Angstober day 27: System Collapse

I probably spent way too much time making sure my sandhi were accurate in this one. Hooray to the one semester of Sanskrit I'd once taken - never thought it would come in useful.

The Flame of the Countless Deaths

The connection between the leylines is tentative, volatile. Hard as he tries, Kalidasa cannot fully feel the other locations, but it’s better than nothing.

Breathe in, breathe out. His heart beats in sync with the weak, dying magic of the world.

He is about to cease to exist. He is everywhere.

Keeping track of time is hard. There is no time where his mind is, and yet the time is everything now. Sounds of fighting reach him, and he isn’t sure if it is his brothers and sisters fighting at the Mrtyunamjvalah temple below, or if it’s echoes reaching him from across the world, the last cries seeping in through the unstable network.

It hardly matters.

The first seals are barely beginning to settle when the first interruption rocks the leyline.

Kalidasa frowns, breathing steady as he tries to pull closer, figure out where the disruption is coming from. One of the second seals comes with a delay, and with it, Qiao Xiu’s unusually terse voice in Kalidasa’s head, “Got off schedule, but we’re fine.”

And it is fine. The seals should be done simultaneously for them to be stable, but on the cosmic scale, some minutes are a minor issue. The disturbance caused by whatever happened on Qiao Xiu’s end dies down as the rituals continue, and Kalidasa keeps hoping. “Take care,” he replies, and listens to the silence once more.

Time passes through him. More hours, more seals, more fighting seemingly everywhere. The powers that don’t want their divinity sealed off are not going to let it go smoothly – those running the rituals were prepared for it, each group made precautions for it.

Some hid the sites, some set up traps, some placed guards. Below Kalidasa, surrounding the circle where the ritual is taking place, are the monks that do not expect to make it to sundown.

Kalidasa wonders – no, hopes that it will be enough.

After four seals have taken root, things go downhill.

“Hoards of demons,” Zamani’s voice follows the tidal wave of unstable magic. “We’ll try to get back on track.”

He isn’t sure why they report to him. There is nothing he can do, he cannot even send the word out without breaking his connection to the leyline. Perhaps, Kalidasa muses, they just want him not to worry, aware that he’s watching over them.

“Do your best,” is all he can think of replying.

Perhaps there is some comfort they gain from knowing he’s still there, for however much longer it might be.

To his sorrow, the leylines do not have the time to stabilize before the next big interruptions. With each seal, it seems, the price of mistakes becomes greater. “Man down. Will try to finish with eleven.”

The few words of comfort Kalidasa can give don’t seem at all sufficient.

He utters them anyway and watches in dismay as the perturbations grow stronger and stronger, no longer needing their missteps to feed themselves. Something is bound to crack, Kalidasa worries, but the fighting seems to have stopped for the most part.

The air is thick with death, and Kalidasa keeps repeating the same prayers for departed souls over and over again. It is all he can do.

Most have completed eight seals when another shock makes Kalidasa jerk, almost throwing him out of his trance. Something goes wrong, somewhere above and on the inside, and Kalidasa isn’t sure where it is in the real world, but he watches helplessly as the connection to one of the leylines breaks, sending ripples through the entire network.

He hadn’t realized before that there is noise in his ears, but it’s growing more and more uncomfortable to the point where he cannot easily ignore it. It is so loud that he almost misses the voice reaching for him through the void.

He barely recognizes Remi.

“I’m sorry,” is all he hears, and perhaps there was more to the message, but it’s gone, dissolved in static as waves of uncertainty wash over the leylines.

Four more seals to go.

The cut off leyline returns slowly, and he knows it’s Remi’s group giving it one more try, no matter how desperate the situation looks on their side. The rituals continue, exhaustion bleeding to Kalidasa instead of finesse as the hours of work take toll on everyone.

The rituals finish in an unsteady cacophony, a rough patch rather than neat embroidery on the fabric between the planes. Kalidasa feels each backlash and winces, knowing they mean more deaths he will probably never learn about.

His magic feels weaker and weaker as more leylines are cut off, but it’s not fully gone. The seals are still fluid, like unfinished stitches, but Kalidasa holds on to hope.

It’s the only thing he can do.

The people of Mrtyunamjvalah leave, knowing better than to disturb him. His own skin feels frayed, and Kalidasa wonders what is happening outside, but dares not open his eyes.

There is still time. There is still hope.

Whatever the outcome, he will be there to witness it.

so in my previous post the other day I mentioned in the tags that I recently saw an OC name that was a string of five consonants followed by a single vowel and was baffled on how it was meant to be pronounced. I’m not going to say what the name was because I don’t want the person to feel called out—this post is not meant to be a criticism nor tutorial/lesson nor rant—just pure autistic rambling about this silly little interest of mine.

anyways, that name got me thinking: how many consonants could you put next to each other in a Na'vi word/name while still being phonetically valid? Well, I guess that depends on whether you’re counting by phonemes or letters.

First let’s go very briefly over basic Na'vi syllable structure: every syllable must contain one vowel or diphthong or pseudovowel. The syllable may optionally start and/or end with a consonant. Up to two consonants can cluster at the beginning of the syllable (there are some more specific rules for this but we’ll save that for later), but not at the end. Here’s some examples (remember that tìftang (') is considered a consonant):

taron - [ta][ron] ikran - [ik][ran] 'itan - ['i][tan] oare - [o][a][re] snafpìlfya - [sna][fpìl][fya]

Based on these rules, under the right conditions (a syllable that ends in a consonant followed by a syllable that begins with a cluster) you can string up to three consonants together and still be valid (note that you need at least two syllables to do this! The string of lfy in snafpìlfya works because the l and the fy belong to separate syllables! You would not be able to have all three together like that in a single syllable.)

BUT! What if instead of counting by phoneme, we count by letter? Let’s talk about something called digraphs. A digraph is when two letters are used to represent a single phoneme. For example, in English, th is a digraph: it’s not a t-sound and an h-sound right next to each other, but rather its own unique sound.

Na'vi uses a total of 11 digraphs: the consonants kx, px, tx, ts, and ng; the diphthongs ay, aw, ey, and ew; and the pseudovowels rr and ll. Sometimes the letters used in these digraphs can also be used separately (for example, with ts, both t and s are valid on their own), but sometimes they can’t—x is NEVER used outside of kx/px/tx, and g is never used outside of ng in the forest dialect (it can stand on its own in the reef dialect though, as long as it’s at the beginning of a syllable).

Let’s look at some more examples, but this time with words that use digraphs:

nantang - [nan][tang] tskxekeng - [tskxe][keng] flrrtsawl - [flrr][tsawl]

More specifically, let’s compare the words fnan and skxawng. Both these words have the same number of phonemes: f-n-a-n and s-kx-aw-ng, but because skxawng uses almost nothing by digraphs, it has nearly twice the letters! The only way to make it longer would be to replace that first s with a ts, thus giving you the longest possible syllable in terms of letters (tskxawng).

Why specifically ts instead of one of the other digraphs? Well, I mentioned briefly before that there are rules on how consonants are allowed to cluster, so let’s go over those real quick:

If you want to start your syllable with a single consonant, you can use any consonant you want. But if you want to start your syllable with a cluster, the first phoneme MUST be f, s, or ts (yes only those three), and the second phoneme MUST be l, k, kx, m, n, ng, p, px, t, tx, w, or y. The second phoneme cannot be f, h, s, ts, v, z, or tìftang. So for example:

fmi works, but not pmi tskxe works, but not ngkxe stawm works, but not ktawm flrr works, but not fvrr fngap works, but not ftsap syaw works, but not s'aw

Now, while any single consonant can start a syllable, only certain consonants are allowed to end one (and remember, clustering can only happen at the start, not the end).

The consonants that can end a syllable are: k, kx, l, m, n, ng, p, px, r, t, tx, and tìftang.

The consonants that cannot end a syllable are: f, s, ts, h, v, w, y, and z. So for example:

Tul works, but not tuz Kin works, but not kif Zup works, but not zuh Srung works, but not sruts Pam works, but not pas

Now, remember that this is for individual syllables. A word can have multiple syllables. Sruts is not a valid syllable, but something srutsen could still be a valid word because it is two syllables: [sru][tsen]

You might also see syllables like maw or pay that look like they end in w or y, but these still work because remember that the w and y in these words are not standalone consonants but part of the diphthong digraphs; the phoneme breakdown is not m-a-w but rather m-aw. So, maw works but not mow, pay works but not puy, etc.

There are also some special rules for pseudovowels. If you use a vowel or diphthong, starting and/or ending your syllable with a consonant is optional: a, ma, mak, ak, ey, mey, meyk, and eyk are all valid syllables.

But if you use a pseudovowel instead, the syllable MUST start with a consonant (remember that tìftang counts as a consonant) but CANNOT end with one. So 'rr, mrr, wll, etc. are valid, but not rr, srrk, plln, etc.

SO! With all that in mind! How are we gonna create our consonant monster word? We know that it’s gonna be impossible to have more than three consonant phonemes strung together, but we can mess around to get a whole lot more individual letters.

We’re gonna want to use as many digraphs as we can, so we’ll want to use either diphthongs or peusdovowels in the vowel slots. Syllables with pseudovowels can’t end in additional consonants so let’s use a diphthong for the first syllable, but diphthongs are spelled with a vowel first so let’s use a pseudovowel for the second syllable.

We’ll want a cluster at the beginning of the second syllable, and let’s use ts as the first phoneme since that’s the only digraph allowed in that position.

The beginning of the first syllable doesn’t really matter because there’ll be a vowel breaking up the chain anyways, but let’s digraph-cluster that one too just for the heck of it to make the word even more cursed. Let’s go ahead and tack a third syllable on the end as well, a short single-vowel one, because why not.

That leaves us with something like:

Tskxayngtsngrra

string of y-n-g-t-s-n-g-r-r, nine “consonant” letters in a row!! (albeit still only three consonant phonemes: ng-ts-ng). Syllable breakdown is [tskxayng][tsngrr][a].

absolute hot mess, but still technically valid! 🙃 lol

hello and welcome to another episode of Shi Has Strong Opinions on Niche Canon with Citable Sources, this time focusing on something that technically isn't canon one way or the other — my preferred fan-transliterated name for Raven's hometown in Tales of Vesperia, which is never referred to by name in any officially translated material.

anyway it's spelled Pharihyde and in this essay I will die on this hill

Context

In case you clicked the read-more with no stake in this game just because you want to see me being pedantic, let me recap the relevant facts of the argument:

Raven's backstory is never fully explained in the base game, but it was elaborated on in official side materials. The same story, titled 虚空の仮面 (Kokuu no Kamen, commonly translated as Empty Mask), was released in multiple formats: light novel[1], manga[2], and drama CD[3]. None of these have ever been officially translated, but fans have made their own attempts at each over the years.

The town in question here does not appear in the original game, due to having been obliterated during the prequel events. It's also never mentioned by name in the drama CD, leaving only two sources for a name: the light novel and the manga.

Officially, it is named ファリハイド (Farihaido).

