)
Isn't there a responsive layout on dw? This non-responsive crap is almost impossible to read on my phone.
kaigou: please hold. all muses are busy, but your inspiration is important to us. (3 all muses are busy)
"No one else came to serve us, and I didn't even see any sign of someone listening from the corridor," Nakayari said. "Why did you test the staff, then?"

"Oh, the staff certainly understood enough," Tsiu said. "Little grandmother taught me that people will always find something to talk about. Since I didn't want people talking about who we'd met for tea, or wondering why, then I needed to give them something of greater interest."

"That you might buy a tea house?"

"That'd I'd buy it for you," Tsiu corrected. "It's the kind of thing my mother would've done." And did, a few times, which was why Tsiu hadn't led Nakayari -- and the trailing Ozolekh and his wife -- to the more popular tea hall at the other end of the financial street. "Also, that you were less than enthused about the idea."

"I'd hardly know what to do with such a place," Nakayari muttered. "I don't even know how to make the tea you have here. It comes in little bricks. What do I do with that?"

"Steep it." Tsiu considered several other things to say, and settled for honesty. "You're from Nasoyunukona. You may be more subtle than most, with your short-sword under your robe instead of over it, but the reputation of your fellow countrymen precedes you. The last thing anyone would expect you to want, or care about, would be some tea hall. It's not a Nasoyunukona kind of business."

Nakayari looked mystified. "Then what is?"

"War." Tsiu looked down the street to the financial hall, where Sozu and Sindhu waited, trailed by Kini and the under-consorts. "Business is complete, I see. Let's see if anyone wants to eat now, before we head back to the palace."
kaigou: Skeptical Mike is skeptical. (1 skeptical mike)
Followup post for [personal profile] whatistigerbalm, but anyone else interested, here's the entire sad list. Maybe a quarter of these are available on the web; the rest are from Jstor. Check your local city library. You might have a free Jstor account. If not, and you're as whacked as I am about research, I have the pdfs. I can email zipped version. Just don't ask for all of them because that's just lazy, and besides, there's 895 of them. (and these don't include images and other non-pdf formats).

kaigou: Happy typing on mac. (1 Hyperbole and a half)
Times like this, I'm reminded of one of the earliest non-fiction books my parents gave me. The Weaker Vessel was authored by Antonia Fraser, better known (at the time, at least, from what I gathered) as a romance writer. One with intense research skills, though, who in the course of doing some historical digging on a new novel, ended up with enough data to write a serious doorstop tome about women's roles before, during, and after the English Civil War.

Sometimes I feel like I'm on a similar track, myself. Except my instinct is: I should take all this info and put it into a searchable database.

Saving notes here, collected from various academic articles/essays. This will probably interest exactly zero people, other than me. )
kaigou: (1 olivia is not impressed)
For those unfamiliar, the culture I've been writing about is one with five genders. The first four are male or female gender-types; the fifth gender is neither all-male nor all-female. The neutral pronoun is used for agender, all-gender, and children until puberty. The awkwardness rests in the fact that I'm contrasting one language -- that lacks a neutral -- with another language that has a neutral... and all of it's written in English, which (duh) lacks an official/widespread neutral. Ugh. Not sure how it reads.

"Afakh wants to end the consort-alliance," Tsiu said, in quiet Nasoyunukona-yen, layered with a Ujira accent. "Afakh's talked this over plenty with Afakh's Second Brother. That's Ozolekh," Tsiu added. Nakayari wondered if Tsiu intended to make it harder for Ozolekh to understand; the man's head was up, eyes sharp, the look of a man who understood at least some of what was being said. "Afakh is third-soul, and wants to enter the temple." Before Nakayari or Kini could reply, Tsiu straightened up and switched to Heichunha. "Thoughts?"

Sindhu brought her hands to her waist, then dropped them to her lap again. "We can't, Tsiu-jhayu," she murmured. "The consort agreement has been sealed---" The rest of what she said got lost, too many unfamiliar words. Tsiu flicked the end of his fan, glancing Nakayari's way. Sindhu nodded, turned to Nakayari, and held out her hand. With a too-ticklish fingertip, she sketched the words she'd just spoken on Nakayari's palm.

