"I would kill for you. I would die for you" would you take a break for me? Would you sit down and rest? For a day, a week, a year? Would you let others take care of your needs for me? Would you let yourself be held for me? By me?
Experimenting with different visual cues to show that a character is not quite fluent in a language yet. Commentary and extras below the cut.
(the other language is kalaallisut, a real language spoken in greenland, albeit machine translated and probs not 100% accurate)
1. Blurred bits
I feel like this one isn't very visually pleasing, but it speaks to me more regarding how learning a language feels. You don't quite make out what the words are, and slowly pick up bits from what is being said. This also adds room for uncertainty on the character's POV, the speech bubble wouldn't be theirs, but what you read off it would be their thoughts regarding whats being said. The blur also helps keeping things incomprehensible even if you speak the other language being spoken.
2. Bits in multiple languages
This one adds room for out of the speech bubble commentary. It doesn't make misunderstandings as easy as with the blurred speech, and with an agglutinative language like kalaallisut it might end up being confusing to organise or break the sentence's syntax. It looks cleaner than the blurred bits though, and it still makes the other language incomprehensible (if you dont speak kalaallisut, that is). Colour coding would help indicate whats being understood by the main character and what isnt, and the texts would slowly be fully red across the chapters.
3. Faded colour to indicate not understanding
This makes the reader able to understand everything, and relies on the reader memorising that faded = not understood by the character. Other than that, colour coding would indicate a change of languages.
I like the reader only understanding what the character can understand and I like the types that leave kalaallisut still visible. Though option 3 might be cleaner and easier to manange.
4. Faded colour + blur
This is something I thought after posting it earlier on patreon. Blurring the parts the main character wouldn't understand can be a way for the brain to quickly skip through the missed text, in hopes that at least the first reading will match what the character is understanding.
Also, for the enjoyment of my 4 greenlandic followers, heres the machine translated kalaallisut version I used for 1 & 2. I had to use a double way translation tool and an annotation tool to be sure the words were somewhat related to what I wanted them to be. I can't really fact check it though, so I hope that whichever way the translator messed up is at least worth a chuckle.
If you'd like to see more of this kinda stuff, please consider supporting me on patreon
sometimes you just have to let yourself be a bit neurodivergent.
i hate going out, it gives me a lot of anxiety and sensory input that i dont like, and i am often forced to talk to people.
so i do this thing on more difficult days, or sometimes just for fun, where i "bring a fictional character with me". i walk and imagine Fictional Character walking next to me. they talk to me, reassure me, hype me up, whatever i need them to do.
today dean winchester came christmas shopping with me. he went over the list with me of stuff i needed to get, told me i was doing a good job every time i finished in a certain shop, reminded me to take a deep breath when i got a little overwhelmed.
and yea. its kinda silly. and i know its just me talking to myself in a different voice, but it Works! especially since all of my special interests/hyperfixations tend to be tv/movie related.
so do what you gotta do to Get Shit Done. stop holding yourself to neurotypical standards. if you need Fictional Character to tell you you're doing a good job, do it! if you need Favourite Singer to walk you to school, do it! yea it might feel silly but you're literally fighting against your own brain to get stuff done every single day. you can have a little self indulgent daydream, as a treat.
My evening is full of complex emotions that I'm not sure how to work through. I feel that this is part of my depressive response to a lot of things coming to an end in my life, giving way to a new chapter...but honestly I'd really like it if the catastrophizing thoughts didn't target my nearest and dearest friendships, please? I don't want to be worrying about the eventual fall of my close circle, or whether me sending an extra message to someone I care about and am thinking about will be the butterfly wingbeat that convinces them I'm not friend material after all. The trauma speaks loudly tonight, my friends, and I just want to live in peace and let the river flow.
what you have to understand about dungeon meshi is that the entire conflict basically boils down to "every character is autistic but in ways that clash so catastrophically horribly that everyone thinks everyone else is a nuclear-level threat"
bass wood, pigments, buttit shells, hair, feathers, mexican milagros, copper tacks. 24” x 21” x 2”
This mask features a number of non-traditional objects that are hallmarks of Kathleen Carlo’s style: bullet casings, Mexican milagros charms, and automobile inspection mirrors. Each of these elements is significant: the halo of mirrors is a tribute to the passing of fellow mask-maker Lawrence Beck (Yup’ik) who taught Carlo at a seminal two week workshop at the Institute of Alaska Native Arts and helped her on the path to her career. The milagros charms in the mask’s mouth are traditional Mexican prayer charms: a parishioner would buy one in the form of a trouble or ill in their lives and take it to church with them. For Carlo, her masks speak of these troubles and ills, perhaps solving them through prayer, story or song. The addition of bullet casings–or buttit shells–signifies the importance of hunting for Carlo and many natives in Alaska. Raised on a subsistence diet of gathered and hunted foods–such as salmon, berries and moose meat–Carlo adds the shells to connote the human element in the more spiritual world of the mask.
The title of this piece, “Let Us Have a Story” is taken from a passage in the diary of Father Jules Jette, a late 19th century priest who first codified the Koyukon dialect into a dictionary. One evening Jette and a number of Native men were at his cabin telling stories to each other. As the end of each story drew near the Koyukon men built up their excitement and would shout “Ani!”–an expression of surprise and enthusiasm–and would call out, “Let’s have another story, let us have a story!” Reading this passage, Carlo was inspired by this historic, peaceable scene, and created this mask to commemorate it.