The first translation the English-speaking fandom ever saw of any Kokuu no Kamen material was when one fan (whose identity was regrettably lost to time) took a stab at summarizing the light novels, not long after they were first published back in 2010. This fan transliterated the town's name as Pharihyde.

Tumblr user dokidokimaster was commissioned to finally translate the manga in 2015. In this translation, the town was spelled Farryheid.

By the time the manga was being translated, the web page that hosted the light novel summary had tragically gone down. Luckily, I was active enough in the fandom at the time to have had the link to the light novel bookmarked, so I was able to find an archive via the blessed Wayback Machine, but I can't fault dokidokimaster for the inconsistencies.

tl;dr of section: OG town name is ファリハイド; LN calls it Pharihyde; manga calls it Farryheid. Rest of essay is about why me preferring the name that came first isn't just me being a cranky fandom elder I swear

It's About The World It's In

In the world of Terca Lumireis, on the continent of Ilyccia, somewhere far from the capital city, Zaphias, there was once a town called... Farryheid? No, Pharihyde. The latter fits better with the precedents set by the official names around it, and I will literally break it down letter by differing letter to prove it!

'Ph' vs 'F'

Among officially transliterated locations and other "made-up" names in Tales of Vesperia, there are 3 that include 'ph' to represent an 'f' sound (Zaphias, Zopheir, Phaeroh). Only a single name uses an actual 'f' for that sound (Ghasfarost), and it also still has an 'h' as the second letter in the word.

Single vs. Double 'R'

After a ctrl+F pass through the entire list of location names in this game[4], not a single one contains the substring 'rr'. Only one R at a time in Terca Lumireis!

Vowel Choice and Lexical Stress

So, English has this neat little feature where some syllables in a word get more emphasis than others! And that plays heavily into this section, because 'i' and 'y' can sound identical when using 'y' as a vowel, but the existing place names stress them differently.

Now, as the Drama CD doesn't give us a spoken example of ファリハイド to work from (and Japanese doesn't do stress the way English does anyway), where the stress goes in either "Pharihyde" or "Farryheid" is technically unconfirmed... But my default reading is with primary stress on the first syllable, and secondary stress on the last (FAR-ee-hide).

In the precedent-setting place names, based on the English dub of the 360 version*, a lone 'i' is seen unstressed in at least 16 distinct names, including the ones I referenced in my intro scene-setting sentence (ZA-phi-as, TER-ca LU-mi-reis). To my knowledge, lone 'i' is never pronounced with stress in dialogue (and potentially appears only once, in the plot-irrelevant Niffel Lake).

In contrast, whenever 'y' is used as any kind of vowel, it always gets at least secondary stress, as in Hypionia (high-pee-O-nee-ah) and Rhybgaro (RIB-ga-ro). Thus, "Pharihyde" using an 'i' for the middle vowel and a 'y' for the last one lines up with established precedent.

Also, the double vowel 'ei' is consistently and exclusively used to represent an 'ay' sound, as in "day", not as in "hide"! Deidon Hold, Keiv Moc, and again Zopheir and Terca Lumireis — none of these 'ei's sound the way "Farryheid" wants you to pronounce it!

Silent 'e'

I did say I'd break down every different letter between "Pharihyde" and "Farryheid", but this last one's not for flavour, it's just to get the 'y' to act as the right kind of vowel sound. Just a normal feature of English pronunciation rules here (though not entirely without precedent: Halure, Relewiese, Laulyse). Sorry to go out with a whimper ^^;;

Conclusion

The base content of Tales of Vesperia sets up some implied rules about how its made-up-for-the-game words function. "Farryheid" may be a perfectly reasonable transliteration of ファリハイド in a vacuum, but "Pharihyde" follows the rules of the setting, literally to the letter!

Thank you for coming to my Ted Talk

*Footnote about the pronunciation thing: the new voice lines added in the Definitive Edition of the game pronounce some place names inconsistently. I can only assume that by the time they recorded the new lines, a decade after the original ones, they forgot how some pronunciations worked and didn't check their old work... :/

References

(bc it's not an essay without citations!)

[1] Light novel summary (archived): https://web.archive.org/web/20110806003312/http://www.fancomic.com:80/vesperia/resources/raven/emptymask.htm [2] Manga translation: https://dokidokimaster.tumblr.com/tagged/kokuu+no+kamen/chrono [3] Drama CD translation, for completion's sake: https://www.youtube.com/watch?v=UHEDJ_D4tyI [4] List of in-game place names: https://hyouta.com/vesperia/?version=pc&locale=eng&compare=2&section=locations

Hey there, can I ask how you come up with your OC names?

Anon I am THRILLED you asked because I am about to dump so much in-my-head-only worldbuilding on you, so much more than you probably needed or wanted lol.

As always this is not short, and forgive in advance the butchery I’m about to do of like, all of phonetics and linguistics.

OKAY so generally speaking, when it comes to names I have a set of foundational building blocks/general guidelines for the various countries and I work from there. These are based on phonetic characteristics of the canon names we see, and then from there I'd start layering in additional fun along groupings I've noticed around gender or class or family lines or whatever if I want to take the worldbuilding that deep.

So for example, with the Water Tribes…

We have Sokka, Katara, Hakoda, Bato, Kya all from the South, so I pick out...

Hard K or T sounds being quite common

Primarily A and O as vowels

Vowels being between consonants (ie, being single vowels)

Names being 2-3 syllables

In the North, we see Yue, Hahn, Agna Qel’a, Arnook, Kanna, Pakku...

Some similarities with the Ks and hard Qs

Now we see some softer ‘gn’ and ‘hn’ and L sounds, and the addition of P (which makes Bato’s “B” and Sokka’s “S” stand out)

Some ‘oo’ instead of ‘o’ vowels (so double vowels)

Hahn and Yue with no hard consonant sound at all (and both upper class!)

So that gives us some basic starting blocks to start building up names that sound like they fit within the Water Tribe culture in terms of sounds, as well as some potential regional and class differences to start working with! (Maybe Q sounds are only in the North, and upper-class people have soft consonant names, for example.)

Similarly in the Fire Nation…

The royal family is Zuko, Azula, Ozai, Azulon, Sozin, Iroh, Lu Ten, so...

A lot of Z and K sounds

(Male) names that end in N

A lot of two-syllable names (with the emphasis on the first syllable)

A lot of riffs on each other (Sozin and Ozai, Azulon and Azula, Azulon and Zuko)

Iroh and Lu Ten stand out as having fairly distinct names comparatively, with the “oh” ending and the softer "Ir" and "Lu" starts

Chan, Zhao, and Ruon-Jian are the other upper-class guys we see, which gives us...

short syllables again

N endings (for men) agai

The ‘two word’ name again (so Lu Ten's name naming structure is used elsewhere)

The introduction of “Ch” and “J” and “R” and double-vowel sounds (ao, uo, ia)

We also see Roku and Kuzon...

So very similar names to our royal bunch with those Ks and Zs and oku/uko and uzon/ulon sounds

Also older names from 100+ years ago, and commoner names

Mai, Ursa, Ty Lee as our upper-class ladies gives us...

short syllables again

‘two word’ names again

M sounds!

Mai and Ursa both don't have a hard consonant stop

Some phonetic/vibey similarity with “Mai” and “Ty”

And adding in Chit Sang (another commoner!) (presumably!)...

Another two-word name

Introduces the ‘ng’ ending

Leverages a lot of the consonant sounds we already saw

Uses an “it” usage of the "I" vowel (vs Iroh’s I)

So pulling it all together, in addition to those foundational consonant and vowel sounds, we also see that the royal family has a distinct naming convention that may be rooted in archaic naming styles.

And we can start to build out some ideas around gendered naming, family/honorific naming, and some potential class/pre-unification culture differences, as well as some space to speculate about why Iroh and Lu Ten’s names are so different from the rest of the royal family, too (as well as the ammunition to suggest that Zhao comes from a family of suck-ups lol)

Moving onto the Earth Kingdom (where I truly went wild)…

We start off with Toph, Haru, Long Feng, Kuei, Jet, Bumi, Poppy, Lao, and there's a lot of varability here!

Generally, the names are one or two syllables and start with a consonant

We see more double-vowel pairs (uei, ao), perhaps in the upper class but just as many single vowels

Consonants are hard or soft, and don't seem to group like the Water Tribe or FN royals did around particular sounds

Names end in vowels or hard sounds or softer 'ph' and 'ng'

Those guardrails are fairly wide and broad for feeling out distinct-sounding names, but it makes sense given how huge the Earth Kingdom is and its history of war, displacement, movement, etc.

So for a fic like That Love You've Been Looking For which was super EK-centric and focused on worldbuilding, I ended up breaking it down into broad regions and leaning into place names as well to help articular some basic rules:

In the southwest (Gaoling, Toph, Lao, Poppy), I decided that there’d be a mix of single and two-word names, and that the ‘ph’ ending would be used by women and the ‘ng’ ending for men

On the western coast (Haru, Omashu, Bumi), I went with primarily two-syllable names that follow a ONE-two pattern (PA-lo, BU-mi, CHE-lu, HA-ru) and went with mostly softer consonants

In the north (Ba Sing Se, Si Wong Desert, Long Feng), I went with short multi-word names where each part would be a single syllable

And in the center I was kind of pulling it together from what was left, but I went with names that end with an ‘an’ or ‘in’ sound and echoed some of the place names I was using

So we have some building blocks for the various regions, this time that we can use to indicate where someone’s family could be from and to give each region a more specific feel.

For Kyoshi...

I generally lift the Earth Kingdom rules, but view it as more of a trade-center and melting pot (Suki could fit in WT or FN rules), so it's deliberately a lot looser and with more variation.

And everywhere has a Lee/Li, so none of these rules are hard and fast, and I imagine too that there’s a ton of cultural mixing and fads and trends and whatnot in naming across various regions.

A quick note from a process standpoint--

This approach is very much not trying to find names within various existing real-world cultures. If I'm writing ATLA canon-world, I tend to stick to the idea of leveraging real-world contexts as a base rather than a strict guide. Something I wanted to flag, as there are other ways to go about OC naming that lean much more heavily into researching the naming conventions of various cultures throughout history, thinking about translation and name meaning, etc.

