You are probably confused and have some questions. Relax, we all asked those same questions.
Like, what is Chris saying? What is that accent? Did he make it up on his own or is that an actual language? Is it possible to make sense of those sounds that he is making?
Don't worry, I am here to help you. That strange accent you are hearing is actually Northern Irish. Chris did not make it up, just like other famous actors from the UK he learned it from an accent coach. Just like Charlie Hunnam in Rebel moon, Sean Bean in Patriot Games and even Brad Pitt in The Devil's Own, although to be fair I think Chris actually does it a bit better than Brad!
If you need some more information you can start with these excellent accent coaching videos, you will find that it is both fun and easy to learn to understand and appreciate what Chris is saying:
Northern Irish Accent Coaching #1 /aʊ/ Diphthong (youtube.com)

While working up my recent post about Glóin, and my theory about why Dáin sent him to Rivendell, I of course looked him up in The Hobbit. But he isn't there! Neither is his brother Óin; neither for that matter is Dáin. Instead, I found Gloin, Oin, and Dain. I am amazed that I never noticed this discrepancy in all these decades. Nor have I seen anyone else point it out.
One might have thought that some sharp-eyed editor at Allen & Unwin would have queried that change, but if so no trace is found in Letters. One might also have thought that Tolkien himself, who revised the text twice after its original publication, would have retrofitted these names to add the diacritics. But they remain accentless, even in the unpublished 1960 version of chapter 1, which was intended to make the tone of the work more consistent with LotR; see John Rateliff's The History of the Hobbit p. 774. (Both Rateliff and Douglas Anderson, in The Annotated Hobbit, stick to the unaccented forms in their notes.)
Some long-time fans will know why these three dwarves (and others who appear in LotR but not The Hobbit) have accent marks in their names. They can skip the rest of this. For those who may not know, the names of the Hobbit dwarves (all but Balin, for some reason) are all taken from the Old Norse mythological poem called Völuspá, “the Seeress's Prophecy.” Several stanzas of the poem consist of a recitation of names of dwarves; this section is referred to as the Dvergatal, “the List of Dwarves.” Text here:
https://glaemscrafu.jrrvf.com/english/dvergatal.html
When he reused these dwarves in LotR, Tolkien chose to incorporate the diacritical marks as found in the Dvergatal. Why? The vowels in the Norse names Bífurr and Báfurr are marked long in the Dvergatal, but Tolkien did not add the accents to “Bifur” and Bofur.” It seems that he wanted to indicate the correct Norse pronunciation. Neither nor is a diphthong in ON; hence the names “Glóin,” “Óin,” and “Dáin” all have two syllables – “Glow-een” and “Ow-een” do not rhyme with English “groin,” and their father Gróin is “Grow-een” (so hold the snickers). “Dáin” is pronounced “Dah-een.”
One more explanation, for those who may have clicked on the link and wondered why several of the names have extra consonants at the end -- Durin for example being Durinn. In Old Norse the case ending -r was added to a masculine noun to indicate that it is in the “nominative case,” as when it is the subject of a sentence. Gandalf – which is the name of a dwarf – is Gandalfr in the Dvergatal.¹ If a word ended in “r,' the case ending doubled it, hence Bifurr. For a word ending in -n, the “-r” was assimilated to and doubled it, hence Durinn. Tolkien dropped all these case endings.
1 Did you say "Huh?" to this? Yes, in the manuscript the leader of the dwarves, for a long time, was "Gandalf" not "Thorin." The wizard was "Bladorthin" -- and if that name rings a bell, it is because Tolkien recycled it in the account of Smaug's hoard.

I'm attempting to roughly approximate what I think the ghouls' native tongue would be. An approximation because they are meant to be demons, so I doubt they'd be operating on the same biology as a human. This little project of mine is meant to come across as if it's been deciphered by a human scholar in the Ministry. So far I've created the phonetic inventory. The language will have approximately 28 consonant sounds and 16 vowel sounds (10 monophthongs, 6 diphthongs). Next up on the list is working out syllable structure. Let me know if you'd be interested in updates.

I don't think anyone will agree with me, and this pronunciation doesn't match the classical Latin pronunciation, but let me explain.
AE can be pronounced in many ways like in aesthetic, reggae, and algae, but I will explain why I think the pronunciation of ae in algae should be used in Aeternus.
If we look at a list of word that have ae, we can see that a lot of them pronounce AE as ee. However, a lot of these words are not that common, so let's look at the 27 common words according to the Merriam-Webster dictionary.
Out of the 27 words, only 8 of them pronounce ae as ee, but one thing they all have in common is that they all originated from Latin. Four of the other words also originated from Latin, but it seems that it's because the pronunciation changed when it went to another language before English.
When we go back to all words, it seems that a lot of words that pronounce AE as ee originate from Latin (I didn't go through every single word, so I might be wrong).
Also according to the Merriam-Webster Dictionary: ae used to pronounced similar to a long I in English, but merged with another sound to become a long E. This explains why all of these Latin-derived words pronounce ae as a long E.
So since Aeternus is a Latin word, I think we should pronounce it as ee-TUR-nus when we turn it into an English word.
Also, the word "eternal" originated from the word aeternus, so it should probably be pronounced similarly.

Decided to have a crack at Cyrillicizing my native language, despite the numerous attempts that already exist, for funsies. Sound values based on General American English and my own accent.

