How many languages y'all speak? From how many different language families? How many scripts can you read? Any special grammatical quirks that your languages have?

It doesn't matter if it's A2 level or C2 level, share it with us!

Heads up: the following is abnormally wordy even by my standards, and I'm the kind of person who regularly runs into the Discord character limit by accident despite the Nitro subscription increasing it. The underlying context is a set of two videos that by themselves reach almost 3 hours of runtime. I tried to sum up some of the main points enough that you don't strictly need to have watched the videos to follow while also not needing to slog through a play by play of the same video I recommended you to watch if you did. While I believe the subject is interesting, I fully understand if you don't have the time to dedicate to this. If you do and weren't scared away by the size of the scroll bar, feel free to read on.

Context

This all starts with the seemingly straightforward question in the title: How many Super Mario games are there? You would think it would be easy to answer given that this series is so massively impactful in video game history that to many it defines what a video game is. The truth, like most things, is a lot more complicated. jan Misali, who you might also know for their Conlang Critic series and various video essays on other deceptively complex subjects they find interesting, gathered data through a survey to collect people's answers to that question, and made a video on the subject. The video is about 45 minutes long, and that's only because they deliberately cut it short. The discussion that sparked from this video eventually led to them starting another survey at a larger scale with a revised methodology, culminating to a sequel to the previous video, this time with a two hours runtime, and it, too, was cut short. If you have the time to set aside for this, I would greatly recommend watching both videos as they're very insightful and most of what I have to say is commentary to these two videos (and doesn't even come close to covering as much as the videos themselves do).

What question are we even asking here?

Like all good debates on the internet, it starts with an ambiguity issue: What is a "Super Mario game"? In simpler cases, a video game series can be defined as the first game and its sequels and that's enough to establish an uncontroversial list. Things get more complicated when we look at an entire franchise especially one as massive as the Mario franchise, which contains a ton of video games, an even bigger pile of non-video game media... and works that blur the line. You can probably see where this is going, but I'll get back to that particular can of worms later. Focusing on the video games, among the entire franchise, the question focuses on the "mainline" series. That is what jan Misali refers to as the "Super Mario" series, distinguishing them from spinoffs and other games that are part of the franchise. You'll note that I specified "what jan Misali refers to as the "Super Mario" series", not "what the "Super Mario" series is".

Multiple-choice confusion

Using the video runtime as a yardstick, we are 2 minutes into the first part, and there is already a binary tree's worth of debate, and it's only getting bigger from here: the existence of a mainline series as a separate entity from the overall Mario franchise is commonly accepted, but not unanimously. Among those who do agree, there is disagreement on the scope of the mainline series (with how gargantuan the franchise itself is, even the spinoffs have their own spinoffs, and it would be a perfectly reasonable take to consider some or all of them, such as the Mario Kart games, as a core part of the series). Among those who agree on the scope, there is disagreement over what the first game of the series is (do we start at Super Mario Bros? Mario Bros? Donkey Kong? The Game & Watch series?). In order to keep the video at 45 minutes and not 45 hours, jan Misali picks one definition they feel is reasonable among others: the Super Mario series is one distinct series among others in the franchise, made up of Super Mario Bros. on the NES and its sequels, which are mostly platformer games. With this baseline established (even if the survey doesn't 100% agree), how do we figure out which of all the Mario games are the sequels to SMB1? There are many methods to go about this... And not only none of them converge to a single answer, they all diverge in different ways. Let's start with the most direct source of data jan Misali had access to as a direct result of the process of making the videos: the surveys.

The one thing we can agree on is that no one agrees

jan Misali isn't just presenting their own thoughts on the matter, they're also analyzing the data gathered from a survey they made before recording both videos. The first one merely presented you with a premade list of games and asked you which of them you considered to be a Super Mario games, and the second one goes more in depth but still had the same overall goal. If there was any sort of consensus (assuming the survey wasn't sabotaged or otherwise flawed enough to distort the ability to interpret the data to the point of uselessness), you could derive the broadly accepted list of Super Mario games from looking at the most common answers to the survey, right?