And also, if I need a lot of names, I'll often use the Fantasy Name Generator and look for names that either fit or that I can tweak into the above 'rules.' (Otherwise I accidentally start giving people ship names lol, RIP to Mailee, Maizula, and Yutara, you lived on under new personas)

I also don't always dig as deeply into the way names can signify class or status or whatnot, either. It can be very fun, but sometimes you just need a one-off name so your POV character looks like they actually interact with the people they nominally see every day haha

as an early celebration of what I believe is the common consensus of Femboy day, here's some "femboy" sophonts I drew last year to celebrate this unofficial holiday. Each description is ordered clockwise to their respective sophont

The Arrtas (pronounced with a trilling R) are a sapient species of 10 foot tall arthropod-like Centaurs. They hail from the sprawling savannahs of a temperate planet that is home to purple horsetail-like plants and large arthropod-like hexapods, an interesting feature is that there is a single supercontinent that stretches across the western equator to the south-eastern hemisphere. The snout on their heads is actually a sheath for a hollow space connected to their respiratory system that allows them to produce vowels. And they can produce a clicking sound using an 8 jawed mouth located on their upper chest. They have developed a culture similar to 1920's America, but without all the racism and sexism and homophobia. And unlike the united states during this time period, they have never experienced any great depression, allowing this culture to proliferate and continue on. Their gender norms are also nearly non-existent. So most Arrta are androgynous or nonbinary. And due to the abundance of purple flora on their homeworld, wearing yellow clothing is a sign of prestige and wealth

The Lortexi are a sapient species of radially symmetrical, mammal-like organisms native to a planet locked in a permanent ice age. For the longest time, their civilization has been ruled and governed by only a single faction. A large and omnipresent Technocracy that has abandoned all ethics and any moral compass, seeing them as an obstacle in their pursuit of knowing everything. While this has allowed the Lortexi to know everything about the body and developed cures for every known disease and disorder, this also means that they have committed countless crimes against humanity with their experiments. But luckily it would come to and end when they eventually lose a war with a rival civilization and are forced to be ethical once again. During early space exploration and colonization of nearby star systems. A counterculture had developed that visually opposed the bright and simple cleanliness of most technocrats with the alien equivalent of Emo. Due to the technocracy's eagerness and curiosity about this counter-culture, they have studied and researched nearly everything about them.

The Q-ri-Zocs are a sapient species of tripods native to a former paradise planet now recovering from the scars of nuclear war. Wildlife of their homeworld consists of blue fern-like flora and 5 limbed arthropod-like fauna. Most Q-ri-zocs are ruled by matriarchs, not just in society, but even in biology. Males of the species are usually colorful and energetic, but are weak and stand at a height of 3-4 feet. Meanwhile the females are a dull gray but are very strong and stand at a height of 6-7 feet tall. However because of this, societal problems such as sexism and transphobia have been prevalent for a very long time with constant internal conflicts between frustrated males that are treated as mere property and power hungry matriarchs who will stop at nothing to keep the males subserviently. This constant clash has only accelerated further when the Q-ri-Zocs made first contact with other alien civilizations. This would end in an all out revolt that ends in a victory for the once discriminated males, and for the first time in eons, male Q-ri-zocs are finally treated equally within their own societies.

Each species in this art piece is from a personal project detailing the history of the universe and the countless civilizations

ANALYSIS OF MIRACULOUS LADYBUG. ORIGINS PART 1 LADYBUG AND CHATNOIR (PART 2, the villain and the heroes )

ANALYSIS OF MIRACULOUS LADYBUG. ORIGINS PART 1 LADYBUG AND CHATNOIR (PART 1)

WE CONTINUE WITH THE ANALYSIS.

When nooroo finishes telling the entire story of the miraculous, we have for the first time a hidden plan of who will be the villain,

We know that it is clearly Gabriel (because of the silhouette), but we see him hidden. Why is this? Because by introducing Gabriel, we are presented with Adrien's villainy, that is why they cover it up, it is a mystery who the villain is, who is hiding behind the mask, but they give us the clue with the mother's brooch, and how is it? that?

If you have been paying attention to everything that has come out of cut and deleted scenes from the movie, you will know that there is a deleted scene in which Marinette and Adrien talk, because in it, MARI has found Adrien's brooch, and gives it to him, There they have a conversation in which we see that it is the only thing Adrien has left of his mother and that it is very valuable.

Gabriel has a brooch, Adrien has a brooch, it is not a coincidence, this brooch also appears again in the collector (even though it does not have the same image)

precisely, THE FIRST CHAPTER OF THE 2nd SEASON WHERE WE ARE TOLD THAT GABRIEL IS MONARCH AND LET'S REMEMBER THAT THAT SEASON IS DEDICATED TO ADRIEN, SO THIS FOR ME IS A PRESENTATION TO ADRIEN AS A VILLAIN.

When Gabriel shows interest in absolute power, Nooroo tells him that the Miraculouses are lost and he tells her that he found him, here's the big part.

I know, this is not a big deal, but if we analyze it they are giving us a very big clue, not only are they presenting Adrien as a villain through Gabriel but he is also telling us to our face how he is going to become monarch Be careful, not the why, but the how, how is the butterfly miraculous going to reach him? You are going to find it and you have to look at it this way.

-Fu loses the butterfly brooch, Gabriel finds it.

-marinette loses the butterfly brooch, lila finds it.

A pattern repeats itself, how is Nooroo going to get to him? Adrien is going to find it, this would also mean that in the final battle with Lila, (let's remember that she officially has the brooch) at some point Lila will either lose it or Marinette will directly do it, or it may even be both Felix and Marinette and it is that, if we start to analyze the initials, F+M = they are Marinette and Felix, which would also not be giving the clue that in the final battle it will be Felix who really helps Marinette defeat him, and it would make sense since He doesn't believe a single lie.

Immediately after this, he tells him how his miraculous works, the butterfly brooch, it gives a person whatever powers they want, and he makes the decision to make villains, thus forcing Nooroo to be his slave in a harsh and cruel way. and introduces himself as hawkmoth.

Here it is simply knowing what the villain is up to, even so, we are going to add it to the scheme in due course when the series introduces us to Gabriel, for now we are going to focus only on a physical aspect of his that the series plays a lot with, look at Since it covers the face, it's different from a superhero, right? I ask, where have we seen this aesthetic?

What do all these characters have in common? that all of them in some way are related to Adrien, the one that is not with color is with attitude. It is clear that with Hawkmoth's costume he already tells us who is going to go to the dark side, Adrien Agreste (you will see when we get to season 2 hahaha)

now let's go with nooroo.

KWAMI NOOROO

Let's start with his name, notice that he is the only kwami ​​in which his vowel is repeated three times, he has "4 O".

[N-OO-R-OO]

This is on purpose, remember that in the previous post we said that he was the narrator of the story and therefore, the narrator of this story was Félix. So when you tell a story you have to present some characters and the villains, and what are they? the 4 important characters, adrien, marinette, felix and kagami, that is why the first kwami, the one that tells the beginning, the origin of EVERYTHING, has 4 equal vowels, 4 O, 4 equally important characters.

The name of this kwami ​​would be giving us the clue of those who really give depth to this story, who are really important, if we look, when Nooroo tells about the ancient bearers, precisely the book looks at 4 very important ancient bearers, if we We see well, we can see that they really use them, that they actually introduce us to our protagonists.

-1 fox: currently it is alya, through alya they tell us about kagami, so here she would be established as a best friend and future villain = KAGAMI TSURUGI

-2 cat: currently it is Adrien but we know that through Adrien they often talk to us about Felix, and we know that he is a villain so here we have the 1 male superhero felix/chatnoir=FELIX/CHATNOIR

-3 ladybug: clearly Marinette and Ladybug, she is the protagonist, she is the main heroine of this story.=MARINETTE/LADYBUG

-4 butterfly: (note that the villainous version also appears in the book) Who is the villain currently? Gabriel, he is monarch, who is his son? adrien, so it's clear, adrien main villain=ADRIEN AGRESTE

but we also have to remember that 4 is the number of marientte/ladybug according to the scheme we made, so this would once again confirm that the story is for marinette on behalf of felix.

Then we are introduced to the 4 protagonists and the 2 couples who will give life to this story.

Ok, now we go further, the name Nooroo itself descends from the African name "nuru" which means light, with whom does the light connect? with felix, but also "nuru" is a JAPANESE WORD THAT MEANS TO PAINT OR VARNISH, painting, with whom is art and painting and Japanese connected? kagami, and kagami with Felix, so this highlights even more that the one telling this story is Felix to Marinette, he has designed this story based on his diary.

LET'S GO TO YOUR PHYSICAL

NOOROO IS PURPLE How do you get the purple out? mixing blue with red, but there are also several shades, PURPLE, LIGHT AND DARK, so we have to include white and black, based on this we are going to form a scheme since each color represents one of the 4 protagonists.

so, we have:

-LIGHT PURPLE :FELIGAMI/ADRIGAMI -DARK PURPLE: FELINETTE/ ADRINETTE

then, through the color of nooroo, what are they confirming to us? that there are going to be 4 IMPORTANT MAIN CHARACTERS, ONE love story, which is made up of Kagami, Marinette, Felix and Marinette, from here 2 couples will emerge, depending on how the series evolves (what we said before when we analyzed its name)

Now what couples will come out? Well, we have clues, look.

Notice that the darkest parts are, on the one hand, the eyes, the head, the eyes, who do they represent? Argos, which is inspired by a being from mythology which was called the one with the "thousand eyes", that is This would confirm to us whether or not the felinette is the important and main ship.

In the head we see that it has a kind of line that ends in a round, if we remember, the lines represent Adrien, but here it ends in the shape of a snail, then what does it mean? That possibly Marinette is between Argos and Adrien, being Argos whoever wins the battle.

CONCEPT AND JEWEL

Nooroo represents the concept of "transmission", it means communication and expression, that is, someone who communicates, transmits, and expresses something, and of course, when he does this, HE IS EITHER ADDRESSING ONE person OR MANY, Who have we said is the What does the story communicate? Felix, what boy did we say is represented in this kwami? Félix, NOOROO TRANSMITS, FELIX TRANSMITS, FELIX IS THE ONE WHO IS READING the story.

Nooroo being the one who represents this concept gives us to understand that Félix is ​​reading it to someone, and who could it be? clearly Marinette, so this theory is becoming more and more solid, but if we explore even more, Nooroo maintains contact with Gabriel who not only agrees with Marinette in fashion design, but also in the pronunciation of her name sounds similar: MARINETTE=GABRIEL

NOOROO KEEPS IN CONTACT WITH GABRIEL=FELIX KEEPS IN CONTACT WITH MARINETTE

but not only that, hawtmoth means polilla halcon in Spanish, if we use the word HALCON in English you don't give eagle, and who is eagle, aha jess, and who does jess connect with felix, also the moths go towards the light, and Who is light? Felix, do you see it? FELIX IS EVERYWHERE.

It's more than clear, definitely, Felix is ​​reading and telling Marinette (how romantic)

Now let's focus on the jewel, we are going to divide it into 2 sections: transformation of the jewel and geometry

-TRANSFORMATION OF THE JEWEL: WE KNOW that a miraculous has a different appearance, color and shape depending on whether it is activated, inactive or when the bearer is merged with the one, the butterfly miraculous undergoes few changes, in terms of color, it remains purple, So on this side it is clear that it is more of the same, Adrien is bad since we know that purple is his color but now, the most important thing to highlight is the shape that the skywatch has, when it is activated it turns into a purple brooch, but I didn't notice the detail that this brooch is the same one where Gabriel keeps Emilie's photo and if we have said above that this brooch and Adrien's are very similar, this could be the most proof. clear and solid that Adrien is Hawkmoth, because then both would have the same Miraculous! This is the most solid clue for me, they tell us to our face.