А а	/ɑ/~/a/
Ѣ ѣ1	/æ/
Б б	/b/
Д д	/d/
Џ џ2	/d͡ʒ/
Е е	/ɛ/~/e/
Ф ф	/f/
Г г	/g/
Х х	/h/
И и3	/ɪ/
І і3	/i/
J j2	/j/
К к	/k/
Л л	/l/
М м	/m/
Н н	/n/
Ң ң4	/ŋ/
О о	/ɔ/~/o/
П п	/p/
Р р	/
С с	/s/
Ҫ ҫ5	/θ/
Т т	/t/
У у
Ў ў6	/ʊ/~/w/
В в	/v/
З з	/z/
Ҙ ҙ7	/ð/
Ш ш	/ʃ/
Ч ч	/tʃ/
Ж ж	/ʒ/
Ъ ъ8	/ə/~/ʌ/

¹ Speculative original Old Church Slavonic value. Nobody’s quite sure how this letter was originally pronounced a thousand years ago, but /æ:/ or /ɛ:/ are the two top contenders.
² Used in Serbian Cyrillic.
³ Values of И and І derived from Ukrainian.
⁴ Used in various Turkic languages.
⁵ Used in Bashkir and Nganasan.
⁶ Used currently in Belarusian and Karakalpak, though used for both /ʊ/ and /w/ only in Belarusian.
⁷ Used in Bashkir.
⁸ Used in Bulgarian for /ɤ̞/ and sometimes /ɐ/, which are close enough to the English schwa and strut vowel (to an English-speaking ear) that I have used this letter here.
Some vowels represent multiple sounds, though never more than two. The second phoneme listed in these cases is marginal or occurs only in diphthongs with the single exception of /ʌ/, which exists in multiple varieties of American English but in my particular variety has been almost completely subsumed by /ə/. If need be, /ʌ/ can be written as ⟨ь⟩ (consistent with its use in Old Church Slavonic as a vowel, though in all modern Cyrillic orthographies it is never used that way). Diphthongs and r-colored vowels are particularly condensed in this system given the vowel doublets /ɑ/~/a/, /ɛ/~/e/, and /ɔ/~/o/ represented by ⟨а⟩, ⟨е⟩, and ⟨о⟩ respectively.
In terms of consonants, Cyrillic ⟨х⟩ was tweaked to represent /h/ because it is easy to distinguish and there is no corresponding /x/ phoneme in General American English (and if there is, it is extremely marginal). It is also possible to swap out ⟨j⟩ with ⟨й⟩ for /j/, which makes for a nice little orthographic pairing with ⟨ў⟩, but that's up to individual preference - I personally prefer ⟨j⟩ because it seems more compact to me, but let me know what y'all think.
I have not sought much change or addition of nuance to the consonants with the exception of adding Cyrillic letters for individual sounds. This system has 32 letters compared to the Latin standard 26, an increase of only six letters.
The quick brown fox jumped over the lazy dog.
Ҙъ кўик брѣўн факс џъмпт оўвър ҙъ лејзі дог.
All human beings are born free and equal with dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.
Ол хјумин біјиңз ар борн фрі еънд ікўъл ўиҫ дигниті еънд ръјтс. Ҙеј ар индѣўд ўиҫ різин еънд каншинс еънд шўдѣкт тордз ўън ънъҙър ин ъ спирит ъв бръҙърхўд.
There is only some shortening of sentences in this system – the Latin version of the last example is 143 characters (sans spaces) while the Cyrillic version is 127, though this is mainly the result of discarding silent/redundant letters (e.g. “should” being written “шўд”). Its main appeal (at least, to me) is that it is far more phonetic than standard English spelling with the Latin alphabet. Note also the spelling of “and” as “еънд” and “endowed” as “индѣўд,” which are more representative of the way that I personally speak. If sounded out verbally, they are [I think] perfectly intelligible, if perhaps a bit strange sounding, to most other speakers.
Is it cursed? Absolutely. But there it is, and I think it's quite fun.