"It's a breach of contract," Nakayari told Kini.

"You'll need to translate better than that," Kini retorted, under her breath.

Read more... )
kaigou: this is what I do, darling (3 patience is not my virture)
Hello, fandom, my old friend. Been so long I've almost forgotten how crazy you are. Almost. It's okay, don't call me, I won't call you.

ANYWAY. So. Noragami. One of the first anime in like forever to really capture me, which tl;dr means: why the hell have I not seen in-depth, sparkling, thought-provoking commentary from either of the Emilys? -- [personal profile] branchandroot and [personal profile] annotated_em, that is. Or even [personal profile] starlady who is not an Emily, but does begin with a vowel, so that's close enough. ONE OF YOU. Satisfy my need for analysis! Or I shall be pushed to poke [personal profile] ivoryandhorn or [personal profile] phoebe_zeitgeist to carry the weight. Which I might do anyway, because analysis.

SOMEONE. AVAIL ME. My former fandom status as a near-BNF compels you!

Also, I just got home after enjoying two glasses of some really nice reisling, the name of which I totally meant to get and did not. In case you couldn't tell from the random name-dropping. Where is my next episode of Noragami? Or my next scanlated chapter? I'm retired from scanlating, so I'm able to say again that scanlators are toooooo slow. Damn it.

Should reisling be capitalized? Inquiring minds want to know. Leik yesterday.

I actually had to explain tl;dr to my sister this evening (while texting). Either I'm hipper than I realize, or my sister is seriously out of touch. I'm guessing the latter. Very eye-rolling, so sigh.

Also also, I realized while talking to my other sister that I AM the disruption at work. Go me! Doing prototypes and shit that will cause nothing but trouble for other departments, and this is WHY I was hired. This is awesome. I'm causing trouble and I'm getting PRAISE for it.

I'm considering changing my tag from "analysis is my chocolate cake" to "analysis is my greek beignet" because holy fuck you people, this shit is awesome. I am addicted to greek beignets. I shouldn't be, but I am.

I just realized that 'reisling' is another exception to the i-before-e rule. Which reminds me of the time I got sent to the principal's office because I demanded to know why 'science' broke the rule of 'i before e except after e'. Yes, newsflash, I have always been a troublemaker.

There was some other also to add, but I forget now. Where's my extensive analysis on Noragami already?
kaigou: (1 Toph)

Longer post coming soon, but this has been on near-constant repeat since I got the album.
kaigou: Edward, losing it. (1 Edward conniption)
Has anyone else missed and/or not gotten DW comment alerts in email? I realized I was getting msgs only sporadically, and then they stopped altogether somewhere around early November. I've gotten notifies of replies on other journals, though, but that only since early December. Since then, nothing, and I can tell I've gotten comments because I've seen them here. Just no emails. I checked my settings and whatnot, so I'm stumped. Anyone else having this issue, or is it just me (again)?

Figured it out. Somehow my settings were changed so I had to opt in on getting email. That's not the kind of thing I would've turned off, so I'm guessing there was an upgrade and that flag got switched. Who knows, but we'll see now if I suddenly start getting emails again.

If you have a minute and don't mind, drop a comment so I can test this theory. Thanks!

ETA2: ahahah shoot me it works now. yay! thanks for the help, everyone. (I figured out that while I'd changed the email... I hadn't confirmed it. Once I did that, now I am back to regularly scheduled emails. It's been that kind of a day, really.)
kaigou: Happy typing on mac. (1 Hyperbole and a half)
That aren't even complete, but have sat in your head just waiting for when you'll finally get around to them. Or maybe it's just that I'm so tired of dramas where everyone's hanging all their hopes on the young master, or the daughter finding a husband, won't someone save the family, oh noes, yet they ignore the perfectly capable daughter or wife who's standing right there, who's been doing the work of saving, all along. This scene's been waiting to be written, if only because I'm tired of waiting to see it in a drama.

