there's something so deeply dystopian to me how tech companies don't understand that a forced convenience is not a convenience at all. i'm sure autocorrect is helpful for many, but a function that forcibly changes my actual written words and punctuation is taking away my language. photo filters can be nice but i need to choose using them myself or else i have lost the ability to take the picture i want. i don't want a machine to draw or write for me. taking away the option for me to do things manually feels like violence!!!! all this talk of endless opportunity, why are you RESTRICTING me
One of my goals for Lexember was to finally finish fleshing out the writing system. I did, although the cleanup and tweaking and stitching together loose ends extended a month into the New Year. I finished.
Until now, there were (possible) words in Yuk Tepat that couldn’t be spelled, but now it is possible to write anything by combining semantic and phonetic signs.
Above is a bunch of glyphs that can be used for phonetic value.
The whole chart depicts a range of onsets, codas, and combinations encompassing the range of syllable types in Yuk Tepat. I originally intended to fill all the squares like a bingo card. I didn’t fill it out completely. While not every syllable type has its own representation, each of them is only one degree of separation from another syllable that DOES have a sign.
By this I mean that any syllable without its own sign could be changed into a syllable with a symbol by a change of one phonetic feature.
For example, there is no sign representing /lʌj/, but /lɯj/ does have a sign. There is only one different phoneme, and /ɯ/ differs from /ʌ/ only in being high instead of low, so /lɯj/ is ‘close enough’ to work for /lʌj/.
This is very reasonable, and not too different from the ambiguity in many real writing systems. How many different sounds can English <e> make? Since Tepatic glyphs are logographic, semantic determiners can disambiguate the near-homophones.
Of course, this took years and years, and looking back I see now how I could have finished this years earlier, but whatever. I didn’t really understand how this worked when I started.
There could be, and will, be more glyphs created in the future. Most will be compound glyphs. As for ‘basic’ glyphs, the component parts, no more need be created. I may still make more if some good ones arise. But I don’t need to make anymore.There’s always more work to be done in the realm of “possible.” But also joy in fulfilling crucial criteria for a language and passing a milestone. I’m happy to say “I made” the writing system.
Loathing fans!! I have something for you!!! ٩(ˊᗜˋ*)و ♡
Ever wanted to speak in the forbidden tongue? Now you can!! I put together some .ttf and .otf files with the Shadowspeak alphabet on it, as well as a guide on how to read and write in the language! Enjoy!!!
If you use the font, please credit me anywhere n_n
I think it'd be cool to see what you make with it!! *⸜(ˊᗜˋ)⸝*
Loathing fans!! I have something for you!!! ٩(ˊᗜˋ*)و ♡
Ever wanted to speak in the forbidden tongue? Now you can!! I put together some .ttf and .otf files with the Shadowspeak alphabet on it, as well as a guide on how to read and write in the language! Enjoy!!!
If you use the font, please credit me anywhere n_n
I think it'd be cool to see what you make with it!! *⸜(ˊᗜˋ)⸝*
(feel free to dm me if it's better/if you're up for a longer conversation about the topic)
Basically, my writing is very... simplistic and bare-bones. Just a lot of 'A does B and feels C in this moment' type stuff. I'd very much like to move away from just that and get into writing more impactful, evocative, deep and complex things like you do for HFTH.
How in the HELL do I even start learning to do something like that?
I started from a place of writing an overly complicated metaphor for every single piece of description, and am always trying to get more simplistic and bare-bones!
But some of my most fun challenges in writing HFTH come from trying to play a game. I like repetitions of three, or certain characters having a signature piece of opening or description that comes up again at important moments. I like an opening sentence that immediately raises an internal question in the audience. "Diggory Graves knew three things," immediately causes the audience to ask, "what are those three things?" and then they're listening for another 45 seconds.
Play some games! Write a story where every paragraph begins with a new time of the day, or a single adjective, or a color. When you introduce a character, tell us the three most important things we need to know about them. Put a perspective in a story someplace it wouldn't usually be (the spoon in the hand of your main character rather than the main character themself). Breaking the rules can lead to some fun places!
As a side note, I'm always trying to get further away from telling the audience that character A feels C in this moment. As Bryan Cranston once said, "If a character cries, the audience doesn't have to... but if a character tries not to cry, that's when the audience will." In a similar way, I feel like when I write 'Character A feels angry about the situation', it's easy for the audience to not care at all what Character A feels.
I typically try to tell us instead that Character A's head feels hot, like her forehead is burning and her ears hold so much pressure they might explode, that she clenches her fists so hard that her nails leave deep marks in her palms, that she grits her teeth and says thank you to the person she's talking to even though she really wants to put her elbow straight into their nose. And all those things are telling you that she's angry without saying it directly, which I feel is much more relatable for all the angry people of the world.
You’ve heard of “don’t monetize your hobbies”; get ready for "don’t master your hobbies".
Your hobbies are here to help you decompress and have fun. They do not have to be disciplines you toil over for expertise, unless that is something you genuinely enjoy doing.
It’s okay to enjoy language-learning without ever becoming fluent, or even conversational. It’s okay to like playing guitar even if you only know a few clumsy songs. You can read books and never finish them, bowl without ever scoring even halfway to perfect. We’re here to explore and play, and we cannot do that if we’re chasing perfection in everything we do.
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