Like oh-so-many (many!) writers, I’d like to create an elvish language as sonorous and mellifluous as Tolkien’s elvish (read: Quenya, though Sindarin will do at a pinch.) But when it comes to linguistics I am a total NoOb – as in, until last week I’d spent my life thinking the word was ‘constantants’ instead of ‘consonants.’ That’s how little I know about linguistics. I’ve since spent a week learning the IPA chart symbols and sounds, discovered the existence of diphthongs etc, found the Zompist website and am now on the paid version of Vulgerlang. And here I’ve become stuck.
My initial thought was to reverse engineer Quenya by finding all its language rules, inputting it into Vulgerlang, seeing how it worked, and then pulling out the parts I liked (I don’t like ALL sounds in Tolkien’s elvish.) I have also over the years (like a totally *normal* person would) collected a list of word parts that are pleasing to my ear, and to my eye when written in English, and I thought I could feed them into the language somehow?
But I don’t understand how to tell Vulgerlang to follow those rules (despite having read their guides) because I don’t understand enough about linguistics yet. I have also googled trying to find out what Vulgerlang S SS SSS means and its phenome classes but couldn't find anything.
In their 'Advanced Word' section I thought to assign a letter for:
C = consonants (total)
V = vowels (total)
I + allowable Word initial consonants
M = allowable Middle consonants
Z = allowable End consonants
but then I don’t understand how to tell Vulgerlang to follow those rules?
***
These are the Quenya ‘rules’ as I have found from various thesis papers/Wikipedia et al. *If they are wrong please don’t shoot the messenger! I just copied and pasted them from the internet.
​
Consonants: c f h l m n p q r s t v w qu tʤ lʤ nʤ nw tʃ
Vowels: /a/ /i/ /e/ /o/ /ai/ /oi/ /au/ /ui/
Allowable Initial Word Consonants: c f h l m n p q r s t v w qu tʤ lʤ nʤ nw tʃ
Allowable Initial Word Consonant Clusters: qu ty ly ny nw
Allowable Mid-Word Consonants: cc ht htʤ lc ld lf ll lm lp lqu lt lv lw lʤ mb mm mp mʤ nc nd ng ngw nn nt ntʤ nw nʤ ps pt qu rc rd rm rn rp rqu rr rs rt rtʤ rw rj sc squ ss ts tt tw tʤ x cc ll mm nn pp rr ss tt
Most Common Mid Word Consonant Clusters:
ld mb mp nc nd ng ngw nqu nt nw qu ps ts ks ll ss lv lqu ny lw rqu"
Allowable Final Word Consonants:
l n r s t nt
Germinated Consonants (Whatever that means): cc, ll, mm, nn, pp, rr, ss, tt
________________________________________________________________________
Frequency of consonants high to low (in the poem ‘Namárië’):
/n/ / /l/ /m/ /t/ /v/ /s/ /j/ /d/ /k/ /h/ /rj/ /p/ /f/ /b/ /kw/
/n/, /, and /l/ are used 50% of the time
Quenya Vowel Frequency (in the poem ‘Namárië’):
/a/ /i/ /e/ /o/ /ai/ /oi/ /au/ /ui/
58 44 39 17 16 5 2 1 1
These three sounds (/a/, /i/, and /e/) are either front or central vowels, and together make up 141 of the 183 vowels in the entire text, which is approximately 77% (in the poem ‘Namárië’)
/o/ and were used 16 and 17 times each (a mere 18% of total vowels), showing a clear preference for front and central vowels (in the poem ‘Namárië’)
_________________________________________________________________________________________
Prohibited: D & B are never found on their own – ONLY as ld, mb, nd, dh
​
Most basic pluralisation (for the sake of my sanity):
For plural 1, the suffix is -i or -r
or plural 2, the suffix is -li
________________________________________________________________________________________
Sentence Structure: CVC
Most common structure: CV (57% of the time)
Syntax: SVO _____________________________________________________________________________________
Spelling:
θ > th
ð > dh
ɬ > lh
k > c
ŋk > nc
ŋg > ng
ŋ > ng
χ > ch
r̥ > rh
f$ > ph
v$ > f
ʍ > hw
j > i
aː > á
ɑː > á
ɑ > a
ɛː > é
iː > í
ii > í
ɔː > ó
uː > ú
ɛ > e
ɔ > o
______________________________________________________________________________________
Other:
• use of only three fricatives, “soft /f/ and /v/… [and] non-sounded /s/”
• even spacing of consonants and vowels within syllables
• strong preference towards “high-sounding front vowels”
• strong dispreference for words longer than three syllables