If you interpret "the most common answer" as "which games people overwhelmingly (>95%) agree are part of the series", the survey gives us Super Mario Bros, Super Mario bros 3, and Super Mario World (by the time of the second video, the second survey added Super Mario 64 to the list, as well as Super Mario Bros. Wonder)... which almost anyone who has an opinion on the subject would agree is a grossly incomplete list. If you interpret "the most common answer" as "which is the list that the most people agreed is the full list of the Super Mario series", you end up with a much more complete list of 18 games which by definition is what the highest percentage of people answering the survey agree on. You could consider it the survey's overall answer to the question... except the percentage in question is less than 2% (although in the second survey analyzed in the second video, this same list, with the at the time newly released Super Mario Bros. Wonder added, actually stood at just above 5%. Closer, but still very much a minority group within the survey). Almost everyone who answered still disagree to some degree with that answer. While there is plenty of insight to be gained from the data (including regarding the limitations of the survey itself), it also conclusively establishes that public opinion (or at least in jan Misali's audience) doesn't have a truly agreed upon answer to this question.

Hang on, let me call my uncle at Nintendo

So, we have an answer, but not the answer, and even worse (...or better, if you like analyzing seemingly trivial arguments that secretly hide a rabbit hole of semantics, linguistics and cognitive science) the only thing we can say about "the" answer is that it cannot exist. So let's try finding more answers by going from another angle. If we learned anything from politics, it's that an answer derived from polls can absolutely be wrong, so it makes sense to consider that there is an authoritative source that can give a definitive answer over public opinion. The most obvious lead would be Nintendo itself, the owner of the IP... except that instantly fizzles out because while Nintendo does provide a list of mainline Super Mario games on their website, the one they give you isn't the same depending on whether you ask Nintendo of America or Nintendo of Japan. We can also look at what Wikipedia deems to be the list of Super Mario games, which naturally is different from both Nintendo US and Nintendo JP's list, and on top of that is arguably inconsistent with itself: the page's release timeline lists Bowser's Fury as an entry like the others, but the infobox that redirects to the various Mario games under the "main games" section lists it between parentheses as a sub-entry to Super Mario 3D World, the same way it lists New Super Luigi U as a sub-entry to New Super Mario Bros U which the release timeline in turn omits completely. There are rational reasons to do it this way which I won't go into since jan Misali explains it in the videos themselves, but technically that means Wikipedia doesn't have an internal consensus either. The Super Mario wiki, while unaffiliated with Nintendo, is also a good candidate for an authoritative source, which gives you another, different, answer. We could go on, but let's stop here and conclude that, once again, there is no agreed answer.

Give me your argument and I'll tell you why we're both wrong

Neither polling the public nor going by the authoritative sources have given a concrete answer, which leaves us in front of the semantic rubble trying to piece back a coherent understanding of the Super Mario series. Not to try and find the Correct™ answer, we've already established there isn't one, but it would give us valuable insight as to why no one can agree to a specific answer in the first place. jan Misali spreads this approach over both videos as they give their reasoning from various angles. They deliberately haven't gone over this exhaustively, and neither will I (not that I would be able to), but I do have thoughts I'd like to share based on their observations... Which yes, means I've written 1,5k words establishing the base around the videos I want to talk about despite operating under the assumption the reader has already watched them before going over my own thoughts. I'm certain I could have been more concise, but I felt this was necessary so that this post could stand as a coherent chain of reasoning and not a completely disjointed rambling that won't make sense to anyone who hasn't made the significant time investment that fully watching the video essays represents, and still not make sense to most who did (and if I misunderstood something critical, someone reading this can point it out from my attempt to lay out the context rather than after 12 confused replies down the thread). I'll try and tie my thoughts together in broader parts with increasingly silly titles.

"Home console purism"

I will start by addressing this not because it's the most important (if anything it's the least important detail I have something to say about) but because it lets me introduce a talking point I'll reuse later. Something that jan Misali mentions early on is what they call "home console purism", defining it as the belief that the mainline Mario series, as a rule, cannot include handheld games. While they don't explicitly state this at any point nor do I have a specific reason to believe implying it was their intention, it somewhat came off to me like bringing it up as a flawed argument just to dismiss it, especially after it was brought up again regarding Super Mario Run as a comparison to the belief that mobile games "don't count". If you leave it at that, I absolutely agree that it's silly to exclude a video game for that reason, especially with the Switch blurring the line. After thinking about it, though, while I'd still disagree with using it as a reason to exclude a video game from a series in this specific case, I think it deserves to be looked at in more detail.

Gatekeeping or shifting perspective?