-GEOMETRY: everything is even crazier because, ladies and gentlemen, once again THE NUMBER 5 IS PRESENTED AGAIN!!, IF WE JOIN the dots that end up in each of the petals that come out of the little girl jewel we obtain a square, a figure with 4 sides and 4 point a point in the center, just like ladybug's earrings,

so the square and the number 4 and 5 would be representative at least for now Hawkmoth (we will update the scheme later, don't worry)

and with this final analysis of nooroo we are going to end this post, we still have a lot to analyze, for now we have explored a little of nooroo and Gabriel, which is no small thing.

Before saying goodbye, I would like to tell you...do you still think that this series is poorly written and crazy without plots and meaningless dialogue? You are seeing how not, right? Everything is super well prepared, even down to the geometry and the numbers hahaha, it's brutal.

NEXT PART>>>

Well, thank you very much for reading, a hug, see you in the next post.

Eliksni Conlang Progress

Velask! this is my first progress post, hopefully the first of many! i have been really waffling on whether or not i wanted to even share any early content yet, but then i realized that was really just me being scared to show off my art and i'm not about that shit (plus i want to have a record of my progress to look back on)!!! so i'm gonna show off my art >:DDDD

so here's most of what i have now! beware, very long post below the cut:

Phonology

i hope to god tumblr didn't totally cronch that image. so yeah this is the rough phonology, emphasis on rough. full disclosure, everything i know about the IPA i learned for this project like a week ago. i'm a total noob, and i'm sure an experienced conlanger or linguist would look at this and their soul would exit their body in horror or smth equally dramatic. but in my defense, i did have to work backwards to build this based on existing material instead of making it all myself, so it was a lot more restrictive and difficult.

Short Vowels

ɪ: i

e: e

æ: a

ə: e or a (always unstressed)

ʊ: u

ɑ: aa

Long Vowels

i: ii

ɔ: o (primarily used before r)

Diphthongs:

eɪ: written as “ey” or “eh”

eə, written as “eyr” (pretty much exclusively seen paired with r, which is the reason for that spelling)

aɪ, written as “ei”

oʊ, written as “oh”

these diphthongs are used to represent a number of sounds that canonical sources do not differentiate between in writing. There might have been a way to do this using rules for pronounciation instead, but it was honestly so frustrating to think i had nailed down a good rule only to find one or two exceptions that i just decided to chuck canon out the window and make some damn diphthongs.

(if you don't know/understand the IPA, I highly recommend checking out this video for a great overview)

Phonotactics

this is also a very rough draft version, doubly so since the only person who has to care abt writing/speaking Eliksni rn is me. but this is my current basis for how i make, pronounce, and write words. i will definitely clean this up if/when i start making guides on using Eliksni, but it makes do for now.

C^3VC^3

Onset: all phonemes

Nucleus: all vowels/diphthongs

Coda: all consonants including clusters

stress on first syllable in most two syllable words

in three syllable words, stress on second syllable if it contains a k or a long vowel/diphthong

stress never on prefix

single "i" is short if surrounded by other letters and long if left open on either side. "ii" is always long and is written that way in words where it is surrounded by letters. Words that start with single i will be spelled with ii if they are compounded with another word. ex) ikrim (time), draiikrim (forever, lit. “all time”)

Consonant Cluster Rules

I only have rules for clusters of two so far, but I am going to flesh out the rules for three-consonant clusters soon since a few of those have cropped up in my lexicon building exercises. The chart for these is in an earlier post if you want to see it all color-coded and whatnot

C: can only pair with H to for CH, all romanizations using C in place of K are done so for aesthetic purposes (i only preserved the use of C as an occassional K because I like how it looks in romanizations, the actual Eliksni alphabet will never substitute C for K)

H: can only precede another consonant as part of the vowel in the nucleus, except for Y (functionally, H being attached to a vowel makes it part of that vowel, but i wanted to highlight this feature to make it very clear that H cannot precede another consonant on its own)

J: never pairs with another consonant. (i wasnt even going to include J as a sound in Eliksni, but there had to be two (2) damn canon names w J in them so i felt a little obligated)

Y: functioning as a consonant, Y cannot pair with any other consonant.

Z: never pairs with another consonant at beginning

Making this bigass chart was unironically so fun. i love you spreadsheets <3 i love you color coding <3 no i am not neurotypical why do you ask

Syntax

VSO 

verb-adverb

adposition-noun

possessor-possessee

Noun-adjective

thats it lmao! i'm not even sure if this is gonna stay the same, the only sentences i've written so far have been very basic and all like 3 words long. this is definitely an aspect i am expecting to change a lot over time as I refine how i want things to flow.

Stop! Grammar Time!

(i've waited three years to make that dumb joke lol sorry)

unfortunately grammar itself is no joke.

these are the affixes for conjugating verbs in Eliksni. There are 3 tenses currently (if anyone saw that post I made a few days ago abt the second past tense, i do still plan to implement it, just haven't had the time to think of affixes for it or decide how i really want it to work)

For the sake of time and bc this post is,,,, really damn long already, I won't be including the example conjugations i did here. might make a separate post with that so i can also show off how the mood markers work.

speaking of...

Mood time! i will readily admit this shit kinda confuses the heck outta me, though i understand the basics at least in theory. Some are more intuitive for me, like the imperative and interrogative. i might even drop the subjunctive, although i do want to at least try to grasp it first. Also shout out to the imperative for being irregular bc of ✨worldbuilding reasons✨, we love to see it.

and FINALLY

Noun case markers! Something my time learning German actually prepared me for!

There are only two cases in Eliksni, nominative and accusative. All other situations where other cases like dative or genitive would be used will be done periphrastically using prepositions and such. I was inspired by the lack of gendered third-person-pronoun in Mando'a, which is why there is one pronoun to refer to someone in the third person regardless of gender. If gender absolutely need be specificed, an adjective corresponding to their gender (ie: masculine, feminine, nonbinary, etc) is used.

and that's what i've got after about a week's worth of progress! for the sake of good recordkeeping, the date at the time of writing this post is 7-12-23.

feel free leave any thoughts (but please be gentle! i'm very new to this)!

howdy, I was wondering if you could explain a bit what the purpose is of the double consonants. if I understand it correctly the double consonant can make the vowel before it longer (or into a diphthong), such as with pol vs poll, grean vs greann and fear vs fearr. why not add a fada instead (pól, greán, feár)? you can see that happen with cár vs carr, which to me sound the same. and then I see fuinneog and I completely lose the thread lol

This is a great question, and the answer depends a lot on the dialect you're learning. Historically the double consonants represented 'fortis' consonant sounds and the single ones represented 'lenis' consonant sounds (at the start of words a single one was fortis). So you'd have this system of a consonant being broad or slender, fortis or lenis.*

Depending on the dialect then, this may be more or less the case in modern times and there may be side effects.

So in Munster, the fortis consonants caused vowel lengthening and diphthongs, but the consonants themselves have now merged.

So greann is pronounced as if it were greabhan or greamhan with the /au/ diphthong, but the 'nn' itself is no different to an 'n'. This lengthening only happened in stressed positions where the fortis consonant wasn't directly followed by a vowel so in words like greannúr (funny) or greannán (comic), the double n is purely historical, there's no pronunciation distinction.

The fada isn't used here because it wouldn't appropriately represent the sound, greán would be /a:/ rather than /au/.

However for rr, which just lengthens rather than diphthongising, you did historically get people writing things like feárr to show the vowel quality, this was not recommended in the spelling reform however, which is why it's not done now I imagine. In Galway, you tend to get vowel lengthening rather than dipthongisation, so the fada could actually be appropriate but Galway also preserves some (depending on the speaker) of the fortis lenis distinctions.

I can't speak on Galway pronunciation in too much detail though, since I haven't studied it much.

Because the dialects vary so much in how they pronounce these though, changing it to fit any of them would make the word more confusing for the others.

Like I don't think the vowel is affected by fortis consonants at all in Ulster?

So you get like M: /g´r´aun/ C: /g´r´a:N/ U: /g´r´aN/

Take those transcriptions with a grain of salt, but there's a good deal of variation which is why the etymological spellings are appropriate.

*footnote: this is actually the system with other consonants too but we mark it using the h so: cat (broad fortis c) chat (broad lenis c)

@ride-a-dromedary Since you asked, here's my beef with Hugh Jackman Meredith Willson's The Music Man Sutton Foster. (No really, that's what the soundtrack album cover looks like.) Basically, I think the revival did a terrible job of capturing the soul and energy of the original show. If you want to read my protracted rant about it, then by all means, continue below.

(Note: I'm mostly going off of the movie adaptation to count for the "original" since it's the version I'm used to, but I also listened to the OBC recording occasionally to see what was shortened for the movie.)

I think the first big thing I should mention is that Hugh Jackman is simply a terrible choice to play Harold Hill. No offense to him, but in my eyes he's always been better at playing a character who seems very charismatic but is actually a bumbling fool (i.e. PT Barnum). Harold Hill might be a conman, but his whole livelihood revolves around getting people to believe that he means what he says and then believe that, too. You need an actor with an incredible amount of charisma and presence to be able to pull that off, and IMO, Jackman is not that actor.

He's also (again IMO) really just snoozing his way through this recording, especially on 76 Trombones! He's dropping R's left and right (to the point where it almost sounds like he's making the effort to sound Southern) and they had to add in a trombone sound behind his mimicking one because it sounds SO dull. Then he mispronounces "Creatore" somehow?? I know that's the littlest thing to get upset over but it also just shows how little this show's creatives know or care about what this musical is all about (more on that later).

And then: they do the MMM thing from Cats 2019. AKA, where they drop out all of the orchestra and sing the biggest song, probably the song that the most people in the audience will know, in a really annoying, slow build-up that entirely kills the flow of the piece. Speaking of killing the mood, the dance break in the middle of the song really does that as well. "76 Trombones" is about the farthest you can get from broke, so I have no clue why they tried to "fix" it in this way.

My least favorite Hugh Jackman song from this soundtrack, however, is not 76 Trombones, but Marian the Librarian. Just from the off, this is one of my favorite musical theatre vamps ever and they absolutely ruined it by playing it at like twice the normal speed. It also starts in the wrong key and then keys up again (???) before he starts singing, and from there it only gets worse. He basically gets every single vowel he possibly could wrong (my favorite being the classic Brit-as-American "Watt can I do") and just trips and falls through the entire song extremely uncharismatically. He says "li-berry" at one point, for goodness' sake! Please, if you haven't listened to the original Robert Preston version of this song (either from the movie or the show), go do it now and then listen to the mockery Hugh Jackman makes of it. It's so obvious that Preston has such a better command over his voice and sound that it makes Jackman sound like he has no clue what he's doing.

Sutton Foster is not nearly as bad as her co-star, although I think she's also miscast. Obviously a Shirley Jones-style voice is really hard to recreate these days, but she's just got such a bright singing and speaking voice that if you had told me in 2021 that she was going to be playing Marian I would've thought you were bad at fancasting. I think she still does a fine job with the poor directing choices she was given — a true professional.

OK, some quick things before I get to the most infuriating part of this revival.

It was also very bold of the creatives to not only keep My White Knight, which is one of my always-skips of the original, but to also add another one in in "Columbia, the Gem of the Ocean".

