#rants about language

[languagestudymaterials]

Japanese writing style

and how it differs from English.

Have you ever wondered why reading Japanese texts is… difficult? And I’m not talking about kanji. I'm talking about...

Paragraph organization/structuring

Different cultures equal different ways of expressing thoughts, and the Japanese way of expressing thoughts is different from my native culture and English culture.

It's also worth noting that some cultures are reader-oriented and some are writer-oriented.

Read-oriented means that the author focuses on the reader and tries to compose a piece of text that is easy to consume, and easy to understand for the reader. This could refer to:

lack of sophisticated vocabulary

short sentences

short paragraphs

lots of examples

straightforward examples and lots of contexts

Writer-oriented means that the writer, it might sound harsh, is more focused on themselves. The writer through their composition tries to, in simple words, show off. Yes, the author tries to prove to the reader that they are a competent person and that they know what they are talking about, but they don't necessarily care if the reader will understand their text. They shift the responsibility of understanding the text to the reader. You can expect:

difficult vocabulary

wordy sentences

poor explanations

the author sort of assumes that the reader knows or has a similar knowledge level as the author

Of course, it also depends on the target audience, the field, and the purpose of the composition. Some texts are written by professionals for professionals, so the author can safely assume that their target audience will comprehend their work.

To learn more about this, get acquainted with high- and low-context cultures, a concept coined by Edward T. Hall.

High and low context refers to how a message is communicated. In high-context cultures, such as those found in Latin America, Asia, and Africa, the physical context of the message carries a great deal of importance. People tend to be more indirect and expect the person they are communicating with to decode the implicit part of their message. While the person sending the message takes painstaking care in crafting the message, the person receiving the message is expected to read it within context. The message may lack the verbal directness you would expect in a low-context culture. In high-context cultures, body language is as important and sometimes more important than the actual words spoken. In contrast, in low-context cultures such as the United States and most Northern European countries, people tend to be explicit and direct in their communications. Satisfying individual needs is important. You’re probably familiar with some well-known low-context mottos: “Say what you mean” and “Don’t beat around the bush.” The guiding principle is to minimize the margins of misunderstanding or doubt. Low-context communication aspires to get straight to the point. (Source)

Now we know what may cause problems with understanding Japanese texts.

Let’s move to some basics: definitions and rules governing English paragraphs and Japanese paragraphs.

What is a paragraph?

Merriam-Webster defines a paragraph as

“a subdivision of a written composition that consists of one or more sentences, deals with one point or gives the words of one speaker, and begins on a new, usually indented line.”

Pretty straightforward, right? The most important part of this definition is that a paragraph in an English text contains ONE POINT/IDEA.

Japanese danraku

On the other hand, the definition of a Japanese paragraph (danraku) is not so clear. Kazumi Kimura and Masako Kondo of Tokyo University of Foreign Studies did research on that topic and what they managed to establish is that:

“The definition and functions of danraku are vague, and the requirements for danraku are not clearly stated in most composition textbooks.”

“According to Shinmura (2001), danraku is defined, as “a major division in a long passage”

”Matsumura (1999) also defines danraku as “a part of a long passage and a division group of the same content.”

”In other dictionaries, no clearer definitions for danraku are found, either. Moreover, no book suggests the rules or requirements for danraku.”

So, what’s the conclusion?

There are some rules and commonly accepted conventions governing English paragraphing, while the Japanese treat the idea of paragraphing in a more relaxed way. They don’t see it as a standard unit of text organization.

Japanese Ki-Sho-Ten-Ketsu Format

An interesting article.

Kishōtenketsu (起承転結) is how (most commonly) the Japanese structure their narratives. Why should you care? Because this pattern affects other types of narratives too!

Robyn Paterson explains what each syllable in the name stands for. Let’s take a look.

Ki – In this stage, we get a character and situation, and that character demonstrates a need, usually one based on a derivative of basic human needs.

Sho – The character makes a plan, and tries to follow a path they think will fill that need.

Ten – The character faces an obstacle to their plan, and must figure out how to overcome it.

Ketsu – The character is done facing the current obstacle(s) and now has either fulfilled their need or moved closer towards fulfilling it.

How is it different from the Western narratives, then?

Western narratives tend to write about conflicts. It is always about people struggling to win something, to become someone, to fight against someone. Stories usually start off with a problem, then the problem is followed by all the events and actions that should help solve the problem, and at the end, there’s “and they lived happily ever after.” Sounds familiar, right? Such an approach is reflected in more scientific writings too. Introduction, body, and conclusion. Rigid and organized pattern.

The Japanese way of writing stories is more about the interactions between living organisms. They don’t see the world as a constant battlefield. They see it as a cooperative system. Sure, there are conflicts, but the approach toward solving conflicts is also different.

That’s why the Japanese writing style may seem chaotic and random to us, Western people. In Japanese stories, there is no “thesis” or “problem statement” at the beginning. Japanese narratives and other writing styles are more relaxed and not problem-oriented.

I sometimes think that Japanese people just write whatever comes to their minds, but that’s just my conclusion.

Robyn Peterson summarized the differences in two short statements, and they are great!

American story – Man conquers outer space. Japanese story – Man finds his place in outer space.

Japanese paragraphs

Kazumi Kimura and Masako Kondo carried out research in which they analyzed English essays written by Japanese students. While the research focuses on English essays and the goal here is to help English teachers teach better writing to Japanese students, the two authors pinpointed some features of Japanese paragraph structure.

A Japanese writer’s interest is in decorating with an emphasis on surface effects to move readers rather than that in presenting a message or information clearly.

The purpose of writing is often different between the two languages (English and Japanese).

Japanese essay writers generally aim to move their readers, and they are not concerned about how to clearly convey information as English writers are.

Kinoshita’s (1981) observes that ‘most Japanese writers may end a paragraph because they think they have written a lot in a paragraph’ (p. 61).

A writer can put more than two main ideas in one danraku because the strict organization of a topic sentence and a supporting sentence is not required.

They [the Japanese] organize paragraphs as they would for danraku, without any logical combination of a topic sentence and supporting sentences. They also often place more than two main ideas in one paragraph because in danraku that is possible.

Japanese writers tend not to pay attention to stating a clear topic sentence which is followed by appropriate supporting sentences. Therefore, Japanese students should realize that danraku and paragraphs are not identical, and they should not write English in a danraku style.

During the research, one of the common problems was that more than a few students wrote their English essays only in one paragraph, and such paragraphs contained many different ideas.

The second problem was that two topic sentences sometimes appeared in one paragraph and different ideas were discussed.

The third problem was that a topic sentence was often absent from many paragraphs.

Japanese writing style lacks conjunctions and connectives. They separate thoughts with commas, and that feature bleeds into English texts as well.

(I haven’t changed the wording. The original is the same)

These are just basic differences! However, I feel like reading Japanese articles will be much easier from now on: I know the features and I know what to expect.

An interesting article on the topic here. It also tackles the conventions of spoken Japanese and argument organization.