Little information is available for a language of New Guinea called Fas, but when I saw a list of words published by Wietze Baron I was amazed that it showed many similarities to Old Japanese words of the same meaning. The number of matches in such a small list is far too odd to be a mere coincidence, especially since many are words for native plants and animals that can’t be directly compared to Japanese. Since Japanese is unclassified, logic would suggest that any new language that is described, unclassified to begin with, should be checked for a resemblance. Any resemblance too close for chance would require investigation to determine if they were descended from an older unattested language. Since little is known of the history of Japanese even 2,000 years ago, a connection between these languages has no evidence against it. The exact reason for two languages far apart in space depends on the history of each, but fairly recent conquest of one group of tribes in New Guinea would not have any archeological evidence, especially if it happened over 2,000 years ago. The location in East Asia of both groups of speakers in the distanct past has no direct evidence. Many known languages in the Indo-European family are even further apart, such as Europe, India, China, and many of their migrations also are not fully known.
​
The most noticeable feature of Fas are the many diphthongs Ey, Ow, wO, yi, etc. Not only that, but they match closely like F tokwiByE ‘snake’, OJ tadipyi ‘viper’. Though Japanese and Korean have some reconstructions with many yi, wi, wu, wo, many believe these are just notations for unknown or unclear phonemes. There would be far too many cases of Cyi, Cwu, etc., if they described real features. However, Fas DOES contain many clusters like this. It is completely possible for a language to change i > yï, u > wï, etc., and have a stage with many w / y. Most would quickly change in some way, but nothing requires that all do so immediately.
​
As evidence of *yï giving later i in OJ, consider *yënay > yone / yona ‘grain (of rice)’, *yïnay > ine / ina ‘rice plant’. Since optional dissim. *y-y > *y-0 in *yënay > yone / yona causing *-ay > -e vs. *-a > -a seems clear, there is no reason not to have it in *yïnay > ine / ina, with the same ‘rice’ meaning. This establishes a principle that attested -i- in J. can come from OJ *yi, and that a merger of *Cyi and *Cwi is possible. That some *Cy- > C- seems needed in OJ myi- ‘water’, op- ‘carry’, *myop- > mopi ‘jug for usable water’. Whether it was pronounced myi- or mi-, adding it to -op- would create older *myop-.
Fa (Fas)
Mm (Momu = Mori);
Bb (Baibai);
Bri (Baiberi = Baifeni);
Kw (KwOmtari);
Bi (Biaka = Nai);
Gu (Guriaso);
Mf (Mafuara);
F mëkëtE , OJ mukuro ‘(dead) body’
F mo , OJ mye ‘woman’
Mm menyi ‘very’, *manay- > OJ mane- ‘many’
F minatai ‘path’, OJ myiti
F miyu ‘young’, OJ myidu- / myitu-myitu- ( < *myi(n)tu < *myirtu ?)
F fyi , OJ myi- ‘water’*Pyindō ? > *fyino > F fyi nyifo ‘rain’, OJ myidu ‘water’ (??)
F muEna , OJ myimyi ‘ear’
F mebo ‘root’, mofu ‘root/basis’, OJ moto ‘root/foundation’
F OnEy ‘rat’, OJ *nay > ne
F kEy ‘hand’, OJ *tay > te
F syëBO ‘white’, OJ sirwo-
F tokwiByE ‘snake’, OJ tadipyi ‘viper’
F kofmiyE , OJ *kamsay > kaze ‘wind’, kaza-
*kaym(b)uri > MJ kébúri ‘smoke’, J kemuri , F kamësO
Mm kum(b)yi , OJ kumwo ‘cloud’
F koO ‘tree’, OJ *koy > kwi , ko-
F koO ‘fire’, OJ *pwoy > pwi , pwo-
F sësi0 ‘sharpen’, OJ sasi ‘sharp stick’, sas- ‘prick/stab’
Mm fO , OJ puru- ‘old’
F mwaseki0, J *mwi-yonski > *mwyonski > *nwoinsi / *nwoinki > OJ nwozi / nizi, J niji , Shuri nuuji, Omu nooji, Akita nogi ‘rainbow’
F monbu / mwunbo ‘louse’, OJ musi ‘worm/insect/bug’
*xYamay > F kami ‘sky/heaven’, OJ ame , ama- , -same
*akwO > F hakO ‘egg’, OJ kwo ‘child/egg’
*ehyO ? > F eE , OJ iwo ‘fish’
​
Adding in the available data from other Kwomtari languages:
*mwïrdu ? > Kw mirE ‘wateriver’, OJ myidu ‘water’
Gu mukatu , Mf matuO , OJ me ‘eye’
Gu mʌtEnu , F muEna , OJ myimyi ‘ear’
*naomwa > Mf raomO , Gu naom ‘garden’, OJ nwo ‘field’
Bi nëkapwi ‘small’, *nipwi > OJ nipyi- , nipu- , Bb nao ‘new’
Kw tiafwe , F tokwiByE ‘snake’, OJ tadipyi ‘viper’
Bb kwotai ‘betel nut’, OJ kuri ‘chestnut’
Bi dOgu , OJ tukwi ‘moon’
OJ ipye , Kw ityE ‘house’
OJ titi , Kw tote ‘breast/milk’, Bi tOto
OJ tuti ‘earth’, Gu tobu
OJ inu , Bb wunE ‘dog’
OJ posi ‘star’, Bi mOfri , Gu wOpu
Gu fatëmu ‘wing’, Mf fatëpu , MJ foro ‘falcon’s wings’
Gu atrëm ‘mountain’, *Dàmà > OJ yama
F monbu / mwunbo ‘louse’, Bb muni , OJ musi ‘worm/insect/bug’
Bb gusi ‘mosquito’, OJ ka
​
Adding in the data from the attempt to link Japanese and Korean by Alexander Francis-Ratte shows some matches even better than those given previously:
Bb kwotai ‘betel nut’, MK kóláy ‘wild walnut’, OJ kuri ‘chestnut’
Mm menyi ‘very’, *manay- > OJ mane- ‘many’, MK ma:nhó-
*mwïrdu ? > Kw mirE ‘wateriver’, OJ myidu ‘water’, MK múl
MK mey- ‘water’, F mOya / mOyE ‘sea’
F monbu / mwunbo ‘louse’, MK mwókóy / mwókúy ‘mosquito’, OJ musi ‘worm/insect/bug’ (K/J maybe compounds)
F syëBO ‘white’, OJ sirwo-, MK sye:y- ‘whiten (of hair)’
Mm kum(b)yi , OJ kumwo ‘cloud’, MK kwúlwum
*kaym(b)uri > MJ kébúri ‘smoke’, J kemuri , F kamësO, MK ki:m ‘steam’
*naomwa > Mf raomO , Gu naom ‘garden’, OJ nwo ‘field’, MK nwón ‘wet field’
F koO ‘fire’, OJ *pwoy > pwi , pwo- , MK púl
F koO ‘tree’, OJ *koy > kwi , ko- , MK kuluh ‘tree stump’
OJ myi- ‘see’, MK mit- ‘believe’
Gu mukatu , Mf matuO , OJ me ‘eye’, ma- , K moy ‘appearance/form’
*akwO > F hakO ‘egg’, OJ kwo ‘child/egg’, MK *awko > alh ‘egg’
​
More in https://www.academia.edu/115853915/Japanese_Korean_Fas_Kwomtari_Draft_

Hello, I've been interested in making a conlang for my fantasy worldbuilding setting for quite a while but only recently started working on it. I'm looking for advice on if these sound changes are plausible for a naturalistic language.
For some in-depth context, the ancestral language is called Old Arenese. It was spoken for at least 300 years - possibly more - until it evolved into Common Arenese, which became the standard language of the Arenese Commonwealth. Common Arenese was spoken for ~450 years, but when the Commonwealth collapsed and fragmented so too did the language; resulting in five sub-groups. The modern language is Kasunarese, a lect/variety of High Arenese (one of the five sub-groups). There's a ~200-250 year difference between Common Arenese's fragmentation and the emergence of Kasunarese as a distinct variety.
Old Arenese:
Old Arenese is also noted for its high number of diphthongs, not listed here.
The following sound changes occurred as Old Arenese evolved into Common Arenese (roughly in order):