The least charitable interpretation of this argument is that handheld and mobile games are deemed to not be worthy of being included alongside the "real" games released on home consoles or PC, usually with a side of implying that you're a "fake" gamer if you play them (not to mention the higher layer argument from the same basis that also excludes any console games, leaving only PCs as the "true" gaming platform and everything else as lesser toys for kids) which can safely be dismissed as elitist gatekeeping. However, from a perspective of classifying games within a series, there is a much more sensible way to approach this argument.

The "Call of Duty on the DS" problem

Nowadays, between the handheld PCs like the Steam Deck which can give desktop PCs a run for their money in terms of specs and the Nintendo Switch that refuses to be classified as a dedicated home console or handheld, the distinction would look a lot sillier, but the handheld game market used to be closer to an isolated sub-segment of the overall video games market than a fully integrated part of it. Disregarding the whole "exclusive releases" circus, faithfully porting a PC game to a home console was generally agreed to be feasible. Handheld consoles were another matter entirely. Most (all? was there a handheld notable for outperforming contemporary home consoles?) of the time, handheld consoles had vastly inferior specs to contemporary home consoles and computers making faithful ports of a given game to them a pipe dream if the game was too resource intensive, and a tendency to have a much more varied control scheme than you'd expect from home consoles, sometimes to the point of "porting" an existing game requiring restarting the game design process from scratch.

You've gotta hand it to the Need For Speed DS game devs, they certainly tried to make them similar to the other platforms

Where this starts mattering in this context is what this means for releases within an individual game series, and how game studios would treat developing a given entry for each system. Some just stuck to only home consoles or handhelds, some would aim for the best compromise between having a unified experience for a given game no matter which device you were playing it on and leveraging a specific console's unique features, some would confusingly release games under the same title on different platforms but actually make them completely different games (even Nintendo themselves are guilty of it!), and, most relevantly, some would deliberately make handheld games stand out from the home console games as a sub-series.

Why this doesn't really matter here, but the point I'm building up to does

This outlook makes a lot less sense if you look at the Super Mario series in a vacuum, which, as a mainly platformer series, struggles a lot less with making a handheld release that convincingly fits the vibe of the home console releases than other genres might (in no small part because designing a 2D game makes just as much sense as it does in 3D for this genre, making the specs gap between handheld and home consoles a lot less important), and as a first party franchise, Nintendo isn't going to be blindsided by a new console's weird features like a third party studio might since they're the ones making the console... But if you consider the market in general across the years, siloing the home and handheld side of a given series as two separate entities, with the home console being granted the "mainline series" role was a very real phenomenon. If you start from this premise and look at the Super Mario series which debuted on the NES, it makes sense to apply the same framework and say "None of the handheld games are part of the Super Mario series, they're part of their own series". I would still disagree, but it's definitely a lot more sensible to base it on past observations of the market than gatekeeping.

The Super Mario release timeline needs its own timeline

To elaborate, I would find this argument a lot more convincing back when the DS (which was so atypical that even porting a game from another handheld to the DS' bespoke dual screen and touch screen setup was a non trivial affair, let alone the home consoles) was the current-gen Nintendo handheld than now where the Switch 2 (a console with a mostly conventional control scheme and powerful enough that porting an arbitrary PC/home console game to it without visibly changing anything about the game makes just as make sense as any other platform) is about to come out. And with this I'm finally arriving to the talking point I wanted to introduce. If the evolution of the broader market can affect the validity of someone's criteria to determine which games are (or aren't) part of the Super Mario series, then we can generalize that to the following: A game can be (or no longer be) considered part of a series depending on when you ask even if absolutely nothing has changed about the game in isolation.

Sure they're all a Mario game, but which one is THE Mario game?

One thing that jan Misali picked up on from the original survey is a major ambiguity that made answering (and therefore interpreting the resulting data) harder is the remakes, remasters, enhanced versions with their own release, and other related weirder cases. These games range from almost completely identical to previous releases to non-controversially a variant of the same title but still different enough to provide an experience meaningfully separate from the original title, to different enough they're arguably not the same game, adding a dimension to the answer that makes enforcing a flat "yes" or "no" choice less useful. This is why the survey that led to the second video made it possible to call an entry a "mainline Super Mario game", a "major spinoff", a "minor spinoff", "not canon" and finally "not a Mario game" (and "unsure", just in case) at the same time as you answer whether you think the title is a distinct entry in the series (or you're unsure), to be able to clarify the general sentiment that if a game saw more than one release under different versions, they can all be acknowledged as an incarnation of that game without making each individual release an entry to the mainline Super Mario series of its own. This allowed the answers to be more nuanced, but this by itself doesn't help answering the original concern: if multiple releases can all be the same game, and that game is part of the series, can more than one of these releases be called a "distinct" entry? If you think there can't, which one is it? And this last question is what I'm going to focus on for my next thought.