References

“Ki-Sho-Ten-Ketsu- a Japanese way to structure your stories. | RobynPaterson.com.” Site. August 06, 2020. Publisher, Web. August 06, 2020. (website no longer exists)

“Effective writing instruction: From Japanese danraku to English paragraphs.” Site. August 06, 2020. Publisher, Web. August 06, 2020. 

“Publications - Do Asian authors have a different style of academic writing from European authors? - Academia Stack Exchange.” $site. August 06, 2020. Publisher, Web. August 06, 2020. 

[andsewingishalfthebattle]

Novice sewing pattern: Cut out shapes. Line up the little triangles on the edges. Stitch edges together. We've also included step-by-step assembly instructions with illustrations.

Novice knitting pattern: yOU MUSt uNDerstANd thE SECret cOdE CO67 (73, 87, 93) BO44 (63, 76, 90) 28 (32, 34) slip first pw repeat 7x K to end *kl (pl) 42 * until 13" (13, 13, 15) join new at 30 pl for 17 rows ssk 27 k2tog mattress lengthwise BO and sacrifice a goat to the knitting gods. WHAT DO YOU MEAN YOU WANT "INSTRUCTIONS," I JUST GAVE THEM TO YOU

[siryyeet]

In light of my ß appreciation post making its round again, can we also talk about how much the cursive ß fucks

Like look at that. This is the gay sex of writing.

[mssoapart]

Day 7

Free-day (Out of order and late) Alenoah as Sherlock/Moriarty.

I like it when two characters play mind games and scheming against or with each other.

I didn`t plan to create an AU, but – my rant and bits of literature/character analysis (The Vision). Also, draw concept sketch.

Noah (Detective Sherlock Holmes). I mean, they're both geniuses, introverts who don't care about social opinion and some versions depicted him as being good with dogs. In Victorian England, I totally see Noah opening a detective agency, because you either go working on a plant or you might use your geniuses’ intelligence to solve crimes, like game puzzles, and make monies to pay bills and buy new books because in 1800 many books were expensive and produced in small quantities.

Plus! I might look at this too far, but I think the Sherlock and Watson analogy was implemented in London episode when they strip team Chris just to Noah and Owen for investigation.

Owen (Dr. Watson). Basically in the original books, Watson plays the role of the guy, your typical visual novel MC, well narrator, who has character, but his whole purpose is just to be a witness to detectives doing, asking questions for the audience. This leads to usually representing Watson as either annoyed with Sherlock's antics or (usually in kids' media) naïve but with good intentions because of this simplification, to show his kindhearted nature in cartoons and caricatures he is portrayed as chubby, which is what we need! But all of them did service in the Anglo-Afghan War, even Disney version mentioned it. (Also if you want to do Nowen version of Jhonlock I don`t mind, sure go for it)

Alejandro (professor Moriarty). Do I really need to explain? Both archvillains in their stories. Professor, respected in society for his talent and achievements, wealthy, but behind all of that façade he`s "Napoleon of crime". He doesn’t usually do crimes himself but rather, schemes, orchestrates the events, or provides the plans that will lead to a successful crime, like paying money to a court so that someone can be released from prison.

Heather (Irene Adler). OK, in the original books (all books written not by Arthur Conan Doyle are basically fanfics) her character and Sherlock don`t date (But if you like, it`s fine). She was more like “I know what you are” towards him.  I want to base it more on Warner Bros Sherlock where Irene works with Moriarty, but they also try to get rid of each other. She is also famous for blackmailing royals, If it isn`t most Heather thing I don`t know what is.

Eva (Mrs. Hudson). The landlady. I think it would be funny, she yelling at them to pay their bills in time.

See you next week

[omrarchive]

i was looking at episode 2 for my simon gif series and i came across this small moment:

and i just had to make a separate post to talk about it because simon is so painfully endearing here. he just told his friends that he has bigger dreams than staying in his bjärstad forever, and you can tell he feels out of place when the awkward silence follows and his friends react in a way he wasn't really expecting. simon has a very selfless, kind and pure heart, and it's clear that he really values the opinion of the people he loves - seeing him feel down or inadequate when he believes he's "disappointing" them is just like a kick in the guts because my son my baby you're perfect and good and good enough. and it's okay to have your own dreams and be your own person, you don't have to explain yourself to anyone. it's such a small moment but i think it really shows a lot of who simon is

[touchyluffy]

part one

In the days it takes you to heal from your injuries, Luffy comes to your bedroom to sleep next to you every night. He does try, the night after the first, to sleep in his own bedroom but he can't. Usually sleep comes easy to him, especially after a long day of adventure but not now. He closes his eyes, trying to think of your wounds healing, your soft breathing, your warm hand holding his, but he can't fall asleep. He huffs in irritation and rises from his bed, sulking across the ship to knock on your bedroom door and opening it slowly. You put down your book, you were also struggling to sleep, and open the covers for him. You smile at each other as he excitedly hops into your bed.

And so it becomes routine for you two. Even as your injuries heal completely, as the sunsets and the crew walks off to their separate bedrooms, Luffy follows you into yours and you let him. It becomes normal to roll over in the middle of the night and snuggle into his warm body, to wake up in the morning with his arm wrapped around you, to feel him pull you closer in his sleep, to giggle at his sleep-talking, to hear your name in his mumblings. You offer to let him keep his toothbrush and some clothes in your room, he accepts.

Sleeping together becomes so routine that you have trouble sleeping without him. There were times when you two would be separated by a foe that Luffy challenged and each night you would stay awake staring at his side of the bed, worry clouding your mind and making it impossible to sleep and eventually when Luffy defeated the foe, he would be covered in bandages and it was your turn to listen to his soft, even breathing as he slept. There were times when you be working late into the night and he would come find you, curling up on the floor next to you to sleep in your presence until you eventually finish and drag him back to your bed so you can both sleep comfortably. There were times when you would get angry at him for putting the crew in danger with his recklessness and you'd slammed your bedroom door in his face and toss and turn, your anger at him turning into desperation for him to just come to bed already, eventually you get up to find him and as you open your bedroom door, Luffy's sleeping frame falls on your legs. He'd been sleeping against your door. Smiling you pull his rubbery body into bed and cuddle up next to him, his heartbeat your lullaby. He smiles in his sleep and his arms come up around you. Whenever he's missing his hat or sandals, you find them by your bed.

This new routine of you and your captain sleeping together left your other crewmates with their mouths on the floor several times. They still hadn't gotten used to you two waving goodnight and walking into the same bedroom. When they would ask, you tried to explain but there really wasn't anything to explain. You and their captain couldn't sleep unless you slept together. That's all, why do they always stare at you in such surprise when you say that? Their shocked faces didn't discourage you both into cuddling up to each other at night, finding relaxation, warmth, safety, and comfort in each others arms. What was once your space becomes "our bedroom", "our closet", "our bathroom".