We've got shipyards in every port, and another dozen here in Tzeucha. If you think we cared at all about your family's shipyard, you're as stupid as your father. )

kaigou: If I were my real size, your cow here would die of fright. (2 if I were my real size)
Let's set aside the fact that I really want to kill my team-at-work right now, and think about more cheerful things! ...which means setting aside the fact that killing my team would make me VERY cheerful. OMG it's only the second day of the year and already I'm pondering bloodshed.

Well. Anyway.

I remember reading Hunt for Red October back in college or whenever, and what seemed like so many intricate details. I do recall that this added to the veracity or the realism of the story, but I don't recall if the details really ever became pertinent. I mean, some of them did, like how radar worked (and why the Red October could slip past), and how nuclear subs worked (thus helping to explain why the sub could/would be evacuated). Not sure about the rest, or maybe those other details were meant as red herrings: talk about keeping the resolution a surprise. If you're drowning in red herrings, how the hell do you know which is gonna matter?

As relates to me, specifically, I've been reading all kinds of awesome stuff over the past few months. Much of it would never show up in a story, or at least no more than in passing: who really cares about the monetary systems and coin debasement and other economic missteps, let alone what/how centralized banking works and why it's so important in the development of modern capitalism -- but omg this stuff is just so fascinating.

In case you missed the tumblr reblog, yes, I'm a dork.

This is just mostly the craft question, where when I come across in-depth details about something (regardless of the story or genre) I find myself stepping back. Not in a bad way, but in a "I need to back up to see the whole picture here" way, and I mean that in a craft sense, not a reader-can't-cope sense. I like looking at how someone else tackled that all-important issue of the infodump, especially when I know (or can trust) that this info is still very, very important.

I really feel like that's an art, in its own right.
kaigou: this is the captain. we may experience turbulence and then explode. (3 experience turbulence)
In the past year, I've watched a lot less anime and a lot more live action. Except not English-speaking: Korea, Japan, China, Taiwan, Malaysia, India, Mongolia, and a few shows from the Middle East, where there's subtitles. Not saying I watched the movies/tv all the way through, just that I've at least done my best to give everything a half-hour before moving on.

Then I got netflix. After I'd watched the few big-name movies I'd been curious about, I went through a slew of documentaries and was mostly unimpressed at the level of non-information. I mean, when National Geographic is giving Wikipedia a run for the money on lack o' detail and glossing, that's pretty sad. I was even less impressed with netflix's inability to warn me when a movie was dubbed or subtitled; there are only three or four Asian movies on netflix that I don't have or haven't already seen. But a few I hadn't saved, wouldn't mind rewatching, but the unhappy discovery that netflix has the dubbed version, oh, that's like nails on a blackboard. At least warn me, people.

Finally a few weekends ago, out of sheer boredom and having exhausted most everything else of any interest at the site, I dug into television shows. Some of my dwircle has talked about Once Upon a Time, and barring re-watching Xena, I figured, what the hell.

My god, that show is so white.

Myth vs fairy tale, or, someone else's myth is NOT your fairy tale. See also, Mulan. )

Related: I stumbled over a post about how Why Sleepy Hollow is both the Silliest and Most Important Show on TV Right Now. Maybe it's time to see if that's on netflix, instead, because I sure as hell can't stomach any more of OUaT, as much as I like the original premise.

That said, I definitely recommend the linked article, especially when it gets into the moralistic representations of PoC onscreen. (I think there could be an argument for the same in fiction.) But worth additional contemplation, now that I have more time on my hands, having tossed to the side yet another promising but ultimately one-note, one-color story.
kaigou: Ed & Ling bumpfist. (2 word)
I decided I really wanted to see Pacific Rim (again), and the local bookstore had it, so Friday night I rewatched. (Yay!) Then on Saturday I rewatched, this time with the director's commentary. There are people who think Godzilla is cool, and people who like mecha, and then there's the level of geekery from del Toro: names, names, little trivia about the origins of Godzilla (and the makings of), and the various mecha series (no shout-outs to Eva, but certainly plenty of discussion about Mazinger). If I was in any doubt about the man's geek cred, I am in doubt no longer.