Mario games are temporary but Doom is Eternal

Forced reference aside, let's look at other franchises for comparison. Doom Eternal, originally released on PC in March 2020, got a Switch port later in December that year. Thanks to skillful optimization allowing it to somehow run on glorified 2015 Android tablet hardware, this port is faithful enough that I don't think it would be controversial to call it the same game as the PC release compared to, for example, The Sims 2, where while a game named The Sims 2 was released on the Nintendo DS, it is so radically different from the PC release that I would consider it an entirely separate game (and for that matter not a part of the mainline Sims series, but I'll put away that thought before I completely lose the plot). If I asked "Between the PC and the Switch release of Doom Eternal, which is the main release?" and we assume "both" isn't considered a valid answer (which is itself debatable) I would expect the natural answer to be the PC release simply because out of two functionally equivalent releases of the same game, the PC release came first. Similarly, if we consider, as a general rule, that there exists one, and only one, release of a given game that embodies a distinct entry in the mainline Super Mario series, with any other release not counting (while still accepting that they're a version of that game), the earliest release being the distinct entry makes intuitive sense. After all, they're the original version of the game. If it could be of the future ones it would mean a release could stop being the distinct entry in a mainline series despite nothing having changed about the release itself, which doesn't make sense... right?

What's in a name?

Time to bring up that one point from earlier: there's nothing inherently preventing the status of a game release as a mainline series entry from being affected by external factors. Quick disambiguation note: I've been using the word "release" in the context of video games being made available for purchase, but the word "release" can also be used to mean a software update, no matter how minor. Video games also being software, this distinction is now going to matter. To avoid confusion, I will only use the word "release" to mean a game being made available to purchase and refer to a new software version for an already released game as an "update". With this cleared up: before internet connection became a standard feature in consoles, the general expectation was that releasing a game meant permanently locking down the state of its software. Game companies would not want to update a game between releases and end up with different versions of a physical game in circulation if they can't ensure that the customers would get the most recently updated copies as it would inevitably confuse players, so it would only be considered for truly major issues that weren't caught in time for the release. As broadband internet came into the picture, it suddenly became a lot less important to make sure the game stayed the same after release as you could simply get the customer to upgrade their game over the Internet. This quickly became standard operating procedure for PC games, with consoles catching up a bit later, including Nintendo's. And with it, came the practice of content updates over the lifecycle of a game before the next release.

Dragonborn... reborn?

Even if the individual updates don't change the game to a meaningful degree from one update to the next, as they pile up you can eventually end up with a wildly different game than what it was when it originally released, even if it's supposed to be the same entry into its series. If you agree that the release you accept as the distinct entry of its mainline series can change its characteristics over time, wouldn't it make sense to also agree that which release of a game you consider to be the distinct entry of the mainline series can also change over time? Let's turn to another series as an example: The Elder Scrolls, and specifically Skyrim which is infamous for its amount of re-releases. It is at the time of writing the latest game in its series, and has been since 2011... but is the by now almost 15 years old original release really still the main entry in the Elder Scrolls mainline series? As far as Steam is concerned, the game you can purchase if you search for Skyrim on its store isn't the original release, nor is it even the Legendary Edition release from 2013, but the Special Edition from 2016 (while also letting you buy the Anniversary Edition as a DLC to the Special Edition). With the original release no longer being on sale and the more recent Anniversary Edition being classified as a DLC rather than a "proper" release, it would make sense for me to call SE the "distinct" entry representing Skyrim in The Elder Scrolls over the original release. Is there an instance of this happening in the Super Mario series? It would be a huge stretch, but you could argue (although frankly I wouldn't agree) that Super Mario 64 isn't a distinct entry in the Super Mario series because you consider the Super Mario 64 DS remake to be the "true" entry in the series. Sure, claiming that Super Mario 64, the first Mario 3D platformer isn't a mainline Super Mario game sounds ludicrous, but so does "Skyrim (2011) isn't a mainline Elder Scrolls Game but Skyrim Special Edition is" and I did consider it a plausible argument. A slightly less unhinged instance would be to consider New Super Mario Bros. U Deluxe to be the representative entry in the mainline series over New Super Mario Bros. U.