[hijinxinprogress]

The JL keeps trying to stop Captain Marvel from talking to the media (and it’s not working)

The jl held a meeting about marvel’s conduct with cops bc he got a little too excited and suplexed a cop completely fucking forgetting he’s a 7ft buff ass man (the video goes viral for months) and the press is having a fucking field day with this bc ‘Captain Marvel Hates The Government!’ ‘Justice League Member, Captain Marvel, Shows His True Colors…?’ ‘Fawcett Superhero Attacks Civilian!’ ‘Captain Marvel Sends Police Officer to ICU!’ ‘Philadelphia Hero Puts Public Servant In Coma’ and shit like that is on the front page of every newspaper, magazine, and tabloid for the next eight months at least

so they’re like ‘hey you gotta say something! The people think you hate the us government esp the police!’ and he’s just sitting there confused before he says very slowly and clearly ‘But I do…I fucking despise them’

Barry and Hal are fucking losing it bc this is the guy that says ‘darn!’ in the heat of battle and has said on multiple occasions ‘Well, that’s not very nice, now is it?’ to opponents that destroy worlds for fun

like this guy still tries very hard not to make faces at the broccoli on his plate in front of the jl (and fails)

this guy hears a yj member or even the very adult titans cussing and going on the longest rant bc ‘I’ve not heard such foul language in all my years-!’ and what’s this ‘‘I’m an adult’ nonsense?? I’m older than Ravens grandfather 🤨 When you get to be my age-’

they’re all so pissed when they hear him cussing like a sailor playing video games on cyborgs phone the next day and he’s playing fucking temple run at that

[90stvqueen]

when i was 11 and first got obsessed with wicked, i had no idea i was shipping these two women. which is insane because i'd already been reading fanfiction for years at that point. but with elphaba and galinda it was "their friendship is so beautiful and meaningful..." and it honestly wasn't until adulthood that i was like "...and also they lez out like crazy"

[marzipanandminutiae]

I miss people using non-medicalized terms for other people's passions

like. well and good to talk about "hyperfixations," "special interests [in the context of an autistic person's favorite subject]," or "infodumping" if you have ADD/ADHD or autism, or are talking about someone who is, but...that's not everyone who feels strongly about something, obsesses, or loves talking about their interests. those words mean specific things, associated with specific forms of neurodivergence

don't assume everyone is comfortable with that language

"rambling" is a word; so is "ranting." "obsession" is a word. "passion" is a word. learn them and use them

[royalarchivist]

[A sad violin song plays over an image of a sad hamster]

Pac: This doesn't have anything to do with me – I wear a blue sweatshirt, you're crazy, this mouse doesn't even have a sweatshirt, this hamster! [Reading chat] Am I a depressed hamster?

[ Transcript continued ↓ ]*

–

Pac: Actually– that's fine! I embrace that idea – of course I'm going to be depressed, are you crazy? [He hits his desk, then starts counting off people on his fingers] Fit is gone, Richarlyson is gone, Ramon is gone, Bagi and Empanada who were always there when we were there are also gone, I haven't seen them! It's just me and Tubbo, and sometimes Philza shows up.

Pac: I lost Chume Labs, I lost the Favela, I lost Murder Mystery, I lost Ilha Chume Labs, it's crazy! Look at how much I've lost, and I've gained nothing! Of course I'm going to be depressed, are you crazy?! How am I supposed to be happy?!

Pac: [Reading chat] "You have us Pac," that's true, thank you. No, that's true, sorry.

* NOTE: Please note that this is an incomplete transcript, as I was primarily relying on Aypierre's translation mod at the time and if I am not confident of the translation, I do not include it. As always, please feel free to add on translations or message me corrections.

[verdemint]

People complaining on twitter about enea and most of the riders not being able to speak english, i dont care you know what? I hope they all decide to never use that language ever again :)

[languagestudymaterials]

How to learn new words in your target language

Read about my personal experience here

Vocabulary, or linguistically speaking: lexis, is relatively easy to learn. You get a list, you memorize it, and you feel like you’re good to go.

But after a while, you realize that you can’t communicate. You blame your poor vocabulary for it, so you study more, and then again, you can’t communicate… and that’s how you start vicious circles. How come tho? You memorized so many words, so many swipes on Memirse, Quizlet, and Anki and you still can’t handle a conversation.

Let me show you where the problem is.

What does it mean to be conversational?

Well, it’s easy; you want to be able to strike up a conversation with a native or a non-native speaker and carry it for a longer period, utter meaningful sentences, and survive, right?

The first thing that comes to your mind is “To do that, I need to know more words” (that’s where our vicious circle starts). You go to Memirse, Quizlet, or Anki and you start memorizing your super long word lists.

Tip#1 To be conversational, decide what topic you want to talk about in the first place. About games? Fashion? Daily activities? Search useful language related to the topics you want to learn to talk about.

Tip#2 Set mini goals, for example, “By the end of this week I want to be able to talk about my favorite game!” and focus solely on that.  

Pockets of fluency

Have you heard of that? An extremely useful term. When you study a language, at some point you’re becoming well-versed in certain topics. You know lots of words related to those topics, and they create your pockets of fluency. I’m well-versed in teaching methodologies and anime because I studied the first one (I’m a language learner myself too) and I’m obsessed with the other one (my master’s thesis is on anime). In this case, my pockets of fluency are extremely full.

Pockets of fluency = topics you want to be able to talk about → becoming conversational.

English for work or other professional purposes

Sit down, then, and think about your duties at work. What phrases, words, and sentences do you use daily? Make a list of them and start searching for translations. Don’t limit yourself to words only; look for whole sentences too. Are you a sewer? Then look for articles related to sewing, extract useful language, and adapt it to your needs.

Tip #3 Useful language in teaching means words, phrases, clauses, and sentences. Not just words! To become conversational, you need to learn as much useful language as possible.

Tip #4 Don’t look for lists of words only. They are a good jumping-off point, but you need more. Articles, people’s comments, videos will help you sound more natural.

Avoid these!

Learning words that you don’t really need. Let me tell you, during my college years, I learned a shit ton of words that I haven’t even used since then (not even once). I’ve seen, maybe, 10 in novels and NY Times articles. But hey, that’s what you get when you major in languages.

Off-topic!

Whenever your brain sees new words, it immediately starts making connections with the words it already knows. That’s why you remember some words faster and some not. When you learn a completely new word, your brain is kind of lost, it sort of asks:

What am I supposed to do with that word?

So, your brain puts it in a random place and just waits… for you to use it again in a context. When you use words in context, your brain easily associates the new words with the old words, it says:

Hey! I remember that! We spoke about it last time, and we used these words… ok I’m going to put it here, in this pocket of fluency, seems useful!

Conclusion? If you don’t use words, your brain forgets them.

Passive learning is another thing to avoid

Study actively. Anki, Memrise, and Quizlet are good for revisions, but real learning starts when you use the words you’ve learned in real-life situations. If you can’t put yourself in such situations then create them yourself, in your head, on paper, with other language learners.

An example from my classroom

The instruction says: What words do you already know? Check your knowledge first. Don't look for words without verifying what you already know. The blue box is for words you know. The pink one is for words you don't know. To expand your vocabulary, you can create a mind map, like the one below the boxes. You can start with vague words, for example: activities you associate with housework, and then look for more detailed vocabulary related to each specific word.

