AO3 Fanwork Research Reference Guides AND How To
Just a place to organize all the works that are not fanfiction and instead are AO3 Fanwork Research, Reference Guides, & How-To guides for different items such as languages, work skins, site skins, and more.
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Summary
This is the various conlang dialogue I translated for NBC's Emerald City, a kind of adaptation of L. Frank Baum's Oz books. I created two languages for the show: Inha, a language for witches, and Munja'kin, the language of the Munja'kin people (the show's version of the Munchkins).
- Words:
- 1,495
- Works:
- 1
- Bookmarks:
- 1
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Summary
This is the various conlang dialogue I translated for AMC's Into the Badlands. The language I created, Azrán, is an a posteriori artlang. The premise is that before the destruction of modern society that took place in the universe of Into the Badlands, the area now known as Azra used to be somewhere in Mexico. Consequently, the language spoken there is an evolution of modern Mexican Spanish. The Azrán language is quite different from Spanish, in that it now has more genders, and is fully tonal. If you know the sound changes and know Spanish, you should be able to figure out, more or less, how it moved from Spanish to Azrán.
As a note, Azrán was created specifically for characters that featured only in season 3 of the show. Before season 3, there was no conlang dialogue in the show. For those curious, I had nothing to do with the writing system seen in the various books of Azra shown throughout the series.
- Words:
- 350
- Works:
- 1
- Bookmarks:
- 2
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Summary
This is the various conlang dialogue I translated for HBO's House of the Dragon. The main language featured in the show is High Valyrian. The High Valyrian language is technically an a posteriori artlang based on words and ideas that come from George R. R. Martin's A Song of Ice and Fire series, but the language is probably better understood as a priori with some input from a second author.
- Words:
- 2,828
- Works:
- 2
- Bookmarks:
- 92
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Summary
This is the various conlang dialogue I translated for HBO's Game of Thrones. The languages I created that are featured in the show Dothraki, High Valyrian, Astapori Valyrian, Meereense Valyrian, and Mag Nuk. All languages are technically a posteriori artlangs based on either words or ideas that come from George R. R. Martin's A Song of Ice and Fire series, but the languages are probably better understood as a priori with some input from a second author.
The season is now complete, but as a note, there's a lot of material that I need to sift through for accuracy. My methodologies have improved as I've worked in Hollywood, and much of what I did in seasons 1 and 2 was unused. I'm fairly certain what's here is mostly accurate, but I need to go through and curate it a bit to be sure.
- Words:
- 16,367
- Works:
- 8
- Bookmarks:
- 42
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Summary
This is the various conlang dialogue I translated for Netflix's The Witcher. The language featured in the show, Hen Linge (also referred to as the Elder Speech), is based on words and phrases that can be found in Andrzej Sapkowski's Witcher book series. Almost all of his material was incorporated, though there were a few inconsistencies that needed to be ironed out. And, of course, where new material was needed, I created it. Sapkowski's original conception for the language featured many words from existing natlangs, albeit altered. Where I created new words, they were a priori.
This now also includes the Roozh Linge dialogue from The Witcher: Sirens of the Deep. Roozh Linge is an aposteriori language Jessie Peterson and I created together.
- Words:
- 4,330
- Works:
- 6
- Bookmarks:
- 119