Much of what he had to say -- while really fascinating in terms of the additional visual layers of the story, like the color-coding -- was cool but not really pertinent to verbal/on-page storytelling. And he also had me totes nodding along when he complained about CGI tending to make things look ungrounded, as in, no actual weight/substance. (His emphasis on the fight scenes being in rain and water were to offset that groundlessness; by seeing the water splashing around, and things flying through the air and cars hopping as the kaiju walks, it gives your brain the message that this CGI thing is on the same ground as everything else you see.)

Other things he had to say just made me go AHA. In no particular order... )
kaigou: Edward, losing it. (1 Edward conniption)
Realized I've only been posting like what, once every few weeks? It's been... real. Around here. Short version of current lessons (re)learned:

1) You cannot have a successful project without someone to make the decisions, aka 'manager'. Especially in agile. No project manager, you might as well accept the project will most likely fail. Or if it succeeds, it will be through no small amount of teeth-pulling, a lot of arguing, and a whole lot of flailing.

2) If #1 isn't obvious, I'm on a project where the project manager has a) been interim and b) been busy with other things and c) thought the project would be fine without a hands-on manager. Recipe for fail!

3) This is complicated by the realization that I'm working with an ENFP* who is utterly clueless (and mostly uncaring for) deadlines, and too busy chasing the awesome with no care for the fact that he's rewriting everything almost daily, breaking the build, and making it impossible for me to get anything done in my area of the project. Multiply the lack-of-care with an INTP on the other side, who is equally entranced not only by ideas (and equally bad with deadlines), but downright hostile to task management apps like Jira or Rally, yet loves to talk about how we're building an awesome app. This is turning me into an unhappy ENTJ, because someone around here has got to actually build this app. As opposed to just talking about it (the INTP) or re-building the parts already built (the ENFP).

4) What the hell an ENFP is doing as a web dev, i don't even. Really. I'm out of evens.

5) I'm the only contractor. Guess who's going to get blamed when we don't deliver.

6) Yes, I am making plans. They may change, but it's still plans. As long as I'm pretending to be an ENTJ at work, I might as well do good with it.

7) If I did not have a local network of other women devs to keep me balanced, I really don't know where I'd be right now. Probably in a bunch of miserable interviews as a BA or IA again, having fled the madness that has been this year's dev jobs. Having a network of people who know what it's like is all that's kept me sane.

*If you're not familiar with MBTI, look it up; my teammates aren't edge cases. They're pretty much textbook. It's me, as more of an xNTx, who's flexing to make up for the areas they lack. Like, planning, and follow-through, and the all-important communicate-with-others. The last one, times infinity. If I hear one more "oh, I forgot to mention", I'm gonna start throwing things.

WHY AM I THE RESPONSIBLE ONE. How did this I can't even. You know something's gotta be seriously wrong when I'm the one who ends up with the title "responsible one". Ugh.

ETA: on the plus/tangential side, for those of you still paying attention to the wip, I'm starting again. Now that I've done another massive round of research and let it simmer. Believe me, I've had the time -- sometimes hours while waiting for the ENFP to get around to, y'know, undoing/fixing whatever he's broken this time. Yes, hours.
kaigou: Edward, losing it. (1 Edward conniption)
I need something to say to a coworker (who is otherwise a cool person) when for whatever reason he decides to play devil's advocate. Especially when what I'm arguing is something that he later admits is something he also believes in, or at least would like to recognize as valuable. It feels like he's either winding me up for his own amusement (though he doesn't seem amused at the time, so probably not) or just doesn't realize that I can't tell whether he's serious -- and the upshot is that I lose respect for him. It's like, oi, if you're that much of an asshole, then maybe I need to change my opinion about you. Or something.