[meichenxi]

UK accent bias, discrimination, minority languages and the question of the 'default, normal' english speaker

today I came across something overtly that is usually a covert problem, and I wanted to take a chance to talk about the questions it raises about what it means to be 'normal' and speak 'normal english' in an anglocentric, global world.

let's start at the beginning. I was aimlessly googling around and came across this article, discussing ergodic literature:

I hope that you will see what angered me right away, but if not:

brogue? inaccessible, insufferable brogue? that is so difficult to read you might want to relieve your frustrations by harming a housepet, or striking a loved one?

what????? the fuck??????

my dearly beloathed. this is not a made up sci-fi language. this was not written for your convenience.

this is the glaswegian dialect.

this is how it is written. scots, which is very similar to this, is a language whose speakers have been systematically taught to change and hide and modify their speech, to not speak it in the classroom, to conform. this is NOT comparable to any of the made-up dialects or ways of writing in cloud atlas or any other specularative fiction. the suggestion of ir is deeply insulting.

(the line between various 'dialects' and 'languages' I speak about here is by definition sometimes political, sometimes arbitrary, and often very thin. what goes for the glaswegian dialect here in terms of discrimination goes for scots in general - which is, in fact, even more 'inaccessible' than glaswegian because it has a greater quantity of non-english and therefore non-'familiar' words. speakers of different englishes will face more or less discrimination in different circumstances. caveat over.)

you can find it on twitter, in books, in poetry; and more than that, on the streets and in living rooms, in places that this kind of england-first discrimination hasn't totally eradicated.

an imporant note - this book in question is called Naw Much of a Talker, and it was written originally in Swiss-German and then translated into Glaswegian to preserve similar themes and questions of language and identity. rather than detracting from anything I'm saying, I think the fact this is a translated piece of fiction adds to it - it has literally been translated so it is more accessible, and the article writer did not even realise. it also highlights the fact as well that these are questions which exist across the globe, across multiple languages, of the constant tension everywhere between the 'correct' high language and the 'incorrect, backward' 'low' language or dialect. these are all interesting questions, and someone else can tackle them about german and swiss german -

but I am going to talk today about scots and english, because that is how the writer of this article engaged with this piece and that is the basis upon which they called it 'insufferable brogue', the prejudice they have revealed about scots is what I want to address.

so here, today, in this post: let's talk about it. what is 'normal' english, why is that a political question, and why should we care?

as we begin, so we're all on the same page, I would like to remind everyone that england is not the only country in the united kingdom, and that the native languages of the united kingdom do not only include english, but also:

scots

ulster scots (thank you @la-galaxie-langblr for the correction here!!)

scottish gaelic

welsh

british sign language

irish

anglo-romani

cornish

shelta

irish sign language

manx

northern ireland sign language

and others I have likely forgotten

there are also countless rich, beautiful dialects (the distinction between dialect and language is entirely political, so take this description with a pinch of salt if you're outside of these speaker communities), all with their own words and histories and all of them, yes all of them, are deserving of respect.

and there are hundreds and thousands of common immigrant languages, of languages from the empire, and of englishes across the globe that might sound 'funny' to you, but I want you to fucking think before you mock the man from the call centre: why does india speak english in the first place? before mocking him, think about that.

because it's political. it's ALL political. it's historical, and it's rooted in empire and colonialism and all you need to do is take one look at how we talk about Black language or languages of a colonised country to see that, AAVE or in the UK, multi-cultural london english, or further afield - the englishes of jamaica, kenya, india. all vestiges of empire, and all marked and prejudiced against as 'unintelligent' or lesser in some way.

and closer to home - the systematic eradication and 'englishification' of the celtic languages. how many people scottish gaelic now? cornish? manx? how many people speak welsh? and even within 'english' itself - how many people from a country or rural or very urban or immigrant or working class or queer background are discriminated against, because of their english? why do you think that is?

if you think that language isn't political, then you have likely never encountered discrimination based on how you, your friends, or your family speak.

you are speaking from a position of privilege.

'but it's not formal' 'but it's not fit for the classroom' 'but it sounds silly'. you sound silly, amy. I have a stereotypically 'posh' english accent, and I can tell you for a fact: when I go to scotland to visit my family, they think I sound silly too. but in the same way as 'reverse racism' isn't a fucking thing - the difference is that it's not systemic. when I wanted to learn gaelic, my grandmother - who speaks gaelic as her own native language - told me, no, you shouldn't do that. you're an english girl. why would you want to learn a backward language like gaelic?

discrimination against non-'english' englishes is pervasive, systematic and insidious.

it is not the same as being laughed at for being 'posh'. (there's more about class and in-group sociolinguistics here, but that's for another post)

and who told you this? where is this information from? why do you think an 'essex girl' accent sounds uneducated? why do you think a northern accent sound 'honest' and 'salt of the earth'? what relationship does that have with class? why does a standard southern british english sound educated and 'intelligent'? who is in charge? who speaks on your television? whose words and accents do you hear again and again, making your policies, shaping your future? who speaks over you?

think about that, please.

and before anyone says: this is so true except for X lol - I am talking about exactly that dialect. I am talking about that accent you are mocking. I am talking about brummie english, which you think sounds funny. I'm talking about old men in the west country who you think sound like pirates, arrrrr.

(actually, pirates sound like the west country. where do you the 'pirate accent' came from? devon was the heart of smuggling country in the uk.)

so. to this person who equated a book written in scots, a minority and marginalised language, to being 'insufferable, inaccessible brogue':

and also to anyone who is from the UK, anyone who is a native english speaker, and anyone abroad, but especially those of you who think your english is 'natural', who have never had to think about it, who have never had to code-switch, who have never had to change how they sound to fit in:

it might be difficult to read - for you. it might be strange and othering - to you.

but what is 'inaccessible' to you is the way that my family speaks - your english might be 'inaccessible' to them. so why does your 'inaccessible' seem to weigh more than theirs?

and why does it bother you, that you can't understand it easily in the first go? because you have to try? or because perhaps, just perhaps, dearly beloathed author of this article, after being catered to your entire life and shown your language on screen, constantly - you are finally confronted by something that isn't written for you.

and for the non-uk people reading this. I would like you to think very carefully about what a 'british accent' means to you.

there is no such thing. let me say it louder:

THERE IS NO SUCH THING AS A BRITISH ACCENT

there are a collection of accents and languages and dialects, each with different associations and stereotypes. the clever aristocrat, the honest farmer, the deceitful *racial slur*. there are accents, languages and dialects that you hear more than others because of political reasons, and there are accents, languages and dialects which are more common than others because of discrimination, violence and the path of history.

if you say 'british accent', we - in the UK - don't know exactly what you mean. much more than the US, because the english-speaking people have been here longer, we have incredibly different accents just fifty miles away from one another.

but we can guess. you probably don't mean my grandmother's second-language english - even though, by american conversations about race, she is the whitest person you could possibly find. you don't mean my brother, who sounds like a farmer.

you mean my accent. tom hiddleston's accent. benedict cumberbatch. dame judy dench. sir ian mckellen. and they are all wonderful people - but what sort of people are they, exactly? what sort of things do they have in common? why is it that you associate their way of speaking with all of the charming eloquence of 'dark academia' or high levels of education, and my family's english with being 'backward' or 'country bumpkins' or 'uneducated' or, more insidiously, 'salt-of-the-earth good honest folk'?

we are an old country with old prejudices and old classes and old oppression and old discrimination and old hate. my brother speaks with a 'farmer' west country accent; my aunt with a strong doric accent that most english people cannot understand; my father with a mockable birmingham accent; my grandmother with a gaelic accent, because despite the fact that she is from the UK, as scottish as you can get, english is not her first language.

these people exist. my grandmother is a real person, and she is not a dying relic of a forgotten time. her gaelic is not something to drool over in your outlander or braveheart or brave-fuelled scottish romanticism, the purity and goodness of the 'celt' - but there are fewer people like her now. and I would like to invite everyone to think about why that is the case.

if you don't know, you can educate yourself - look up the highland clearances, for a start, or look at the lives of anglo-romani speakers in the UK and the discrimination they face, or irish speakers in northern ireland. like many places, we are a country that has turned inward upon itself. there will always be an 'other'.

and then there's me. raised in southern england and well-educated and, however you want to call it, 'posh'. so why is it that it is my voice, and not theirs, which is considered typically british all over the world?