Strictly defined criteria and their pitfalls or: why is a sweater a Super Mario game?

By this point I've highlighted ambiguities over the meaning of pretty much word in the question "How many Super Mario games are there?".

• How many: No consensus on the number of games in the series, let alone which ones they are
• Super Mario: No consensus on what makes an individual game part of the series
• are there (present tense): No guarantee that the list can stay consistent with regards to time, in either direction

There is one left to achieve total semantic obliteration: games. This was inevitable, really. How could you overanalyze this question and not bring up nitpicking over the meaning of the term "video game" itself? jan Misali has already done most of the work for me, as part of the second video involves them mentioning that attempting to derive an appropriate list of mainline Super Mario game solely from an objective definition while is doomed to fail. Whatever the approach, you will always be working with an unstated semantic "guardrail" of some sort that cannot be comprehensively worded into the definition. The first basic example they give is "Anything with 'Super' in the title is part of the Super Mario series." Under any reasonable context we know what is meant by "anything" but without it, this definition includes infinitely many things that very obviously aren't Super Mario games. But even progressively narrowing it down to something that sounds sensible will still leave a semantic hole that includes something absurd. This culminates into the following bit:

So, maybe you can use this "has Super in the title" method as a starting point and add more stuff to it until it becomes a useful definition. And, in the comments from part 1, many people have tried to do exactly that. And very often what they come up with something like: "The Super Mario series consists of the games developed by Nintendo for Nintendo consoles that have 'Super Mario' in the title, excluding RPGs, party games, Mario Kart, sports games, and reissues of previously released Super Mario games."

At which point jan Misali unleashes their inner Diogenes and reveals what I've been hinting at in the header: Behold, a man mainline Super Mario game! However, while I'm all for leveraging semantic technicalities for the sake of comedy, I think this is a part where jan Misali loses the plot a bit. Even accounting for a VERY permissive understanding of what a video game is, I don't think I am a teacher: Super Mario Sweater plausibly counts as one. Obviously knowing the incoming storm in the comment section, they supplied the following definition for a video game: "interactive software with a visual display for the purpose of entertainment". I agree that if you accept that's what a video game is, I am a teacher: Super Mario Sweater is in fact a video game. What I don't agree with is that the definition itself is accurate enough.

My favorite video game is Tildes

jan Misali's last argument in the video in favor of IaaT:SMS being a video game is regarding the value of knitting as entertainment, which I'm not disputing, but that's not where I believe the issue with this definition is in the first place. IaaT:SMS does have interactivity, yes, and it was designed for the purpose of entertainment, but to me that is not enough to constitute a video game. For it to be one, the interactivity needs to be a necessary part of the entertainment, which isn't the case here. The interactive part, inputting your measurements, choosing a file and scrolling through the selected knitting pattern isn't the entertaining part. The entertaining part, which is knitting a sweater, requires none of the interactivity provided by the software; a completely non interactive slideshow of the various patterns would accomplish the goal just as well. And, while this was ultimately just part of jan Misali's overall point that you cannot bolt together a purely objective definition without relying on some level of unstated common sense, I think that point would have been better served by highlighting the holes in the provided definition of a video game itself than taking it at face value to poke a hole in the definition of the Super Mario series that relied on in the first place (not that this is even required, as jan Misali proceeds to show more examples of games that clearly wouldn't be argued in good faith by anyone to be part of the mainline series and are still noncontroversially video games, and then goes on to explore the ambiguities in pretty much every other part of the definition). You know what else counts as a video game under that definition?

• mspaint.exe
• Arch Linux
• Tildes
• Any movie DVD that features a menu
• BonziBuddy
• The Youtube video player
• The onboard widget display of the Logitech G510 keyboard
• Kangjun Heo's Rensenware
• A chat interface with an LLM whose system prompt instructed it to entertain the user without any further elaboration
• The firmware running on my pair of wireless earbuds (a LED counts as "visual display", right?)
• Twitch chat
• The YouAreAnIdiot prank website
• The Times Square ad billboards (yes, it's interactive, even if the controls are atypical)

You will note that even with my caveat, you could still argue that a lot of these still fit this alleged definition of a video game, so whatever a video game is, it's not just that. Instead of continuing this list and losing the plot myself for the second time in the process of writing this, I will point out that jan Misali's second video has been classified under the "I am a Teacher: Super Mario Sweater" game category, meaning that apparently Google agrees that this is in fact a video game. Shows what I know.