Why the hell is Pick-A-Little so slow??? It's a patter song, folks, it's supposed to be peppy.

I guess they directed the poor kid playing Winthrop to exaggerate the lisp as much as possible (could they have considered maybe just hiring an actor with a lisp instead?) because it straight up sounds like he's putting it on as a joke most of the time. 😬

I think the new lyrics to "Shipoopi" are cringe. Is it that hard to suspend your disbelief that people in 1912 had antiquated views on relationships? Is "hussy" really even that bad of an insult anymore? This song also gets the slowed down + long-ass dance break treatment, God save me.

So, if you're familiar with The Music Man, you might have noticed that I haven't yet mentioned a few key songs/moments. This is genuinely the part of the story of this revival that makes my blood boil. If you're unaware, 4 side characters in The Music Man make up a barbershop quartet, played in the original Broadway production and movie by the Buffalo Bills, a pre-existing quartet who Willson had become friends with even before writing the show. The Bills get multiple songs in the show, all sung in the barbershop style, and they all show off the iconic barbershop effect known as ringing chords, created from the quartet's just tuning. (I don't know enough about music theory to get into the weeds about this, but suffice it to say that barbershop singing and musical theatre singing are not interchangeable).

Apparently, when the revival was first being produced before the pandemic, a barbershop quartet called Category 4 was approached to play the quartet members. Great! Then, allegedly, post-pandemic, it was, to quote a spokesperson for the revival, "in the best interest of the show" for them to suddenly cut ties with Category 4, which would have broken contracts Category 4 said they signed. Less great. Instead, the 4 men credited as playing the quartet are Phillip Boykin, Eddie Korbich, Daniel Torres, and Nicholas Ward. I say "credited," but keep in mind that the OFFICIAL cast recording on Spotify does not credit Nicholas for "Sincere" AND "Lida Rose" (where Phillip's name is also misspelled), and on the two songs he is credited for, Spotify seems to have him confused with a violinist/conductor of the same name.

I bring this up to say that I don't blame these men for the situation Category 4 was put in — it seems the producers or someone else behind this production is extremely sloppy and willing to cut corners, including casting four musical theatre singers as a barbershop quartet. Because of this mindset, the songs are distinctly missing those ringing tones that are present in the Bills' versions, replaced with what I can only describe as "tricks" to make it seem like the harmonies are ringing, like a heavy overuse of dynamic changes, especially sforzandos. There's also at least one moment where one member (I think it's the tenor?) straight up sings the wrong note and completely changes the chord. Obviously I don't blame him for not being good at a singing style he literally isn't a professional at, but if there were at least one person in the booth familiar with barbershop or the original song, it hopefully would've been re-recorded.

And that's what hurts me the most — Meredith Willson was a huge fan of barbershop music and the Buffalo Bills especially, and now the music he wrote for them is being butchered by people 60 years later who want to make a quick buck. This revival has "cash-in" written all over it, from stunt casting the leads regardless of how well they fit the roles to not bothering to get actual professional barbershop singers to play a barbershop quartet. It's a soulless attempt to resurrect a great musical that didn't need to and shouldn't have happened.

25 Vinyl Records That Influenced My Vinyl Collecting Habits.

‘Top ten’ lists - they were so commonplace on social media before the pandemic that half of the people you knew participated in them. Your friends involuntarily posted lists of their top ten favorite albums, songs, movies, sports moments, video games, books, or whatever came to mind. Then they’d nominate you to do the same if you even cared. All of a sudden they stopped and for a few months everyone did tournament brackets. These days no one does either. Now, tag a band and see if they acknowledge you exist, solve a simple math problem where everyone with a Facebook diploma in mathematics are out to prove you wrong, or answer some useless questions to find out what your new gang initiation name is by removing your first and last letter and any surviving vowels.

But I don’t care about childish entry-level entertainment that everyone will forget about five minutes later. I’d watch Fox News for that. Longtime Ω+ followers know our ‘top tens’ are much more than that: they are playlists, mixtapes, end-of-year finds, and best-of decade results. That’s what I’m into. I’m into what’s important and that’s identifying with people. It’s not a contest or a be-all-end-all game of right-or-wrong. It’s all fully subjective. Without personal results, how special or unique would these lists be?

The last survey I was nominated to do was from WUSB’s Mister Edison, the station’s only cylinder aficionado in its’ 45-year history: top ten vinyl records that influenced your collecting habits. I did volunteer to do it and I was halfway there, then somehow along the way I deleted it. Now, here it is. But, instead of a top ten, we’ll do a top twenty-five because I’m compulsive and 10 is not a square number. All records shown here regardless of size, speed, color, or print run are those that have changed not only my record-collecting habits but also have shaped my musical tastes to an extent.

The record that started it all? KMFDM’s “Power” 12”. It was the very first vinyl record I bought with my own money, just mere months after purchasing most of its discography in one shot at my local record store. I ordered it from the TVT / Wax Trax mail order - my very first mail-order to be exact - numbered to 3,000 copies as a single-sided etched vinyl record in a clear plastic silk-screened jacket. That also came with Underworld’s “Rowla”. Shizuo’s High On Emotion e.p. was my third. Found at what was Port Jefferson’s Music Den, that’s a record I had to have at first sight because I knew it was extremely rare. Glad I made the right call because I never saw it again. Even though I didn’t have a turntable, I bought them anyway thinking I could hold on to them until I finally got my hands on one. Turned out my ma’ and dad had one: a wooden box smaller than the records it played. It literally had no sound and was deemed almost unplayable, so a close “friend” of mine gave me his father’s 1972 Panasonic and a copy of Autechre’s We Are R Y 12”. I was now in business.

From there, another one-time pressing of theirs, the “Keynell” e.p., introduced me to the panic of now-or-never buying. Booth & Brown collectors know how insanely rare their limited edition e.p.’s are and also how they and Warp divided up their Cichlisuite and Envane e.p.’s in two parts. And that was nothing to when Aphex Twin released not one, not two, but eleven e.p.’s as the Analord series through his Rephlex label. Ten regular platters and two versions of Analord 10: either you got the Aphex logo picture disc or, if you were really lucky (we mean that in a literal sense), one that came with the Analord binder which is fetching impossible prices right now. Some of them even came with the mythical Analogue Bubblebath 5. We’re just happy to have purchased all eleven editions for regular price when they first came out. Amazingly in that same year, I did my first-ever label run and purchased $300.00 worth of vinyl and disc releases from DHR.

The first hardcore record I got my hands on - Kill Your Idols’ This Is Just The Beginning - was also the very first music purchase I made at any show. Three years after one of my close friends introduced me to Sick Of It All and hardcore / punk in general, This Is Just The Beginning flung the doors wide open for crushing similar-styled tough-guy finds. Most Long Island record stores sold them when they came in, and places like Hicksville and Centereach’s Utopia (when they did sell them) offered many easy one / two / three-dollar bargain bin purchases of many 7” records, 45’s, and 12” LPS. The Howards & Checkerboard Charlie split is one example of that and one of many local acts I possess. Jemini The Gifted One’s “Funk Soul Sensation” is the only hip-hop record on the list. Ten years ago I re-discovered golden-era hip-hop and realized there was a treasure trove of white-label and 12” singles I never heard of from that time. Those hip-hop / rap singles can be found on the cheap in the same manner as those discount hardcore records. I’ll be on a life-time hunt for them as at this point I don’t have enough of them.

It’s no surprise to see that more than half of this list is made up of Seventies’ jazz / fusion records. If not for Lonnie Liston Smith & The Cosmic Echoes Astral Traveling, I would not have the size of vinyl library I have now. One of our former hip-hop dee-jays at the station played “Expansions”, “Aspirations”, and “Colors Of The Rainbow” and those three cuts literally changed my life. It opened up an avenue for me to re-discover who I was and revisit a certain era of time I missed out on. From that point on, it was all about that era’s sounds, sampling, and personal favorites. John Tropea’s A Short Trip To Space, Les McCann’s Music Lets Me Be, and Roy Ayers’ A Tear To A Smile - those three records define my final years at Stony Brook. Phil Upchurch’s 1979 solo outing, Stuff’s self-titled debut, Emily Remler’s Firefly, Steve Khan’s The Blue Man, Ramsey Lewis’ Tequila Mockingbird, Eric Gale’s Multiplication, and Ronnie Laws’ Pressure Sensitive tie me in and keep me connected to those years.

Karla Bonoff’s Restless Nights and Urbie Green’s The Fox influenced my collection in an amusing way. I had no idea who both artists were until I pulled them out of the bins. What had me purchase them? I bought Restless Nights and The Fox solely based on the year of release (1979 and 1976 respectively). One listen of each and I knew I made two right calls.

Remember when we posted our entry about our close friend Syke who rescued a pile of old records from being thrown out to the curb? Of the 500+ he found, he gave us 50 and we still have most of them. We selected Pete Shelley’s “Telephone Operator” as a reminder of that free giveaway.

I could list both volumes of the original Dirty Dancing motion picture soundtrack which my ma’ had, her only surviving childhood vinyl record of Disney’s Cinderella, or The Pac-Man Album 12″ picture disc written by Patrick McBride and Dana Walden. But those three mentions aren’t influential; just early Atari-youth memories. My first-ever childhood memories I still remember (not photographed) are also vinyl-related: J. Geils Band’s “Centerfold” and The Cars’ “Shake It Up”; the latter which I have in my possession and are the markers of all classic rock records I own around that era. (Think Dire Straits and Donald Fagan’s The Nightfly to name a few.)

Another Atari-youth moment I remember is The Chambers Brothers’ A New Time, A New Day. My dad cut out the album sleeve and used it as a paper holder in our garage. That very record made me think of whatever few platters I remember him having before he sold his entire vinyl library and our library of Atari 2600 games…for a paltry $50.00. “He needed the money” he told me; which is always a pathetic man’s answer to everything. Had he’d seen how enthusiastic I was into music collecting, he would’ve handed his entire collection to me. Roberta Flack’s Quiet Fire, Kiss’ Rock & Roll Over, and The Rolling Stones Sticky Fingers and Their Satanic Majesties Request were the four in his collection he parted with and I have three of them, not including The Chambers Brothers release. He tried to make it up to me, however, by bringing home two separate piles of records he rescued from the curb. One heap was full of polka records which I donated to WUSB’s resident polka lady before she died the same year. The other heap? Since you didn’t ask: loads of classic hippie rock records, showtunes, and celebrity albums. Jim Nabors on wax? Stop before I deactivate this account.

Finally, Boulders’ Rock & Roll Will Never Die. Look it up and you’ll see it’s a near total obscurity only confined to hipster circles who know what’s up. A five-track Wharf Records release picked up for less than $3.00 is the one 12" that may as well get me into the Discogs purchasing game for all rare releases (not found in stores) I’ve been looking for in the past seven years. I’ve played many of them on Omega WUSBand soon after bought a substantial chunk of their discographies in one shot (three Happy Meals / Free Love LP’s and three Black Marble discs, for example). As a nice side effect, it’ll be the the same for cassettes as well such as Believer/Law’s Matters Of Life And Death and JS Aurelius’ Machines Water The Plants Now - if the seller’s price is right, that is.