I think you can probably figure out that one by yourself.

when you talk about the 'british accent', this is doing one of two things. it's serving to perpetuate the myth that the only part of the UK is england, rather than four countries, and the harmful idea that it is only england in the UK that matters. (and only a certain type of people in england, at that.)

secondly, it serves to amalgamate all of the languages and accents and dialects - native or poor or immigrant or colonial - into one, erasing not only their history and importance, but even their very existence.

dearly beloathed person on the internet. I have no idea who you are. but the language scots exists. I'm sorry it's not convenient for you.

but before I go, I would like to take a moment to marvel. 'insufferable, inaccessible brogue'? what assumptions there are, behind your words!

is it 'insufferable' to want to write a story in the language you were raised in? is it 'inaccessible' to want to write a story in the shared language of your own community?

I don't think it is.

I think it takes a special sort of privilege and entitlement to assume that - the same one that assumes whiteness and Americanness and Englishness and able-bodiedness and cisness and maleness and straightness as being the 'standard' human experience, and every single other trait as being a deviance from that, an othering. that's the same entitlement that will describe Turning Red as a story about the chinese experience - but not talk about how Toy Story is a story about the white american middle class experience.

people do not exist for your ease of reading. they do not exist to be 'accessible'. and - what a strange thing, english reader, to assume all books are written for you, at all.

and despite the fact that the text that prompted this was written by one group of white people, translated into the language of another group, and critiqued by a third - this is a conversation about racism too, because it is the same sort of thinking and pervasive stereotyping which goes into how white people and spaces view Black language and language of people of colour around the world. it's about colonialism and it's about slavery and it's aboutsegregation and othering and the immigrant experience and it's about the history of britain - and my god, isn't that a violent one. it's inseparable from it. language is a tool to signify belonging, to shut people out and lock people in. it's a tool used to enforce that othering and discrimination and hate on a systemic level, because it says - I'm different from you. you're different from me. this post is focusing more on the native languages of the UK, but any question of 'correct language' must inevitably talk about racism too, because language is and has always been a signifier of group belonging, and a way to enforce power.

it is used to gatekeep, to enforce conformity, to control, to signify belonging to a particular group, to other. talking about language 'correctness' is NOT and never CAN be a neutral thing.

it reminds me of a quote, and I heard this second hand on twitter and for the life of me cannot remember who said it or exactly how it goes, but the gist of it was a queer writer addressing comments saying how 'universal' their book was, and saying - no, this is a queer book. if you want to find themes and moments in it that are applicable to your 'default' life, 'universals' of emotion and experience, go ahead. but I have had to translate things from the norm my entire life, to make them relatable for me. this time, you do the translation.

I do not speak or write scots or glaswegian, but I grew up reading it and listening to it (as well as doric and gaelic in smaller measures, which are still familiar to me but which I can understand less). for me, that passage is almost as easy to read as english - and the only reason it is slightly more difficult is because, predictably, I don't have a chance to practice reading scots very often at all. it isn't inaccessible to me.

(I was about to write: can you imagine looking at a book written in french, and scowling, saying, 'this is so insufferably foreign!' and then point out how ridiculous that would be. but then I realise - foreign film, cinema, lyrics increasingly in english, reluctance to read the subtitles, the footnotes, to look things up, to engage in any active way in any piece of media. this is an attitude which even in its most mockable, most caricature-like form, is extremely prevalent online. *deep sigh*)

because. what is 'inaccessible'? it means it is difficult for people who are 'normal'. and what is 'normal', exactly? why is a certain class of people the 'default'? could that be, perhaps, a question with very loaded and very extensive political, social and historical answers? who is making the judgement about what language is 'normal'? who gets to decide?

I'd also like to note that this applies to everyone. it doesn't matter if you are a member of an oppressed group, or five, or none, you can still engage in this kind of discrimination and stereotyping. my scottish family, who have themselves had to change the way they speak and many of them lost their gaelic because of it, routinely mock anglo-romani speakers in their local area. I have an indian friend, herself speaking english because of a history of violence and colonialism, who laughed for five minutes at the beginning of derry girls because the girls sounded so 'funny', and asked me: why did they choose to speak like that? my brother, who sounds very stereotypically rural and 'uneducated', laughs at the essex accent and says that he would never date a girl from essex. I had a classmate from wales who was passionate about welsh language rights and indigenous and minority language education but also made fun of the accent of her native-english speaking classmate from singapore. it goes on and on and on.

take the dialect/language question out of the topic, and I think this reveals a much broader problem with a lot of conversations about media, and the implicit assumptions of what being 'normal' [read: white, anglo-centric, american, male, straight, young, able-bodied, cis, etc] actually means:

if something is written about an experience I do not share, is it inaccessible? or is it just written for someone else?

so, please. next time you want to write a review about a dialect or language you don't speak, think a little before you open your mouth.

the rest of the world has to, every time.

[parkakeet]

I grew up thinking that the way I spoke was normal. the 'correct way' and then I moved, and all the sudden people start correcting the way I talk. 'stop dropping words' 'stop talking lazy' 'I can't understand you when you do that'

except 'talking lazy' is wrong now. I have to say 'speaking lazily'

because apparently it matters, even if you understood me, that I speak the way you speak.

and suddenly I realize that when I talk with my dad and when I talk with the batista at the Cafe. I'm speaking differently.

cause dad says, 'oil needs changed on my car' and I say to my roommate, 'my car's oil needs to be changed'

and I try not to talk lazy cause, talking lazy gets you mocked.

cause apparently you can't understand me if my vowels get a little fuzzy and I say 'it's helling outside' instead of 'it's hailing outside'

I want you to listen to my grandpa speak. because already from him to my dad to me, we speak more like you. but my grandpa still says 'tuesdee' and 'kai-yote' and 'bachry', and I'll understand and understand and understand till he dies.

I'm not putting my damn voice up for debate. understand. or don't fucking talk to me.

[thepersonperson]

Sukuna Can't Tell the Time (The unique way Sukuna is damned to eternal miscommunication and existentialism in the modern era.)

Notes before we start.

1) I will be mainly using the TCB scans for the manga because of their accessibility. 