Video killed the Mario star

And of course, you can't cover debating what's a video game without also covering the video part. When people ask "how many Mario games are there", the video game part is implied, but there is definitely an argument to be made that being a video game is not necessarily a prerequisite to be part of the mainline Mario series, especially if you hold the belief that the Game & Watch games aren't actually video games (I personally do think they are, but it's debatable enough for jan Misali to not be fully sure, at the very least) but are still significant enough to be part of the mainline series (there is a Super Mario Bros. game in there, after all, and it's even a platformer!). This can also be further argued to include other media that aren't even games (if the NieR series can include stage plays, what's preventing the Super Mario series from including, say, its licensed movie?), though I personally don't have any non-video game candidate in mind to argue in good faith that they should be part of the series.

413 Payload Too Large

At this point I don't think I have much else to add that isn't basically paraphrasing jan Misali themselves, so I'll wrap up this post so I don't have to spend another day adding to it and proofreading, and I'm fairly confident that between it and all the other interesting points the video raised that I haven't mentioned there will be more than enough jumping points for discussion (and if I forgot something I wanted to add, I can always do that later). What are your thoughts on this? _{And did you realize before I pointed it out that I wrote over 5k words about the question without giving my own answer at any point?}

Hi fellow Tilder Staters,

I write professionally for my job. I've picked up plenty of tips, tricks, and strategies from mentors and managers over the years.

I also have an English degree focused in literature.

But I've never formally studied grammar or linguistics.

Does anyone have a textbook or theory book that they could recommend in this space? I've tried to look around a bit but nothing has caught my eye, and the subject is dry enough that I don't have the time or energy to invest in one of the boring options.

If you love language, etymology, or just plain collecting interesting words, where do you look to feed your interest? I’ve seen many RobWords (YouTube) posts here, and I really like his content. I also love the traditional word hunt through reading authors like Dickens.

In addition to “where do you look?”, what does your hobby look like? Do you keep lists of words that you review and learn about? Do you make effort to include your newly found words in writing or conversation? I have the (probably very annoying) habit of interrupting a conversation to say, “you know, there is an interesting word for that!”. What else do you do?

I hope this question will become clear by the following example:

When I state "Mother's Cooking," As a native English speaker, to me the sentence fragment is read kind of "in order" so to speak, each word being read in the order it is presented for me to understand the sentence.

However, when this sentence fragment is translated to Chinese, it becomes:

妈妈 做 的 菜
māma zuò de cài

Which I literally translate to:

"Mother's cooking of Dish"

and in practice I begin to learn to look for the phrase after "de" then "go back" to the "māma zuò" to figure out the whole sentence. Does this make sense? I have to go to the end of the sentence and then refer back to the part "in front" of it so to speak?

What is going on here, and is this perceived as such by native speakers? Do all native speakers feel like their language flows linearly ? I think I read somewhere that some languages start their sentences with the verbs at the front of the sentence (Arabic?)

I'm hoping that a linguist will be able to explain to me what phenomenon I'm experiencing.

Thanks in advance!

Source for sentence/grammar

The first half of this post is a vent about recent events I have to get out of my system. Below is some hopefully actually interesting content about the constructed conpidgin Viossa.

If you are interested in languages & linguistics and, like me, are not immune to the draw of short-form video content, you are probably familiar with the creator Etymology Nerd. He makes shorts on TikTok and other platforms about all things linguistics, usually pointing out some cool facet or etymology. The videos are, due to the their length, often very surface level, but they’re informative and fun, and for the most part, accurate enough – at least as far as I can tell. However, two days ago, he posted this short on TikTok and then a bit later to YouTube: conlangs are so back. It points the spotlight on a constructed language by the name of Viossa: A collaborative con-pidgin, that is, a conlang created by users attempting to establish communication despite speaking different languages. This is rather meaningful to me, as I was one of the original co-creators of Viossa – more on that below. At first, I was quite happy about this, until I went to check out the Discord server and found it effectively on fire. While there were about 1700 members on the discord server, the number of active members was much smaller, certainly less than 100.