Notice how we went from KMFDM to Boulders? You can’t get any more disparate in styles and worlds between the two. The first purchases, public library finds, donations, record fairs, mail orders, samples, jazz-fusion and soul, hardcore and hip-hop buy-outs, record-store victory tours, and many other moments I might have missed…that’s 25 years of buying vinyl records spanning many different collecting eras and genres for me. That’s only one format, and also not counting acquiring music by other means such as radio and downloads which also shaped my collection. The bingo board jumble you see is only a tiny pinch of my musical tastes and not the whole story of my listening habits that’s usually broadcast on Omega WUSB or always posted here on Ω+.

After making this list, I’m reminded that I’m the most diverse person I know. I’m proud that my low-lying threshold for accepting and liking sound and concept allowed me to make that diversity into a science and have that mind-blowing knowledge I have of it. I’m as consistent, thorough, and far-reaching as I possibly can while hitting as many targets as possible. Would there be more bingo boards like this? Only if I make sure of it.

Phil Upchurch: self-titled

Lonnie Liston Smith: Astral Traveling

Karla Bonoff: Restless Nights

Steve Khan: The Blue Man

Chambers Brothers: A New Time, A New Day

Emily Remler: Firefly

Boulders: Rock And Roll Will Never Die

KMFDM: “Power”

John Tropea: A Short Trip To Space

Les McCann: Music Let’s Me Be

Shizuo: High On Emotion

J. Geils Band: “Centerfold”

Aphex Twin: Analord 10 picture disc

Jemini The Gifted One: “Funk Soul Sensation”

Roy Ayers: A Tear To A Smile

Ramsey Lewis: Tequila Mockingbird

Pete Shelley: “Telephone Operator”

Autechre: “Keynell”

Kill Your Idols: This Is Just The Beginning

The Cars: Shake It Up

Ronnie Laws: Pressure Sensitive

Stuff: Stuff

Eric Gale: Multiplication

Urbie Green: The Fox

Checkerboard Charlie b/w The Howards split

Headcanons on Kid's accent quirks.

Alright, so this has been bothering the hell out of me recently, and I need to get all of this out in the open and clarify a bunch of things. I'm going to write a condensed version on his carrd eventually, but I wanted to have a full version written here so I can elaborate as much as I want without feeling restricted.

We all know that I remind everyone every twenty seconds that Kid is very Scottish; or, rather, the One Piece equivalent of Scottish. For the sake of explaining what I'm talking about, just bear with me temporarily and pretend his birth island is an exact replica of Scotland for a moment.

When I first started writing him more seriously, I decided to give him the quirk of intentionally hiding his accent, because when he doesn't, his accent is actually VERY heavy, often to the point where people not very familiar with the accent might not fully understand what he's saying, and he loathes having to repeat himself. Additionally, sometimes people might try to tease him or mock him for it, and while he himself doesn't care about that himself, some of his nakama are also from his birth island, and by insulting his accent, they're also being ridiculed, so he's like "fuck you, you don't deserve to hear it if you're gonna be a little shit about it". Anyway, he masks his accent to different levels, and it comes in several different degrees:

1) Entirely masked, so you probably wouldn't notice it at all unless you were familiar with it or actively listening out for it.

2) Mostly masked, so he might have a little more oomph in his R sounds and he has more depth in his O sounds, but it's still speaking fairly neutrally. There's a natural growl in his words and his vowels are affected.

3) Somewhat masked; he's actively speaking with a distinct Scottish accent, but only uses occasional Scottish slang, phrases, or idioms, so it's unlikely you wouldn't be able to understand him.

4) Not masking at all, full blown accent out, using slang and terminology exclusive to his birth island, phrases people might not know, specific idioms, etc etc.

5) Literally speaking Scots Gaelic which isn't the same thing but I like when he does that so I'm mentioning it here.

Usually I have him at a 1 when he's meeting someone new and/or is being serious and intense, annunciating, actively and consciously masking. Most of the time, he's around a 2 as a neutral default. He starts slipping into a 3 when he's losing his composure a bit and not really thinking about masking, so when he starts getting very pissed off, when he's a little to moderately intoxicated, if he's feeling unwell or in pain, tired, or if he's just relaxing around his nakama. He's only at a 4 when he's exclusively around the select members of his crew from his birth island, so Killer, Heat, Wire, and a couple of the other guys who've known him since before they became pirates. Alternatively, he'll do it publicly or if he's extremely, EXTREMELY drunk. It also doesn't help that he's slurring his words really heavily when he's drunk enough to do this, so sometimes even Killer is just like. "I don't think that was even a real sentence..." He only speaks Gaelic with Killer, and then later with Shou (@snowdrcp) because she starts learning the language.

Anyway, finally on to why I'm actually making this post this long and detailed.

Normally I only mention an increase in the degree of Kid's accent in the monologue, and I don't normally write it phonetically in his dialogue because I would have to add a translator's note every single time, and to be honest, I'm just not familiar enough with Scottish to make it sound all that natural. However, when Kid is speaking casually, I do like to change some specific words, such as "you" becoming "ya", and "your/you're" becoming "yer", as well as removing the G from words ending in -ing. This isn't so much meant to be an indicator of his accent or its intensity but instead because Kid just talks naturally colloquially in my head, and he often has a bit of a husky drawl. I don't always include this; sometimes it makes the sentence structure sound weird, or sometimes if he's really focused or alert, he's annunciating more and therefore doesn't speak so informally. However, he sounds really stiff in my head if I don't include this in his regular dialogue, and I intended for it to be a subtle reminder of the fact that he's speaking lazily even when he's not exposing his accent very much.

My problem is that when I make him sound more Scottish, like a 3 and up, every time he says the words "you" or "your/you're" it would not sound like "yer" at all; due to the way Scottish accents sound when pronouncing those syllables, it would be pronounced more like "yooh", and "yoohr". So sometimes, I have the issue of Kid getting angry at someone he's yelling at, and I'm writing his dialogue, but for the sake of being consistent I'm keeping him using "ya" and "yer", even though it isn't congruent with how he would actually be speaking if it was audible and not written dialogue. My concern is that if I suddenly switch over mid conversation, it's going to look ugly from a writing perspective, and kind of sloppy on my part if I keep changing how I'm writing the same words.

I guess I basically just wanted to explain how I intend for his voice to sound, and ask if it would be an issue for anyone if I started throwing in some "yoohs" and "yoohrs" to flavor his dialogue when I feel it's appropriate to do so, without people thinking it's a typo/mistake, or inconsistent.

I'd love to have opinions on whether doing this would look too unnatural or peculiar, and I'd be really grateful for any kind of feedback on the issue.

Thanks so much if you read all of that and made it to the end!

NEW SERIES — VERT FIXES THE ENGLISH LANGUAGE

Now, I’m objectively correct, so there should be no debate at all. Also, since the English language is very very very wrong, this is probably going to take forever, or until I get bored.

SO. To start with, the Alphabet. Most of the letters are okay, but there are some redundancies and stupid exceptions that need to be fixed.

OK LETTERS: B D J K P Q T V Z

BAD LETTERS: A C E F G H I L M N O R S U W X Y

The first fix to be done is pronunciation.

Now, vowels are special because they’re vowels, and so are all incorrect. A rule that will come into effect later, is the double letter rule. Before, this only applied to the letter E, so that two E’s together makes the long E sound. Now, this applies to ALL vowels and is the only way to make their long sounds. Easy.

Also, all consonants should start with the sound they make FIRST, and then idk we’ll go from there. B is perfect, sounding like it’s spelled like BEE. F sucks, sounding like it’s spelled like EFF. which is wrong.

Finally, is C. I hate C. Literally completely redundant. So, instead, C only makes the CH sound. And, here’s the list.

A: “ah” B✅ C: “chee” D✅ E: “eh” F: “feh” G⚠️ H: “*a dog panting* AKA huh” I: “ih…” like in tic. J✅ K✅ L: “Leh” M: “Meh” N: “Nah” O: “(like the first o in octopus or in sock.)” P✅ Q✅ R: “rrrrrrrrr” S: “seh” T✅ U: “uh” V✅ W: “wah” X: “ksaw” (I know it’s weird) Y: “yew” (like u used to be spelled) Z✅

Oh, you’re wondering about “G” huh? Well, it’s pronounced “guh”. BUT, I needed it for this segway. Every letter can now ONLY say it’s name. Excluding vowels, but I already covered that. Basically, G can’t be used in giraffe anymore that’s for J. This means that SH, TH, R like in roar and whatever the heck Q used to say like in quail have suddenly been removed. We can’t give the first two the vowels’ special rules, since they would be exceptions, and aren’t actually “long sounds.” We can for R and Q though. Now R and Q are vowels. Good for them. So is Y now that we’re on the topic. It’s getting a promotion. Now for TH and SH. hm. Well we will need new letters. We’ll just reuse old ones. TH is now þ, which was called “thorn” and is now called “the.” and we can just turn “G” backwards and call it SH because why not. Now our alphabet has 28 letters. Boom done. ANOTHER new issue though, is when to say the letter’s name, and when to just say the first part. SO, welcome “•!” now •, which you can just call “Dot,” simply means “say the first part of the letter. For instance, “Peas” would be pronounced “Pee - Eh - Ah - Seh,” but Peas•, sounds normal. But wait! What about the first P? well. We’ll just make the rule that a constant follwed by a vowel will only say the first part of its name. Done. Now, it’s spelled PEAS•

Our new alphabet is now:

ABCDEFGວHIJKLMNOPQRSTUVþWXYZ

The old alphabet spelled phonetically (I think that’s how you say it) using our new perfect alphabet for reference is:

AA BEE SEE DEE EE EF GU ວ H I JAA KAA EL EM EN O PEE QQ R SE TEE UU VEE þ DUBUL UU EKS WII ZEE

idc about lowercase letters they just add more confusion therefore I’ve deleted every single one. Boom. No such thing as lowercase. If you want to specify yelling or not yelling idc figure it out.