2) I need professional help.

(Click images for captions/citations.)

Preface

I want to get one thing out of the way. This is going to be a weird write-up because I'm hardly going to cite the manga.

I'm basically posting this as a reference for myself. All of this occurred so I could properly lean into the old man aspect of Sukuna for a fic I'm writing. (Aka I read too much on actual Heian Era history and now you all have to suffer.)

People often joke that Sukuna is an old man, but I'm here to tell you he is so out of touch and out of time that he might as well be existing in a never-ending Lovecraftian nightmare where time has stopped being real.

It's going to take a while to explain why this is the case so hear me out, maybe?

Fundamental Measurements

What is a unit of measurement? And where did these units come from? If you've taken an entry level physics class, you've already been through the existential crisis answering these questions caused.

But for the uninitiated, have you ever sat down and asked yourself why you know what a foot/meter is? Everyone has kind of agreed they represent a specific distance, and depending on where you were raised, you'll prefer one over the other.

I'm an American. I'm also an engineer. I have to use SI Units and Freedom Units all the time. Differing distance units are things I can easily conceptualize. I understand what a meter is. It's like 3.3 feet.

Every time I hear meter, my brain does the conversion to 3.3 feet because I was raised with feet as my base unit of measurement. But oddly enough, when I hear 100 meters, I instantly know how far that is. This is because I was a sprinter for all of Jr. High and High School. When someone says 100 meters, I picture the got danged torture stretch of the 300 meter hurdles.

The point of this is to establish that early life experiences become a reference point when thinking about things as an adult. If I didn't run track or do engineering, I would be a "What the fuck is a kilometer?" type American.

Measurements of Miscommunication

If you couldn't tell, I wrote the previous section with Non-Americans in mind. I specified the units of measurement I was using for distance because I understand people outside of the US could be reading my post.

But what happens if I don't do that? What happens when people assume everyone's units of measurement are the same as theirs? Allow me to recall a conversation I'm sure most of you Non-Americans have had with an American on the internet and vice versa.

Friend, Non-American: Ugh it's 40 degrees out today.

Me, American: Dang that sounds pretty cold, don't forget to wear a jacket.

Friend, Non-American: What the hell do you meant that's cold???

Me, American and remembering where they live: OH YOU MEAN CELSIUS. That's 104 in Freedom Units.

Friend, Non-American: 104 IS SUPER DEAD IN CELSIUS.

(40°F is 4.4°C btw.)

As you can see, these kind of assumptions relay drastically different information. 40 degrees without a unit is read as cold or hot depending on where a person is from. It also doesn't help that the conversion between these units is nonsense. The vast majority of people can't do °C = (°F − 32) × 5/9 off the top of their head.

I, for the life of me, cannot comprehend Celsius. Temperature is too abstract a concept for my brain to swap systems. I think there's a reason for this.

Unlike distance, you can't see the temperature with your body. You can feel it, sure, but sometimes you step into a walk-in freezer and come out feeling like everything is warmer than it is. Relativity like that won't affect how you see distance. A foot is a foot, a meter is a meter, and they will always look those distances. You can check them easily.

Temperature? You need a thermometer to check. Or you assume the generalized data on a weather app is accurate. And things like humidity can fudge with your perception it.

This is all to say that my brain assigned the number 40 as cold. It being a hot number is barely comprehensible because my foundation is it being cold.

(If you were wondering, yes this is why I write out dates like Month DD, YYYY. It's so no one has to look at 3/4/YYYY and guess if they're supposed to be reading it as March 4th or April 3rd because they can't tell what country I'm from.)

What does this have to do with Sukuna?

Well my dear reader, my question to you is: What units of measurement were used in the Heian Era?

Forget about distance and temperature. How was time measured in the Heian era?

Heian Era Timekeeping

Ancient Japan ran on something called a Lunisolar Calendar. This is a type of calendar based around moon phases and sun positioning hence, lunisolar.

Taken directly from Wikipedia:

"A lunisolar calendar is a calendar in many cultures, incorporating lunar calendars and solar calendars. The date of lunisolar calendars therefore indicates both the Moon phase and the time of the solar year, that is the position of the Sun in the Earth's sky. If the sidereal year (such as in a sidereal solar calendar) is used instead of the solar year, then the calendar will predict the constellation near which the full moon may occur. As with all calendars which divide the year into months there is an additional requirement that the year have a whole number of months. In some cases ordinary years consist of twelve months but every second or third year is an embolismic year, which adds a thirteenth intercalary, embolismic, or leap month.

Their months are based on the regular cycle of the Moon's phases. So lunisolar calendars are lunar calendars with – in contrast to them – additional intercalation rules being used to bring them into a rough agreement with the solar year and thus with the seasons."

Did you notice something funky? A leap month has to be accounted for with this calendar. And it gets worse. The duration between leap months vary because the earth's path around the sun varies.

Under this calendar system, instead of a fixed interval of time always passing for a year, everything is variable. This means conversion to a modern date, which uses fixed time intervals, is not a one to one thing. It's kind of like trying to convert February 29th to non-leap years. Some people born on this day celebrate on February 28th and others will use March 1st. Legally speaking in the US, March 1st is used for tallying. (And if you've seen the Pirates of Penzance, this is an actual plot point when trying to determine a character's contract clause.) So imagine that but for months, years, and hours all the time.

I exclude days from this issue because Heian Japan agreed that a day was as day. They don't shrink or grow. The 12 hours a day always pass! And yes I mean 12 hours a day.

Heian Hours

For the rest of this discussion I'm referencing this lovely source by Katherine M. Lawrence. Everything quoted is from here.

So... let's get into that 12 hour day thing.

"Days consisted of 12 hours based on the 12 zodiac animals, each Heian hour being equal to about two modern hours. In a moment I will get to why I deliberately used the word “about.”

Days were divided into six “hours” of daylight and six “hours” of darkness. Instead of midnight, the day started at daybreak. Only in the Meiji times, in 1867, did the day change at midnight.

What is fascinating is that there were always six “hours” of daylight and six “hours” of night irrespective of the time of year. In modern times, with mechanical and even atomic clocks, we accept that more daylight falls in summer than in winter. We might turn back or move our clocks forward twice a year. In Japan it was done 24 times a year—approximately every 14 to 16 days—so that the first light would always come during the first “hour” of the day, which was known as the Hour of the Rabbit, sometimes called the Hour of the Hare. Dusk would come at the Hour of the Bird, sometimes called the Hour of the Rooster.

If we were to measure the actual length of winter days using a modern timepiece, the Hour of the Rabbit would be shorter than two hours because the relatively shorter total daylight in winter would still be distributed into six parts.

The six nighttime hours in winter would absorb the extra darkness and be proportionately longer than the nominal two hours of our 24-hour clock.

All this kept the astrologers and priests busy, because every 14 to 16 days, the clocks had to be adjusted. “More on that in a minute,” which by the way, is an idiom the Japanese of the era would not have used, because our modern concept of sixty minutes to an hour and sixty seconds to a minute is highly tied to mechanical clocks."

In summary, Heian Hours quite literally grow and shorten depending on the season. That 1 Heian Hour=2 Modern Hours conversion only works when daylight hours are the exact same as nighttime hours.