In the first day after the TikTok video, over 1000 users sought out the discord server and joined it.

Etymology Nerd didn’t ask for permission, he did not even give a heads-up. He found and joined the server on the 27th, asked a few questions, and then posted his short on TikTok two hours later. And while he learned that the server’s moderation was getting overwhelmed, he reposted the video to YouTube unchanged the next day anyway, merely leaving a pinned comment asking people to be respectful. The Viossa discord is currently on lockdown (invites paused) until things settle down. In the meantime, the short has amassed close to two million views on TikTok & Youtube combined. While I don’t think this can be called malicious, it speaks of a lack of care of the impact it can have to shine a spotlight on a small community when you have such a big following. Who cares what happens to them, I got my clicks, right?

But that’s enough venting. Time for some history. As I mentioned above, I was one of the people who started this whole thing. Back in 2014, before Discord, there was a Skype group for people interested in conlangs. I was in high school at the time, as were most other members – reddit demographics. We realized that many of us spoke at least one language other than English, and decided to conduct an experiment: Could we establish communication through those other languages by finding common grounds and learning each other’s words for things? So on Christmas Eve that year, six of us hopped into a video call and tried to communicate without using English. Each of us would contribute with one or two languages: Norwegian, Finnish, Japanese, Irish, Albanian&Greek and Swiss German. Within the first night, we had a few words and could ask simple questions. Within the first week, we had a few hundred words and were able to hold uninterrupted, if simple, conversations. We had some other people join the project over the course of the first year, and presented the results on reddit:

• Viossa, an experimental pidgin, one year in the making. Ask us anything!

Things continued quietly from then on. The number of members grew slowly, while others got bored and dropped out of the project. At some point, Discord rolled around and the community moved there – a far easier platform to join than Skype. Some copycat projects sprung up, but to my knowledge, sadly none really persisted. In 2017, I held a talk at the Language Creation Conference about this style of language creation, and on Viossa in particular. The conference was livestreamed, so you can watch it on Youtube here (ca. 30 minutes):

• Ka Du Hanasu?—Collaborative Conpidgins

A major influx of new members came in 2020, when Jan Misali made a video on the language as part of his Conlang Critic series. His video is extremely well put-together, and created in close collaboration with many regular members of the community, and it really is the best showcase of what Viossa had become in the six years since its inception. You can find it here:

• Conlang Critic: Viossa

This video put the project on the radar for many more people, and it has definitely changed the language. When you get many learners in a short amount of time, the things they pick up tend to reinforce each other, and you get sudden drastic shifts. I’m finding that I struggle with understanding a lot more of the language used by people who joined after this video than from other oldtimers. Then things settled again, until the etymologynerd post two days ago.

And that’s the history of, weirdly, one of the more successful constructed languages, built on just two rules:

1. If you can understand it, it’s correct Viossa.
2. Learn Viossa through Viossa, no translation.

Inspired by the recent post about Arrival / The Story of Your Life

The idea of linguistic relativity ... is a principle suggesting that the structure of a language influences its speakers' worldview or cognition, and thus individuals' languages determine or influence their perceptions of the world.

There's, of course, a lot more to it, many variations, and all still at least somewhat in dispute.

Nevertheless, as the title says, assume it's true, and speculate on which languages would be the most interesting to learn from an "expand your mind" perspective.

Hi, all. I'm (sadly) not a linguist and I have 0 exposure to academic circles of linguistics. However, I'm enthusiastic about learning, especially phonetics and etymology.

Recently I've stumbled across the YouTube channel of Dr Geoff Lindsey. He predominantly calls for a change in the way we represent phonemes in IPA, and his videos are compelling and well-argued. However, as with all YouTube content, it's done in a vacuum, with only references to and from his teacher and colleagues within the videos themselves.

So far, I'm convinced of the arguments he presents throughout his videos, but I'd be keen to hear what other academics or full-time students/scholars of linguistics think about them and whether there are any weaknesses (e.g. it appears to be centred around British English). I'm also curious how well-known and/or well-respected his views are, if only for my own peace of mind. That's not to say that one needs respect to be correct, but if they have a lot of support from peers then that's good to know.

I'm not looking to stir anything up, here, but I trust that my fellow Tildelings know that already. I'd love to see discussion if possible.

Many thanks in advance.

Edit: Here is one of the key videos in which he talks about the issues with some IPA symbols.