1. Vowel syncope - Short vowels were lost and long vowels were shortened between both sibilants and sonorants, but only in unstressed syllables.
2. /ʔ/ → ∅ / V_V (/ʔ/ between vowels disappears.)
3. /χ/ → /h/
4. /ʁ/ → /q/
5. /h/ → ∅ / V_V (/h/ between vowels disappears.)
6. /ai/ merged with /e/, /au/ merged with /o/
7. /ae/ changed into /ai/, /ao/ changed into /au/
8. /i/ and before vowels became glides /j/ and /w/ respectively

Common Arenese:
https://preview.redd.it/chzsd2u2aajc1.png?width=802&format=png&auto=webp&s=8033fdff6589ae5fcd493e97a503ed3d86e5c711
The following are the intended sound changes from Common Arenese to Kasunarese. I'm much more unsure about these changes (especially for the palatal stops) so suggestions are welcome.

1. /tj/ → /t͡ʃ/
2. /sj/ → /ʃ/
3. /c/ → /t͡s/ ?
4. /ɟ/ → /j/ ?
5. /q/ → /x/
6. {/f/, /w/} → /ʋ/
7. /ui/ → /y/
8. /eu/ → /ø/

Kasunarese:
https://preview.redd.it/m8io23t0dajc1.png?width=811&format=png&auto=webp&s=0dea0b7f323ec20bcf75906bb1c49f2ab4d6c322
I started on Kasunarese first before going back and working on the ancestral languages, so I do want to end up at this phonemic inventory specifically. I'm just unsure if these specific changes look naturalistic, especially within such a timeframe of only about ~1000 years.