But it gets even weirder than that. Rather than counting from 1 to 12 for daytime and nighttime like we might on our modern clocks, Heian Japan counted down from 9 to 4 twice. This results in a clock conversion that looks like this.

And remember, this is only accurate when daylight hours are equal to nighttime hours!

It should also be noted that these hours were announced by the ringing of temple bells throughout the day and the night. Everyone relied on these temples to keep the time at all times.

But wait, there's more! (Heian Months and Solar Stems)

This is where timekeeping really starts to fall apart in terms of my understanding of it so Ms. Katherine M. Lawrence is going to explain it.

"In the Heian period (and until 1867), each month began on the dark moon, also know as the new moon. The full moon would come on the 15th day and the month would end approximately on the 28th, sometimes the 29th, and even the 30th day of the month.

Japanese did not have the western concept of the seven-day week, though they certainly could count to seven. What they had instead was the concept of the solar stem, of which there were 24."

"The first solar stem of the Japanese year starts on the first day of the year: Start of Spring, which, unlike the Western calendar, is not  in March. The Last Solar Stem (the 24th) ends on the last day of Major Cold. The beginning of the year in Japan, as measured by the Western calendar, would start somewhere between mid-January and mid-February, the variation resulting from aligning the solar stems with the lunar months."

In summary, Heian Months may be about the same length as Modern Months, but they are strictly based on the moon phases and the 24 Solar Stems are anchored around them.

This leaves us with a conversion calendar that looks like this. (Edited to number the Solar Stems.)

And remember, this is approximate. The Solar Stems do not always align with these exact Georgian calendar dates.

The lunar months, of course, do not use our calendar date names. I present a summary table based on several people's documentation (Source 1, Source 2, Source 3) since sadly the other blogger didn't include them:

(Jan-Feb) Mutsuki (睦月) Month of Harmony/Affection 

(Feb-Mar) Kisaragi (如月) Month of Changing of Clothes

(Mar-Apr) Yayoi (弥生) Month of Plant Growth/New Life

(Apr-May) Uzuki (卯月) Month of Deutzia Flowers

(May-Jun) Satsuki (皐月) Month of Planting Rice

(Jun-Jul) Minazuki (水無月) Month of Water/No Gods 

(Jul-Aug) Fumizuki (文月) Month of Literature

(Aug-Sep) Hazuki (葉月) Month of Leaves  

(Sep-Oct) Nagatsuki (長月) The Long Month    

(Oct-Nov) Kannazuki (神無月) Month of Gods    

(Nov-Dec) Shimotsuki (霜月) Month of Frost     

(Dec-Jan) Shiwasu (師走) Month of Running Priests  

This table merges multiple sources because the translations of Kanji differ and it's good to see how/why these differences occur. There's also the issue of the bloggers presenting the months like 1-to-1 conversions.

I want to stress that these Lunar Months start and end anywhere from the middle to the late parts of Georgian Months. This is why Source 1 claims Mutsuki=Feb while Sources 2 & 3 claim Mutsuki=Jan. Source 1 chose Feb because the majority of Mutsuki occurs in Feb while Sources 2 & 3 chose Jan because Mutsuki technically starts in late Jan.

Now that I've laid all this out, I'm sure you have the following burning question:

How the hell do you convert modern time to Heian time???

I turn to Ms. Katherine M. Lawrence again for guidance.

"If this post gets some interest, I will continue and explain how the author calculates..."

There's no guidance.

However! There is an example of a conversion without the explanation.

"Thus, we know as Yamabuki and Tomoe ride up to the Shayō Tōge, the Sunset Pass, at Sunset on May 11, 1172, in the middle of a freak snowstorm, the author can say with some assurance that it happened at the Hour of the Bird on the 13th day of the 7th solar stem, two days past the full moon of the Flower Month."

So I'm going to try to figure out how this occurred using the information I've been given.

Hour of the Bird: This one is easy! The bird hour is the official sunset hour.

7th Solar Stem: According to the chart that's between late April and early May.

13th Day: Since Solar Stems are about 14-16 days this means it's almost the 8th Solar Stem which starts around May 21st.

2 days past the full moon of the Flower Month: "Flower Month" is not on my chart. From what I know about kanji, I think this is a simplification of Uzuki (卯月) or the the Month of Deutzia Flowers. This aligns with the month of May.

This is where I give up. I legitimately do not know where to go from here. ...And that's my point.

What does this have to do with Sukuna?

Before I completely lose you, my dearest most patient reader, please consider the following:

You wake up in a place where time is counted backwards and the hours pass faster than you've ever known them to. The things you use to tell the time don't exist or are in a form you no longer can recognize.

You see a clock face that counts in the wrong direction to numbers you've never seen used for time. The sounds it makes are familiar and foreign all at once. When you try to use the times and dates everyone you ever knew understood instantly, you're met with complete confusion. No one except a few dedicated scholars know how to convert your concept of time to theirs.

This is how Sukuna experiences time in the modern era.

Sukuna Can't Tell the Time (Sukuna almost fumbled his date with Gojo.)

Remember all my rambling about my own experiences with trying to understand SI Units as a Freedom Units user and my complete and utter failure to convert Heian Time to Modern Time? This is to establish that on a fundamental level, it does not matter that Sukuna has access to his vessel's memories. These foreign units mean nothing without a conversion reference.

Yuta in Gojo's body showed us how the memory recollection process works. You see them like movie and must draw your understandings from them.

We also learn from Sukuna that he tends to ignore memories that aren't relevant to his sorcery. So something mundane like telling the time isn't his priority. (I often think about how Sukuna has been watching Yuji and everyone around him use a cell phone but he still calls it a photography device.)

(He's lying about the flowers though.)

So this leads us to Sukuna and Gojo setting the date for their battle...

When Sukuna heard Kenjaku say November 19th and Gojo say December 24th his brain was the equivalent of TV static. It's very likely that Sukuna had to rely on Kenjaku to ensure he showed up at the right day. (Kenjaku, of course, is an exception here because instead of drawing from memories, Kenny got to live through the transitional period of the Lunisolar Calendar to the Georgian Calendar and had 100+ years to adjust to it. And now that I think about it, the Culling Game using days to count time is probably Kenjaku being considerate of this generational difference.)

It's a really good thing that Gojo didn't specify the time because that would've made things worse. See the following examples using the handy dandy conversion chart as a reference...

Gojo: Let's do this at 10.

Sukuna: ???

Gojo: Let's do this at 9.

Sukuna: *Shows up approximately 2 hours late at 11 am.*

Gojo: Let's do this at 8.

Sukuna: *Shows up approximately 5 hours late at 1 pm.*

Gojo: Let's do this at 7.

Sukuna: *Shows up approximately 8 hours late at 3 pm*

Gojo: Let's do this at 6.

Sukuna: *Shows up on time?* (It’s December in the northern hemisphere so the sun comes up after 6. Sukuna might still show up a bit late.)

These examples also assume that Sukuna can still gauge Heian Hours accurately. That too is up in the air because the hourly bells that sounded the Heian Hours no longer exist. The temples and bells may remain, but their use for timekeeping has changed entirely.