Hope you enjoy my new and better alphabet! Ask me literally anything about it. I’ll probably focus on fixing words with double meanings in the next post. Okay cool stop reading.

okay this is a guide for reading romanized korean names I made specifically for the indoctrination of one of my tumblr mutuals as an orv enjoyer but it applies to all korean media. I tried my best to make this actually helpful but the way korean gets romanized is really inconsistent throughout different translations and it's honestly kind of. hell. and I'm also not great with ipa so I might be using it Not Right. I used this wikipedia article to help me though so it should be mostly solid. the format will be [most common romanizations] -> [ipa (example pronunciation)]. examples are american english cause that's what I know... sorry guys. I did my best to cover my bases so I hope this helps a little 😔 also all of this is under the assumption that you aren't striving for native-level pronunciation mastery so I'm gonna give shortcuts and not go into specific details

the source for all of this besides the wikipedia article is korean is technically my first language and I'm told my pronunciation is pretty good. that being said I've grown up in the us of a and have come to be more comfortable speaking english, having never received a formal education in korean, so if anyone wants to correct me. feel free

vowels:

a -> ɐ (spa)

o -> o (sword)

eo/u* -> ʌ (up) -- in the context of this vowel being sandwiched between y (j) and ng (ŋ) it might be spelled young instead of yung or yeong as usual

oo/u* -> u (rude)

ee/i -> i (free but keep it short)

eu -> ɯ (foot)

+ diphthongs

e -> e (rate)

ae -> ɛ (bet)

the above two sound really similar and aren't really distinguished much in terms of pronunciation in modern korean so. nbd

there are others like ui and w/e but I'm gonna skip ipa for those for now because a) these are sounds that just don't come up in english like at all so knowing the ipa probably won't help you and b) the ipa listed in the article really only applies when the diphthongs are being pronounced by themselves and they sound different in different contexts anyways which is usually how they show up so. there's not much point.**

I won't go over all the consonants, since they're mostly self-explanatory, so here's just the ones to note:

g -> g (gust, as opposed to just)

l -> l (pronounced like left)

the korean hangul character used is the same, but if it's at the beginning of the syllable it's usually romanized r -> ɾ (better; alveolar tap)

so roksoo is pronounced ɾok'su with an alveolar tap like the spanish r, not l like in left or r like in run. a note for names with "il" like gilyoung or pildu is that it's probably kind of awkward to pronounce the proper i sound and then the l so it's acceptable to shorten the i to rhyme with "pill" in english. I honestly think it's better that way than trying to make it fit by lengthening the i so that it sounds like "eel" like the animal.

doubled up consonants like in -ssi are just tensed, so like s͈. but the difference between tensed and untensed is subtle and really hard to get so don't worry about it too much. also a note that if s precedes i then it's usually pronounced (and often romanized) sh -> ɕ (sheep). that applies to "-ssi" as well so it's pronounced like sheen anyways without the tensed ss really coming through much

*yeah, "u" gets used to romanize two entirely different sounds. yeah, it gets really confusing. I'm sorry to say that I don't have much practical advice to offer you in knowing which one it is other than figuring out how a particular translation is doing it by looking for the absence/presence of one or the other. unfortunately, like i mentioned at the beginning, inconsistency is rampant in these things and so even that doesn't always work out. the orv tl that I read used sooyoung but also pildu, with "oo" and "u" respectively being the same sound. some people will even use them together within a single name like yoo (juː) joonghyuk (tɕuŋ'hjʌk) becoming yu junghyuk or even yu joonghyuk or whatever in which case. I'm so sorry ***

** I'm not just gonna throw you into the deep end though dw. when preceded by a consonant, how you'll most likely see it in names, ui -> i (free). for example, jung huiwon is spelled like that bc those are the hangul characters used but everyone pronounces it hiː. this'll often just be romanized as hee as well. the "won" in heewon is also a diphthong- it manifests as won but does not involve the o sound at all and is pronounced like wʌn. "oi" is another common one, as in the last name choi. likewise, when preceded by a consonant oi -> something like ɛ (bet). so, choi would be tʃɛ as opposed to tʃɔɪ.

while we're on the topic of weird last names. lee is the most common romanization for a very common korean last name (my last name, actually :o) that's actually just pronounced iː (feel). It's sometimes romanized as yi to reflect this, but I don't think I've ever seen it as i or ee. From experience, if that's how it's spelled, you won't ever get corrected for saying lee with the l, but just for the record that it's technically not the proper pronunciation.

***really the only way to work this out is getting familiar enough with korean names (most of which are pretty formulaic) to register what sounds are likely to appear in a name (du is possible, but dʌ isn't really; jʌ isn't a real korean last name i don't think). either that or leaning to read hangul and looking at the names in the original korean to figure it out. but neither of those are very practical solutions for casual enjoyers. sorry. another issue is figuring out how the syllables are partitioned. most korean names are two syllables. hangul has a really particular way of organizing syllables that doesn't really come through in english; some translators will opt to hyphenate names like kim rok-soo but not all do. the syllables are pretty obvious with some names, but others like sookyung (it's soo-kyung, as opposed to sook-young) are a bit harder. the only good reliable solutions for this are the two I mentioned earlier which again. are more complicated than you'd probably like. if you are willing though it isn't that hard to learn hangul at all it's considered a very logical and easy writing system

like I've said inconsistency is gonna be your biggest enemy in this kinda stuff. I am being a bit dramatic and it won't affect you that much if you stick to reading a single translation for one particular media but. I want to complain about this. it's so bad. btw localization is also a thing that happens sometimes, mostly for fantasy-type stories where the author had "foreign" sounding names in mind when they were writing them. for example cale henituse from trash of the count's family would be more like kaeil henituseu if the name was romanized instead of localized. this is also a source of contention ngl like cale obviously being the preferred tl, but alberu (the romanization(?) for a character in tcf) being generally used more often over the official localization alver

but anyways I know this is all really complicated but I'm glad you're getting into this kind of stuff I hope you like it and I hope this helped somewhat :] happy reading

Yvelse Lesson 1: Back to Basics

Because you can't learn a language without first knowing how to read it.

(Previous)

Welcome back! Been a while. But since you now know why I'm here infodumping about a fictional language, we can actually start, ah, you listening to me infodump about a fictional language.

Yvelse has a pretty easy phonology, until you get to the parts where even I'm not sure why I did what I did. Let's pretend everything makes sense and ignore the parts that don't, shall we? And, ah, promise not to get mad at me when we get to the consonants.

There are five vowels in Yvelse, as follows (in romanization and English alphabetical order): A: Going to be level with you, this one is a mess. Formally, a word which here means "it was written down this way in my Google doc which is only usually correct," until the writing of this post, this vowel was pronounced [ɑ] when lengthened or occurring before a syllable-ending consonant, and [ə] elsewhere. That is not how I've been pronouncing words like ansec (bake) and aϕel (sunset/sunrise). So I took a minute out of writing this post to add "at the start of a word" to the list of conditions for [ɑ]. Better, except even though words like tsetsa (star) are as you'd expect, I'm still not pronouncing words like saha (cat) or sa (and) with a schwa at the end (or at all, in the case of the former). I can't figure out if I need to shape up, or if Yvelse needs a new clause for this vowel, just... feel it in your heart. You probably won't need to pass as having a native accent anyway. E: [ɛ]. That's all. It's voiceless at the ends of words but connects to another E at the start of the next word if there is one. No, I don't know why. O: [o]. You are safe here. U: [u]. You are safe here as well. Y: [ji] at the start of a word, and [i] elsewhere. You are in only mild danger here.

The consonants are more straightforward. So much so, in fact, that I'm not going to bother listing every single one: just the ones that either need a moment of explanation or will make people mad at me.

C: [k]. It's an artifact of a character name—I wasn't about to make him go by Lakuna. (Even if he was, technically, given the name of an English word.) Don't worry, this is universal and consistent. F: You know this one. V: You also know this one. ϕ: Exactly what it looks like it is. In IPA to distinguish it from [f]. β: Exactly what it looks like it is. In IPA to distinguish it from [v]. R: Where is—which is it—[ɹ]. If you speak English, you probably understand this one. L: You know this one. ɾ: Exactly what it looks like it is. In IPA because R was already taken, and, though L is a less great substitute, that was also already taken.

Everything else you may encounter is exactly what it looks like it is. Except for [ts] and [ʃ], they're all the same in IPA and romanization anyway.

Hey, you did promise not to get mad about the consonants.

Yvelse also has its own writing system, but for the sake of "I don't really have a way to incorporate it anywhere" we'll gloss over it at least for now.

I'll close this post off with the number system. Can't really wait to explain that sort of thing.

Yvelse uses a base-eight system, derived from the eight phases of the moon. The first nine numerals, starting from zero, are as follows: 0: nyc 1: sen 2: levy 3: con 4: tantsutu 5: vly 6: heva 7: pol 10 (8): shoncu

After shoncu, the next seven numbers attach the prefix shon- to the number in the ones digit, kind of like the -teen suffix in English.

11 (9): shonsen 12 (10): shonlevy etc.

When you reach 20 (16), a number will start with the name of the digit in the eights place, and carry on as in the "teens"—even at an even eight. Here, you'll see:

20 (16): levy shonnyc 24 (20): levy shontantsutu 30 (24): con shonnyc 40 (32): tantsutu shonnyc etc.

100 (64) is read as showotse, and 200 (128) as levy showotse, similarly to how the eights work. Typically a large rounded number like this will be assumed to be an approximation, so if you'd like to stress that there really are exactly 384 of something, you can say heva showotse nyc (six sixty-fours zero).

Now you can count in Yvelse all the way up to 777 (448)!

Non-numeric vocabulary: Adjectives aϕy: Red, with positive connotation—like a sunset. cereln-noleme: Green, lit. "land-colored." Often shortened to cereln for convenience, which I'm sure kicked off both a convention of pulling in just any old noun to use as a color name and a bit of grammatical debate for the particularly pedantic. cor: Red, with negative connotation—like blood. mele: Pink, purple, and any color between the two. neɾa: Gray oɾatse: Dark blue ren: Blue, of something other than the sky. shen: Black vesha: Blue, of the sky or something considered to be sky-colored. ytan: White ϕylc-noleme: Yellow, lit. "bird-colored." Often shortened to ϕylc in the same vein as cereln. Nouns atsel: Evening or early morning. When the sun is not above the horizon or even shedding much light, but the sky is still lighter than at night. aϕel: Sunset or sunrise. etse: Sun lavel: In my notes it's "dawn or dusk," but not really—it's the time ranging from when it starts to get dark to the twilight time covered by atsel. Or the other way around—it works for morning or evening. saha: Cat (of any sort) shelse: Nighttime tsetsa: Star veshvel: Daytime wotse: Moon Verbs ansec: Bake Conjunctions sa: And

More exploration of the bs found in tarot

The P

P and Q are opposites, as is in the state of being. R. Accordance to scripted reality, P and R aren’t all that so different. Where as R is found to be a promise as in a “balacing” of accounts. It’s a promise in that in the near future, the 3 day rule, whatever is set is then given under the star.

It represents a moment of waiting. In the unvoweled tarot, set agaisnt the layout of qwerty shows a long period of nothing after death, desire, destruction, and cursing or anguishing after the judgement, there is nothing. At the end of the line, in the distance, the hanged man is seen, suspended upside down, his head in 16. The opposite in the beautiful vision of the world. An old mans memories in the dark. The opposite of beauty subtracted from the tower is 4, the emperor.

Not to mention that P is the only letter that drops below the line while keeping its structure intact. It drops. “qp” a big long sequence of bs. The fourth world so say. Populated by the shells of humanity. Almost looks like a butterfly. As in the star. Gandalf will call the eagles.

Odd enough, to evoke curiosity, the two letters are never found together. There is always a gap. Separating the two. alot of vowels if im not mistaken. Nailed it.

Its still functional so far, the P doesn’t fit well with the rest of this sequence. Always get overlooked. Its there but, its just hanging there. Like, what?! Whatever lets slide down here. Hey look this is easier.