During my last trip to Japan, hanging around Kabukicho and elsewhere, and noticing few people talking the way I was originally taught, I thought maybe "what if you tried something new?", maybe leaving that drab textbook nonsense behind and speak the way your inner Japanese animal wants to.
Introduction:
First of all, your Japanese conversational sentences are way too long and complex. You need to be saving time, expressing things in a short way, forgetting the usual care and consideration to your words that you've probably been applying.
While keigo wins out versus Teineigo by the length of the expressions, very casual Japanese wins out vs Teineigo in terms of brevity.
Very casual English is marked by insertions of swearwords and maybe a few short form verbs, whereas Japanese seems to be marked less so by just curse words, than by the short usage of casual forms in the place of their formal counterparts, and in general avoiding a higher register of the language, as well as by the usage of colloquialisms. More subtle than English to be sure that the lack of care is what constitutes 80% of the rudeness.
Pronunciation:
Through countless hours you have possibly refined your pronunciation of Japanese now in the way you were taught. Thankfully, most of it is still useful with two exceptions:
the diphthong of a and i, that is to say ai is not pronounced like I in English when it is part of a word. Rather it's pronounced "e" like え
-jikan ga nai - jikan ga neeee
-kikanai - kikanee
The other modification you probably need is to how you pronounce Japanese's troublesome "r" sound which is usually a brief brush of the tongue against the top of your mouth.
The way it is pronounced now is as those familiar with languages like Spanish would say it, a rolling R. Practice it using "Ore" (me, I) a number of times as a refresher. More of that next..
Verbs:
-First place to start here is by dropping the -masu or -imasu, -mashita or their equivalents. Use the dictionary casual form for everything as a starting point. Quick easy, and straight from the dictionary
Random examples:
ikimashita - itta
kimasu - kuru
kirikakarimashita -kirikakatta
and so on....
One of the greatest enemies of your inner animal, the full expression of subservience to society and to others is "desu". Forget it, leave it. Such a word need never pass your lips again.
Your first step is to transform "desu" into "da", it's casual equivalent.
Negation of this might be worth being precise about: "de wa arimasen" switches "de wa nai", but honestly, no one like you is going to say this as it's too long. "ja nai" works fine.
In fact even seeing anything that sounds close to -masu or -masen should be dropped. Some notable expressions:
-arigatou gozaimasu - replace this with doumo wherever
-ka mo shiremasen - ka mo shirenai (maybe)
I think you get the picture.
Negation of verbs (except for de, desu, for which you use the above):
A simpler and time-saving way that fits our purposes for the negative is to
-use the neg. casual form
-furthermore, drop the "ai" ending from your negations
ex: wakaru - wakaranai - wakaran
kamau - kamawanai - kamawan
sumu - sumanai - suman (which you can use for "sorry")
Note: on "ja nai". Often this be used at the end of a sentence to say, "isn't it so?" "that's x, isn't it?". In such a case, you make it shorter by turning "ja nai" into "jan".
Ex:
-Akemi wa bijin ja nai? - Akemi wa bijin jan?
Pronouns:
Even in our western culture, pronouns are something we provide a lot of care to. No more.
1st person pronoun: "Watashi" - this needs to be dead and forgotten as quickly as possible. some people suggest you can leave the first person pronoun out entirely, but for our purposes you should probably go for the shortest one
Replace "watashi" with: ore, or if you're feeling fancy sometimes and occasionally wish to rub it in, add -sama to it, i.e. oresama.
One exception to what other people say (regarding regular polite speak), rather than taking advice to drop the first person pronoun whenever it isn't needed, it might be advisable to use it whenever possible, enunciating the "o" of Ore. Make people know you're around and who's saying it!
2nd person pronoun: Drop the anata, don't replace with people's names with an honorific either...
go with anta (shorter and saves time) or omae, or better yet when speaking to guys, use "Teme"
3rd person pronoun: forget kare, forget names... based on where they are, follow the forms of koko, soko and asoko for these gems, all meaning "he/she****":
-koko - Koitsu
-soko - soitsu
-asoko - aitsu
Another simple alternative is to kono, sono or ano with yarou. (Note, this is to be used with men only)
Often you may know a person's name, say a guy named Yuki. In such a case, if you can't help yourself, then leave it without an honorific suffix, or use the above.
***It might be suggested that often when referring to women in such contexts, as a man, aitsu would not be used, rather "ko" an alternative reading of 娘
Kono ko, sono ko, ano ko
This would apply if its young girl we're talking about. If it's an older woman, replace
with ばあちゃん
Equally you could use jiichan for an older man if you exclude them from your ire.
plural of pronouns:
You probably learned the suffix -tachi to add plurals to pronouns.... takes too much time.
replace it with "-ra" and you're done.
Particles:
When asking questions, replace "ka" with "kai".
Ex: Wakarimashita ka? - Wakatta kai?
You possibly should be increasing your usage not just of yo, which is still rather light, but
-zo, ze - to emphasize what you're saying
-sa - when you're telling a story or expressing a feeling at the end of your sentences as an interjection
Not a particle, but if you're feeling particularly angry when talking with someone, or just to get them to wake up to whom they're speaking to, add "kora" or better yet "oikora" at the end of your sentences. (kind reminder not to remember the new pronunciation of the "r")
Imperative / Requests:
If you're feeling generous, then at least drop the kudasai, it's too long. From now on it's "kure", preferably with "yo" (just like you're speaking Korean)
Matte kure (yo)- Wait!
For cases where you're not feeling so generous, then it's the command form you should use, which is easy:
it's replacing the "u" with "e" to the dictionary whenever it's not an -iru or -eru verb
-Seikyuu wo nome! - Accept my request! (nomu)
-Zaifu wo dase! - Get that wallet out (dasu)
-Doke - go away (doku)
-iru or -eru verbs get the iro and ero endings respectively:
-Kisero / Usero! - Beat it! literally disappear (kiseru / useru)
-Otoko wo misero! - Show me the man you are. (miseru)
-Zama miro - Serves you right (miru)
Kuru is an exception, becoming "koi"
-Motte koi -Come and get it (kuru)
Other exeption is suru, which becomes "shiro"
-iikagen ni shiro - Stop it, cut it out
Negative request retains the same form: casual form + na
Kuru na - Don't come
Giving / Receiving
Learners of teineigo and keigo will have been hurting their heads trying to figure out when to use kureru, kudasaru + ageru, sashiageru and all that jazz,
Kureru, kudasaru... no time for any of that. Drop it entirely. For both to receive and get, or notice that someone did something for you, use morau (to get).
-ichimanen wo moratta - I scored 10 000 yen
-kuruma wo shuuzen yatte moratta - I got (him) to fix my car.
No time to think about whether the person did it as a favour, or whether it was done forcefully. Doesn't matter.
Ageru, sashiageru..... (to give) should be replaced with yaru.
Kane wo kashita yatta : I lent (him) some money.
Shortcuts vs. Polite language
Must form /obligational form:
-kereba ikemasen / kereba narimasen - replace with nakya from the nai form (saves a LOT of time)
Ex:
sugu konakeraba ikemasen - sugu konakya
Clause: -ru koto vs -tte
suru koto, ryoukou no koto, oyogu koto...
It all takes too long. Apart from replacing koto with a "no ga" or "no wa", you could replace it all with -tte and maybe nanka. This expresses the lack of importance of whatever it is and you can get on with saying what you want about it.
ryoukou no koto ha mendokusai desu - ryoukou tte mendokusai - Travelling is annoying/ is a hassle
odoru no ga jouzu desu - odoru tte jouzu da - Hes good at dancing
Completed form:
It should be very important to verbalise and emphasize when you've done something with some finality. In regular Japanese, this is the -te shimau form. This of course takes time that we don't have, so the -te shimau is shortened to -chatta.
-kekki wo tabete shimaimashita - kekki wo tabechatta.
-kinenbi wo wasurete shimaimashita - kinenbi wo wasurechatta
This form is very very common. It may be advisable to use this often instead of the simple -ta form.
Avoid softeners:
For sensitive clothing, softener is used. Equally Japanese uses forms that although you may not consider them at first glance to be softer forms, are in fact such.
-Deshou /darou: Though often translated as "I wonder if" "I expected that", they are often just a softer form of "da" in the same place. Therefore unless you really are using them in the meaning above, consider just replacing with "da".
-volitional form: Similarly ikimashou or ikou are used when giving light commands rather than the command form, as if you are including yourself among the person you are communicating the command to. As you are above whoever that person might be, often you may wish to replace it with the command form above.
Nuclear form:
if you're particularly (very) angry at whoever you're talking about or to, whenever they do an action (or indeed you're telling them what to do) then when describing what they're doing or what they are to do, use the stem form, adding -yagaru
Conjugation of the verb is then done via yagaru which is simpler, I think.
Vocabulary:
Similar to keigo in that obsolete way you used to be talking in, this new style has its own specialised vocabulary. The following list is non-exhaustive:
-suru, nasaru - no longer needed, use yaru
-hontou ni - just use sugoku or meccha
-utsukushii - so long.... use bijin (if referring to a person)
-taberu - too long, use kuu
-kantan - choroi
-shinu - kutabaru
-utsu - replace with yatsukeru
-okoru - mukatsuku
-tokoro, bashou - replace with hen
-korosu - barasu
-tsukareru - mairu (yes, the same as the keigo form of to go)
-tomodachi - renchuu
-kodomo - gaki
-kao - tsura
-arigatou - doumo
-konnichiwa - oi
(probably can and should replace the contents with appropriate kana and kanji but this is the first draft)