Since it's likely he spent a large portion of his early life in a temple, there's a chance Sukuna has a strong internalized sense of Heian Hours. But how many people do you know that can accurately feel an hour pass on vibes alone?

There isn't any point in the manga where Sukuna indicates he knows what Georgian Month is, let alone a Modern Hour. I think that's why he's just waiting on top of the building for Gojo to show up. The day starts for him when the sun comes up, not midnight. He probably figured that as long as he was out there by dawn, eventually his date would show up.

There's something strangely adorable about that. Sukuna didn't go out massacring others for funsies or wreak havoc after Gojo was unsealed. He just waited a whole month and gambled on their connection starting the death date on time.

How Sukuna Might Tell the Time

When Sukuna uses time units, he only uses minutes or seconds.

Well...the narrator implies he's able to use seconds.

This makes sense despite the Heian Era not having minutes or seconds. They're foundational units rather than a unit he needs to convert to something mentally. Because they are so drastically smaller than other Heian units of time, it's easier for the brain to calibrate itself to them.

This means that if one wanted to communicate a duration of time to Sukuna, it would be better to use minutes or seconds.

For example, rather than saying "see you in an hour", "see you in 60 minutes" would be better. Otherwise Sukuna is going to default to 1 Heian Hour and show up approximately 2 hours late.

Another example, telling Sukuna you'll "be gone for a few hours" means to him that you'll be gone for most of the day. At this point it would be better to reference a duration of an activity he's familiar with than use minutes. Sukuna watched some of those movies with Yuji. "I'll be gone for 1-2 movies" will make a little more sense to him.

Funnily enough though, telling Sukuna that you work a 9-5 wouldn't cause a miscommunication for duration. That's 4 Heian Hours or about 8 Modern Hours. He probably thinks it's weird you start working in the middle of the day and into the night though.

How Sukuna tells time for himself is likely similar to someone lost in the wilderness. He'll mostly be relying on environmental cues like moon phase, sun position, constellations, and flora growth. (Which ironically, climate change affecting flora growth patterns would throw him off even more. I can't even imagine how he'd feel about light pollution stealing away the stars on top of that. But at least the moon is still there!)

But as you can see, the normal methods of precise timekeeping are next to impossible for Sukuna to use and this discrepancy is ripe for miscommunication. This has a lot of comedy and horror potential in fanworks. (Hence me writing this as a resource.)

How Sukuna Used to Tell the Time

After doing all this research, I found myself viewing Sukuna's theme Malevolent Shrine a little differently. I always found it to be a quite sad sounding song for his character. Villains as violent and fierce as Sukuna tend to get battle themes that reflect that. In comparison to high energy bangers like One-Winged Angel (Sephiroth Final Fantasy), Avalon (Ultimate Lifeform Kars Jojo), or The Last Mission (Murem vs Netero Hunter x Hunter), Malevolent Shrine is rather somber and unfocused.

This theme opens and closes with bells. The opening in particular feels chaotic with how the different bells seem to overlap and overwhelm each other. But if you listen closely, you'll hear the gong of a temple bell that keeps rhythm by marking the start of a new measure. Using this bell, it becomes easier to count the beats, even when it eventually disappears in the middle section.

His theme to me now feels like an echo of what Sukuna used to know before he was thrust into a world that is no longer in sync with his very concept of time.

"Interestingly, the Japanese “witching hour” is not at midnight, but at nominally 2 AM (1 AM–3 AM) and is known as the Hour of the Ox."

I don't really know where else to put this. Sukuna on his throne of ox skulls, a representation of the witching hour where reality falls apart and spirits come out to play.

How all this might look in action. (Defending my questionable writing choices.)

Though everything I've given is plenty enough for people to run wild with in fanworks, I would like to give examples of it in my own. My type of autism is one where it's easier for me have something to use as a direct reference. (Clear and concise instructions please.) So I want to provide that for anyone else wired similarly.

Context: The fic I'm writing is from Sukuna's POV so I've taken great care to avoid him using modern timekeeping terms. I have a timeline for everything outlined, but I refuse to make that clear to the reader so they can get the Sukuna Experience™.

Other characters will reference the time and give the reader little windows into what date it possibly is, but otherwise they have to infer it themselves.

But because I myself use modern time, I caught mistakes I made in an early chapter... (Aka before I realized Heian Timekeeping is Extremely Different.)

Old Sentence: The year is 2019.

Revised Sentence: The year is 2019 for the Common Era.

(Heian Japan was mimicking China so I'm assuming that the numbered years restarted with each era since I couldn't find how years were kept.)

Old Sentence: It’s reminding him he has not eaten for the past 5 hours and 38 minutes.

Revised Sentence: It’s reminding him he has not eaten since the hour of the dragon—338 minutes and counting.

(This one is self evident I think.)

But even within this chapter, I obscured the date by having Sukuna observe his surroundings. I don't think it's a good example so I'll use a different one from an unpublished draft.

...it occurs under the same wisteria and same midday sun. The branches and buds have begun to green and swell before the Flowering Moon has reached its full, an indication that the bloom will come early.

Wisterias bloom in late April around the time of full moon. April aligns with Yayoi or the Month of Plant Growth/New Life. I worked under the assumption that the moons can be called by their month names kind of like Native American moon names. But Plant Growth/New Life Moon didn't sound good to me so I changed it to Flowering.

So I do have a very specific date for when this scene occurs, but Sukuna doesn't know so the reader doesn't know. The best you can guess is sometime in April but you have to know when Wisterias typically bloom and what a Flowering Moon might be. (I'm hoping this kind of vague timekeeping disorients the reader and causes frustration. I used sun, moon, and star positioning charts for this got dang it.)

Tools to Use for Weird Timekeeping

Chinese Calendar Conversions

Solar Stem Converter

(This one is annoying to use because they don't use the translated names but there is a definitions table.)

Lunar Calendar Converter

(Unfortunately it only allows for 1901-2100. You can probably infer the lunar month via the Solar Stem Converter for older dates.)

Celestial Bodies

For star/constellation positions in the night sky use this:

Sky & Telescope Interactive Sky Chart

(Yes you can even change the location and time to get the exact night sky the characters might be looking at.)

For sun positions and sunrise/sunset times use this:

SunCalc

For moon positions and moonrise/moonset times use this:

MoonCalc

(If you want to see a summary of moon phases by month this tool is helpful.)

Why have you done this?

I don't know. Please enjoy my perverse obsession with the little details.

[ganondoodle]

with every thing i learn about what the directors of totk said in interviews it all just gets worse huh?

the thing about the shiekah tech just vanishing and nobody caring enough to look into it was already rough and now i learn they said that -after botw zelda wondered if hyrule as a kingdom was still needed but then totk happens- just sounds like she wondered if hyrule as a kingdom still needed to exist in the way it had been (which would be an interesting change for once and also make sense for her character) and then they took her back into the distant past with the super good guy king of a godly race to teach her the lesson what her place is and that yes, their monarchy needed and good and really given to her by "gods" and what if big evil black man shows up again

i dont have the energy to get into it further but needed to say soemthing about it bc it keeps bothering me :(