I love languages, and one of the great things about learning other languages - or even just learning about them - is how it expands your mental horizons. One of the first things you notice is that many words don't correspond 1:1 with each other in distinct languages. Sometimes, what you think of as one concept gets partitioned out into one, two, three, four distinct word forms in another language. Other times it's the opposite, and distinctions are lost. What are some interesting vocabulary/lexicon differences between English and another language you're familiar with? I'll give some examples:

• Russian motion verbs are a lot more complex than English ones. There are two distinct words for "to walk", idti and xodit'. The former is used for walking in one direction, the latter for walking in multiple or unspecified directions. The former is also used for single actions while the latter is for habitual action. Russian makes this distinction in every common verb for motion. It also makes a distinction between going by foot and going by a means of transportation, like a car, a bicycle, or a train. In English, you could say "I walked to the store" to specify you went by foot, but you could also say "I went to the store" and the mode of transportation is unspecified. In Russian, there is no single verb "go" that doesn't imply either by foot or not by foot. You have to use either idti/xodit' "go by foot" or exat'/ezdit' "go by some means of transportation". (As I understand it, I'm not a native speaker of Russian, just studied it a bit.)
• Terms of kinship are a big topic. Wikipedia lists six distinct basic forms of kinship terminology, and that's just scratching the surface. Some languages distinguish between the maternal and paternal side of the family, others do not. Some do not distinguish cousins and siblings. Some make distinctions between elder and younger family members with distinct words. Unfortunately, I don't speak any languages that are markedly different from English. But even in my native Norwegian, which is closely related to English, there are some differences, such as:
  • First cousin is a distinct stem (søskenbarn, lit. sibling-child, i.e. the child of your parent's sibling) from second cousins (tremenning). There are also distinct words for cousin (no gender specified) and female (kusine) and male (fetter) cousins.
  • Maternal and paternal grandparents are distinguished.
  • I struggled to understand what the hell a "cousin once removed" was until I realized it's a kind of family relation that has no name in Norwegian.
• Or it could just be a single word. For instance, English has one word, "suspicious", meaning both an attitude towards another person's behavior (suspicious of) and that behavior itself (behaving in a suspicious manner). In Norwegian, those are two distinct words: mistenksom (suspicious of) and mistenkelig (behaving suspiciously).

I've only studied a couple of languages seriously. But I also have an interested in constructed languages as a hobby, so I've dabbled in a lot of languages, looking to pilfer ideas for my own projects. I really think it's expanded my view of the world, by showing that categories that seem obvious, really aren't. That's a lesson I've tried to transfer to other areas of life.

I also think it leads into philosophy, because it's really a question of how to divide up semantic space. If we imagine the theoretical space of all things that could ever be spoken about, how do we divide up that space into distinct words? Which categories do we choose to represent as meaningful, and which ones are relegated to being a sub-aspect of another category, only distinguishable by context? I imagine that in a culture with large family units, it makes more sense not to distinguish "brother" from "male cousin", than a culture in which nuclear families are the norm, for instance.

Do you have any cool examples of how vocabulary works differently in other languages, whether it be a single word or a large class of words? Or examples of times when encountering a different way of describing the world by learning another language led to insights in other areas of life?

In a previous topic, people discussed their pet peeves, but that's not what this post is about. The idea is not to list (or rant about...) the ways in which others use language incorrectly or annoyingly, but rather to talk about our own habits and preferences both in writing and in speech.

Things like:

• How do you like to talk (complex, simple, formal, informal, brief, lengthy...), and what do you like or dislike listening to?
• Do you have certain words or phrasing patterns that you either love or avoid at all costs?
• Do you have a tendency to be overly formal? Conversely, are you often too informal, or use too much slang?
• Do you have an inner dialogue?
  • If so, how does it sound?
• Do you think exclusively in your mother tongue? If not, which situations bring up specific languages in your head?
• How do you adapt your patterns to different contexts (formal, informal, social, professional, etc)?
  • Does that come easy for you?
• Do you prefer to be addressed by specific pronouns which people often get wrong?
• Do you clearly differentiate between serious and jokeful registers?
  • Do you use phrasing and tone of voice to differentiate between the two? Does it work?
• Do you sometimes talk too much or too little?
• Do you make a lot of faux pas?

So, what are your linguistic idiosyncrasies? In what ways is your use of language particular, odd, or peculiar? Let's begin!