What I am confused about: my understanding was that Latin letters with macrons (ā, ē, ī, etc.) are pronounced different from words without macrons (a, e, i, etc.). For instance, Ī is pronounced like "ee" (like in eat, monkey), while I without a macron is pronounced like "ih", like in figure, or litter. E is pronounced "eh" (letter, next), while ē is pronounced like "ey" (hey, say, bay, later), and so on. Point is, each letter is pronounced different if it has a macron. HOWEVER, certain words don't seem to follow this rule. E.g., Pila seems to be pronounced pīla, puella seems not to be "puh-ehl-ah" but rather "poo-ehl-ah", as if the U was macronized. From my observation, this seems to be the case with all words that have two vowels right next to each other (that don't form an diphthong, that is); the first vowel is pronounced as if it has a macron. However, I have no idea why pila would be pronounced as if it has a macron, but not written with one.
Also, beyond this, dictionaries (namely Lewis & Short, the only one I reference) seemed originally to have solved this pronunciation problem, by adding a breve (ă, ĕ, ĭ, ŏ, ŭ, y̆) to letters pronounced with macrons, but not written as one. Using the examples above, Lewis and Short listed pila as "pĭla", and puella as "pŭella". However, other words seem to defy this logic. For instance, hic is listed as "hīc" on Lewis and Short, yet it is pronounced still "hic".
Does anybody understand any of this? I'm sure there's logic to it somehow, but I don't get it. How am I supposed to know how words are pronounced? The only things I've found about this talk about how a breve means a vowel or a syllable is short (e.g., not macronized), but that doesn't seem to add up, so I figured they were talking about something else. Any help would be appreciated.
(Just to be clear, I am referring exclusively to Classical Latin pronunciation, if that is the kind of Latin used by Caesar, Cicero, Phaedrus, and the guidelines to pronunciation in the Companion book to Lingua Latina per se Illustrata)
EDIT: Another good example of the strange inconsistency between macron and non-macron pronunciation is cōnspēxit, where the ō is pronounced like o (without a macron), but the ē is pronounced as it should be.
TLDR; Why are some letters not macronized but pronounced as if they are? (e.g., puella, pila). Also, is it the case that dictionaries tried to solve this by adding breves to vowels that are like this (e.g., pŭella, pĭla), and if so, why is this not the case with hic (which is listed as hīc in Lewis & Short, for some reason)? I'm referring exclusively to Classical Latin pronunication.

The features of the Chavek /'tʃɒ.vɛk/ language.
Consonants

	Bilab.		Labio.	Dent.	Alveo.		Palve.	Platial	Velar.		Uvular	Glott.
Plos.	p/pʰ b/bʰ				t d				k g/gʷ			ʔ (ʾ)
Nasal	m				n
Fric.					z zʰ
Lfric.			v/vʷ (vw)	θ (th)			ʃ⁠ (s)
Aprox					ɹ (r)			j (y)
Trill											ʀ/ʁ*
Lapr.					l

*Pronunciation depends on formality of speech, ⟨ʀ⟩ is a formal high-class pronunciation while ⟨ʁ⟩ is common speech. For the purposes of accuracy all instances shall be written ⟨ʁ⟩, for it is by far the most common pronunciation.
Consonant clusters, Chavek has very few consonant clusters but the ones allowed are: ch /tʃ⁠/, kl /kl/, pn /pṉ/and tl /t͡ɬ/. Almost all of these are from from loanwords, with the notable exception of /tʃ⁠/. Which, to a speaker of Chavek, is not a consonant cluster but a full consonant with its own letter and name (char /tʃ⁠ɒɹ/).
Consonant Transcription: b /b/, bh /bʰ/, t /t/, d /d/, p /p/, ph /pʰ/ g /g/, gw /gʷ/ r /ɹ/, ř /ʀ/ or /ʁ/, h /h/, k /k/, l /l/, m /m/, n /n/, s /ʃ⁠/, ch /tʃ⁠/, th /θ/, v /v/, vw /vʷ/, z /z/, zh /zʰ/, ʾ /ʔ/
Vowels

	Front	Central	Back
Close			ʊ (u)
Close-mid	ɪ (i)	ə (ă)	o
Open-mid	ɛ (e)
Open	a (â)		ɒ (a)

Diphthongs: ai /ɒɪ/, au /ɒʊ/, âu /aʊ/, âă /aə/, eâ /ɛa/, eu /ɛʊ/, iu /ɪʊ/, ie /ɪɛ/, iă /ɪə/, uă /ʊə/
Only a single vowel or a dipthong can follow a vowel, so there is no need for extra notation on the diphthongs due to a lack of ambiguity.
(C)V(C)(Case) structure, final consonant of word merges with case suffix (Ex: Chanevem /tʃɒ.nɛ.vɛm/, cha-ne-vem). There are a few particles and prefixes which are just vowels on their own, though they are very rare and usually the result of consonant reduction. Verbs and adjectives have more leeway, and are able to end in vowels without much fuss.
Nouns Number Nous have three numbers: singular, plural, and ambiguous/unknown (used when the number isn't known or when asking a question; EX: "I have horses(plur)" "horses(amb)?" "five horses(plur)").
Plurality is indicated by lengthening the case vowel, and ambiguity is generally indicated by fronting or backing it (depending on the case vowel).
Cases Nouns have four cases, each with four genders and three numbers.