Further string, the sequence of nothing is still constellated. Even though three number equaling zero hovering above an empty space. When one speaks of clouds, there tends to be a falling grace. Clouds as in memory storage? Clouds as in the sky? Or a cloud body of information. Three separate ones close together. Not to be mistaken there are two others further away and out of attention. It would be a curios notion to give those clouds a consistency in structure and neatly place them in the gap.

But, perhaps it may be wise to stop calling it qwerty, for as has already being touched upon, is anything but, positive.

The strength card being feminism and represents wrestling Man for rulership. It being changed showed an initiatory first step to victory. The woman holding the crown with an added message of perpetuity. The caress easily translates to gay pride, but that seems to shout out from the sun card. The fool here achieving victory in his own death, of the past restraints, remember the devil. The third card may easily take the place of the church. The only symbol here unable to retain the zero. And yet could be said to bind the two together. At any rate balancing two balls on top of one another doesnt work out too well. Wouldnt even want to try. You already know. And yet two zeros binding is frequently given.

Card 0-15, brings it back to the devil, which will be reflecting of the sun card. And of which both equal to 6. 1+5 and 2+4 which is given to the lover(s) card. Which brings it back to 8 to justice and back down to the strength card.

I love tarot. But all they offer is this crap. My personal scripted reality for the last god forsaken given years of everything.

Spend 25 years, broken, downed, out, incapable, no comunication, suffering internal, while everyone else around doesnt care and or are too busy catering to someone else. Where nothing ever works out, and you just drift from coast to coast, starting iver and over. And the envirnoment everywhere you land is set and ready to destabilize. Year after year. Everything slowly dies along with uour spirit and your just a shell. Going through the motions, while others keep fucken around behind the lines. And where at the bass of eveything all you wanted was some human connection. But it bever wxisted anywhere year after year. And, it never ends. Becuase your serrounded by everything and your singled out because they know more than they say. And theres nothing to do with that.

Hey, i’m…oh, your one of them. Ok. Sure. So, how and i being played this time. What more tragedies await.

Ive made the serpent slowly me once. It cane back a couple times during rough periods of family care where i wore it like a skin. So heavy, dark, powerful, but lacking all mobility.

Then i got swallowed me again. But happestance high, on whatever inwas being dose with at the time, which caused extreme sensitivity. Where even the slightest cringe to something negative would be overwhelming. And then again last year. But i dosed myself with alot of toxins and put my brian out of opperation which sluggust flow at best and a constant migraine. And to come from the community this time. Which was different. Saying somethign about how they where all involved in your torment. But it didn’t hit much. More like being sligthered over by a gust of “dementor”. Didnt say anything i was already aware of. But, once that feeling or sense hits, you’re out. Its going to longer like an acid stain slowly seeping into uour blood stream. And everything you do is wrong. Even when its not.

Add that to having my psyche raped, and a childhood of bountiful sexual activity and plenty of trauma memories and destructive influneces, surrounding my family. Influneces wise. Constant. They wont lwt me get away from it. Theres not much worth seeing anything in the world. Amd not much else to do, except admire a beauty from a distance because 99% of the ones you like are there the cause you suffering. Intentional most times but also unintentionally. Its a rather troubling complex. Save me with the opposite of bs! No!

And then we got tarot circling around the “feminine” populace brainwashing its occupants into trashing half of humanity and praising the light!!!!!

And the third reich lives on.

They had to set their plan in operation. So the script was perfected and the pounced. With gunfire and death. It had to be powerful enough to create a deep lasting impression which will consistently be fed back, prolonging it through the fallowing generations. It had to create enoigh of a shock and destroy certain influences which would allow for a total reset of life being closely monitered and fed into. They told you what it was while pitting you agaisnt an enemy to destroy it. The lasting new age. The good or the bad. Cant question the bad side of it. Theres to much proof.

Rick and morty, uh? Numbercron or some crap. Gotta crunch those numbers, give sweet felacio to the number 7. Jnfinity being evil. Ok, guess im never goong to know what ots like to have a life. Thanks for hoghlting the fact that im still being raped. Ice T and the frozen tower. Nonits water T no its magma T. T is da card. T equals 7 1+6. 7 is the chariot. Hey, thise are my two birth cards. The chariot and the Tower. Im all number 7!! 7 is neptune. Drowning in bs. 7 is sunday. Or is it saterday. I dont even know anymore. Thaw that tower out!!!!! And fuck yourself.

Didn’t i just go over how shitty the tarot is? Inhave enough with the entire fucken olanet fucken taping me. I dont need my own fucken spyche to do the same. Wtf. Since my forst memory.

I dont have a choice i have to kill myswlf.

Odd how they didn’t add the white dragon, i left out. Infinity, dragon, connected to labor, to endeavoured longevity. I would like you to stop airing media about my life pls. Focus on some other fucktard. Leave this one alone. Though they did touch upon the part about clemency for the tower. With a focus on exposure. But not in an abusive way like they do it. Naturally without the bullies being pussies.

Where you’re born in hell the only place to go is deeper. Though the play on numbers brings it back to the tarot script. And we don’t want that. But the play with numbers is fun. And too inviting. And after havinng my spyche raped and formed to they desires. I dont have the base security anymore. Just bouts of suicidal depression like whats new in the last 7 years? But its ok. Cause i was given one day to feel like a healthy person. So i cant say that anymore.

Yeah im pretty sure ive been drugged again. So. Oh well another day in reality. Taking abother step to quitting smoking again. And again. Im dosed with whatever to spike my cortisal level. Oh well guess im not going to work again. Thats too bad. Ill br stuck to muself. What tragedy.

Quordle must be approached differently to Wordle. With 4 puzzles to resolve in 9 guesses, you'll be able to't blindly throw letters at it and anticipate to win - you may stand a much better probability when you assume strategically. That is the case in Wordle too, after all, nevertheless it's much more essential in Quordle. There are two key issues to recollect.  1. Use a number of beginning phrases Firstly, you will not need only a single beginning phrase, however virtually actually two or three beginning phrases.  The primary of those ought to most likely be top-of-the-line Wordle beginning phrases, as a result of the identical issues that make them work effectively will apply right here too. However after that, it's best to choose one other phrase or probably two that burn up tons extra of the commonest consonants and that embody any remaining vowels. As an illustration, I at the moment use STARE > DOILY > PUNCH. Between them, these three phrases use 15 of the 26 letters within the alphabet together with all 5 vowels, Y, and 9 of the commonest consonants (S, T, R, D, L, P, N, C and H). There are many different choices - you would possibly wish to get an M, B, F or G in there as a substitute of the H, perhaps - however one thing like that ought to do the trick. If all goes effectively, that gives you a great lead on what one or typically two of the solutions may be. If not, effectively good luck! 2. Slender issues down Secondly, when you're confronted with a phrase the place the reply would possibly simply be considered one of a number of choices - for example -ATCH, the place it could possibly be MATCH, BATCH, LATCH, CATCH, WATCH, HATCH or PATCH - you may undoubtedly wish to guess a phrase that would chop down these choices.  In Wordle, you'll be able to as a substitute strive a number of of these in succession and hope one is true, assuming you may have sufficient guesses left. It is dangerous, however will typically work. Plus, it is the one possibility in Arduous mode. However in Quordle, it will virtually actually end in a failure - you merely do not have sufficient guesses. Within the state of affairs above, CLAMP could be an awesome guess, because it may level the best way to 4 of the seven phrases in a single go. #Quordle #right this moment #hints #solutions #Tuesday #February #sport Summarize this content material to 50 phrases Quordle must be approached differently to Wordle. With 4 puzzles to resolve in 9 guesses, you'll be able to't blindly throw letters at it and anticipate to win - you may stand a much better probability when you assume strategically. That is the case in Wordle too, after all, nevertheless it's much more essential in Quordle. There are two key issues to recollect.  1. Use a number of beginning phrases Firstly, you will not need only a single beginning phrase, however virtually actually two or three beginning phrases.  The primary of those ought to most likely be top-of-the-line Wordle beginning phrases, as a result of the identical issues that make them work effectively will apply right here too. However after that, it's best to choose one other phrase or probably two that burn up tons extra of the commonest consonants and that embody any remaining vowels. As an illustration, I at the moment use STARE > DOILY > PUNCH. Between them, these three phrases use 15 of the 26 letters within the alphabet together with all 5 vowels, Y, and 9 of the commonest consonants (S, T, R, D, L, P, N, C and H). There are many different choices - you would possibly wish to get an M, B, F or G in there as a substitute of the H, perhaps - however one thing like that ought to do the trick. If all goes effectively, that gives you a great lead on what one or typically two of the solutions may be. If not, effectively good luck! 2. Slender issues down Secondly, when you're confronted with a phrase the place the reply would possibly simply be considered one of a number of choices - for example -ATCH, the place it could

possibly be MATCH, BATCH, LATCH, CATCH, WATCH, HATCH or PATCH - you may undoubtedly wish to guess a phrase that would chop down these choices.  In Wordle, you'll be able to as a substitute strive a number of of these in succession and hope one is true, assuming you may have sufficient guesses left. It is dangerous, however will typically work. Plus, it is the one possibility in Arduous mode. However in Quordle, it will virtually actually end in a failure - you merely do not have sufficient guesses. Within the state of affairs above, CLAMP could be an awesome guess, because it may level the best way to 4 of the seven phrases in a single go. write 3 questions and reply from the content material Quordle must be approached differently to Wordle. With 4 puzzles to resolve in 9 guesses, you'll be able to't blindly throw letters at it and anticipate to win - you may stand a much better probability when you assume strategically. That is the case in Wordle too, after all, nevertheless it's much more essential in Quordle. There are two key issues to recollect.  1. Use a number of beginning phrases Firstly, you will not need only a single beginning phrase, however virtually actually two or three beginning phrases.  The primary of those ought to most likely be top-of-the-line Wordle beginning phrases, as a result of the identical issues that make them work effectively will apply right here too. However after that, it's best to choose one other phrase or probably two that burn up tons extra of the commonest consonants and that embody any remaining vowels. As an illustration, I at the moment use STARE > DOILY > PUNCH. Between them, these three phrases use 15 of the 26 letters within the alphabet together with all 5 vowels, Y, and 9 of the commonest consonants (S, T, R, D, L, P, N, C and H). There are many different choices - you would possibly wish to get an M, B, F or G in there as a substitute of the H, perhaps - however one thing like that ought to do the trick. If all goes effectively, that gives you a great lead on what one or typically two of the solutions may be. If not, effectively good luck! 2. Slender issues down Secondly, when you're confronted with a phrase the place the reply would possibly simply be considered one of a number of choices - for example -ATCH, the place it could possibly be MATCH, BATCH, LATCH, CATCH, WATCH, HATCH or PATCH - you may undoubtedly wish to guess a phrase that would chop down these choices.  In Wordle, you'll be able to as a substitute strive a number of of these in succession and hope one is true, assuming you may have sufficient guesses left. It is dangerous, however will typically work. Plus, it is the one possibility in Arduous mode. However in Quordle, it will virtually actually end in a failure - you merely do not have sufficient guesses. Within the state of affairs above, CLAMP could be an awesome guess, because it may level the best way to 4 of the seven phrases in a single go.