Today there was talk about UX/user testing. G was somewhat dismissive of there being any value in this. I've done user studies for ten years (contextual analysis and ethnographic studies most especially, which means lots and lots of talking to users at length), I told him every single time I did a user test or interview, I learned something new.

It was almost always it was something that opened my eyes about my own privilege: that I'm abled, that my language skills are top-notch even for a native, that my eye-hand coordination is pretty damn good, that I don't have motor skill issues, that my hearing's good enough, that my sight is good enough despite needing glasses, that I don't have significant learning or cognitive issues that get in the way of my comprehension. Doing user studies, as CP later commented, reminds we designers and developers -- we makers -- that we are not The User. It reminds us to be thankful for the ways in which we're fortunate, and to be humbled about the ways in which we have it easy.

All those things I do when coding like larger click-areas and story-answers on alerts and proper color contrast -- just like all the things some architects do in corporate buildings like wider doorways and bar-handles instead of round handles and ramps at every entrance -- these are all invisible if you're abled, but they're crucial if you're not. And the onus does not, should not, lie on the person who is disabled to make do; the onus should lie on us, as the makers to make the web/world inclusive. Because we have the good fortune and the ability to do so.

But he was arguing against this, and I went along until the point where I said, the web should be inclusive, for everyone; the web exists for everyone. G replied, no, the web exists to make money. (Someone tell that to all we fans who runs sites at a loss out of pure love, but I didn't go there.) The whole 'make money' thing was so cynical, and enough opposite his usual attitude, that I just called it quits right there. We're going to end this conversation right here, I said, and that was that (whew).

I'm not sure whether to be pleased or roll my eyes that he told me afterwards that the reason he loves talking to me about stuff/work is that he always learns something new. Except he excused his responses -- though not in so many words -- as devil's advocate. I'm so freaking sick of oh, I'm just playing devil's advocate. It's going on my list as second-hated phrase, right behind, can't you take a joke?

Dear internets, please give me a good witty comeback for the next time G says he's playing devil's advocate. Not too nuclear, since I do have to keep working with him, but something that makes it clear he's playing a game that I don't respect and don't have time for. Anyone?
kaigou: Roy Mustang, pondering mid-read. (1 pondering)
Last week Aliette de Bodard posted A Few Thoughts on Other Cultures and Diversity in SFF over at tor.com. It's been open on my rss reader since, as I've re-read and contemplated. Among her many good pieces of advice, she had this bit to say:

I have lost count of how many narratives on China featured ... over-formality between members of the same family (because everyone knows that Chinese is a formal language! Guess what. Most communications within the family are brutally simple, because the respect is already implicit in the relationship itself); use of broken English (because all immigrants/foreigners speak bad English!)...

Between trying to learn new work-stuff as fast as I can (with go-live date looming large and only just now behind me, yay), and doing lots more research on economics, monetary systems, the beginnings of international trade, the transition from debt-bondage to outright slavery, and so on... I've been letting the next book(s) simmer. The story's taking mental shape, but I keep coming back to this point from de Bodard.

I've posted before about how English-language authors will represent the speakers of another language. Unlike Ludlum (see link), I have read authors who use broken-English to indicate when a character is speaking an unfamiliar/unlearned language. That doesn't bother me, so long as the character speaks fluently in their own language (albeit translated into English as well, for the sake of the book). The tl;dr of Ludlum is that he didn't do this; his non-white characters speak in broken English even when they're supposedly speaking their native tongue.

Thus, my preliminary hypothesis: do not have 'broken speaking' for any characters speaking their native tongue. Broken speaking should only indicate when someone is speaking an unfamiliar or new language (and, as the character learns, the broken-ness should slowly fade). Okay. Onward with more thinky thoughts about language and othering. )


kaigou: this is what I do, darling (Default)
锴 angry fishtrap 狗

to remember

"When you make the finding yourself— even if you're the last person on Earth to see the light— you'll never forget it." —Carl Sagan

October 2016

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