Nominative	The subject of a verb (Jim hit me with his sword).
Accusative	The object of a verb (Jim hit *me *with his sword), direct or indirect.
Genitive	The possessor of another noun (Jim hit me with his *sword), nouns that alter other nouns (the table is *made from wood), and relative statements or from-place constructions (English, German, Latin, etc).
Instrumental	A noun being used by another noun (Jim hit me with his sword), also retains some elements of a defunct locative case and is used in phrases like Jim is at the house.

Inanimate

	Singular	Plural	Ambiguous
Nominative	-ar /ɒɹ/	-aar /ɒ:ɹ/	-âr /aɹ/
Accusative	-an /ɒn/	-aan /ɒ:n/	-ân /an/
Genitive	-ak /ɒk/	-aak /ɒ:k/	-âk /ak/
Instrumental	-ab /ɒb/	-aaph /ɒ:pʰ/	-âb /ab/

Semi-Animate

	Singular	Plural	Ambiguous
Nominative	-oh /oh/	-ooh /o:h/	-uh /ʊh/
Accusative	-on /on/	-oon /o:n/	-un /ʊn/
Genitive	-ok /ok/	-ook /o:k/	-uk /ʊk/
Instrumental	-op /op/	-ooph /o:pʰ/	-up /ʊp/

Animal
Note: the ambiguous case is irregular and is nearly-identical to the animate gender, this is due to the two being one gender in Old Nothran (the parent language of the family Chavek is a part of).

	Singular	Plural	Ambiguous
Nominative	-im /ɪm/	-iim /ɪ:m/	-ăm /əm/
Accusative	-in /ɪn/	-iin /ɪ:n/	-ăn /ən/
Genitive	-ik /ɪk/	-iik /ɪ:k/	-ăk /ək/
Instrumental	-ip /ɪp/	-iiph /ɪ:pʰ/	-ăp /əp/

Animate

	Singular	Plural	Ambiguous
Nominative	-em /ɛm/	-eem /ɛ:m/	-ăm /əm/
Accusative	-en /ɛn/	-een /ɛ:n/	-ăn /ən/
Genitive	-ek /ɛk/	-eek /ɛ:k/	-ăk /ək/
Instrumental	-eb /ɛb/	-eebh /ɛ:bʰ/	-ăp /əb/

Pronouns There are different pronouns for each case, with them generally becoming more complicated as the level of animacy increases. Pronouns generally inflect based on their grammatical gender.
A physical gender can be added to grammatically gendered pronouns with the following prefixes.

Masculine	Feminine	Neuter
â- /a/	o- /o/	u- /ʊ/

EX: â-chem /a.'tʃɛm/ "he", o-naar /o.'nɒ:ɹ/ "her (inanimate)", u-chăn /ʊ.'tʃən/ "they (ambiguous, animal/animate)."
First Person: By definition, first-person pronouns can only be used by at least semi-animate creatures. There are only two first person pronouns, for semi-animate and animal/animate.
Semi-Animate

	Singular (I)	Plural (we)	Ambiguous (we?)
Nominative	noh /noh/	nooh /no:h/	nuh /nʊh/
Accusative	non /non/	noon /no:n/	nun /nʊn/
Genitive	nok /nok/	nook /no:k/	nuk /nʊk/
Instrumental	nop /nop/	nooph /o:pʰ/	nup /nʊp/

Animal/Animate

	Singular	Plural	Ambiguous
Nominative	ve(m) /vɛ(m)/*	veem /vɛ:m/	văm /vəm/
Accusative	ven /vɛn/	veen /vɛ:n/	văn /vən/
Genitive	vek /vɛk/	veek /vɛ:k/	văk /vək/
Instrumental	veb /vɛb/	veebh /vɛ:bʰ/	văp /vəb/

*The final consonant of the nominative case is often dropped in casual speech, this goes for every noun but is especially common in pronouns.
Second Person: Chavek has a t-v distinction between formal and informal, along with number and gender. It does not account for physical gender, though honorifics are attached to account for this (to be devised later). Everything is shown in animate form, but the inflection can be changed to alter gender based on who you're talking to.

	Informal Sing.	Informal Plur.	Informal Amb.	Formal Sing.	Formal Plur.	Formal Amb.
Nominative	gemem /'gɛ.mɛm/	gemeem /'gɛm.ɛ:m/	gemăm /'gɛ.məm/	řethem /'ʁɛ.θɛm/	řetheem /'ʁɛ.θɛ:m/	řethăm /'ʁɛ.θəm/
Accusative	genen /'gɛ.nɛn/	geneen /'gɛn.ɛ:n/	genăn /'gɛ.nən/	řenen /'ʁɛ.nɛn/	řeneen /'ʁɛ.nɛ:n/	řenăn /'ʁɛ.nən/
Genitive	gâhek /'ga.hɛk/	gâheek /'ga.hɛ:k/	gâhăk /'ga.hək/	řahek /'ʁɒ.hɛk/	řaheek /'ʁɒ.hɛ:k/	řahăk /'ʁɒ.hək/
Instrumental	gâreb /'ga.ɹɛb/	gâreebh /'ga.ɹɛ:bʰ/	gârăp /'ga.ɹəb/	řaneb /'ʁɒ.nɛb/	řaneebh /'ʁɒ.nɛ:bʰ/	řanăp /'ʁɒ.nəb/

Note: if the case of what you're speaking too is unknown (such as not knowing if you should speak to a talking fox as a spirit, animal, or animate creature) most default to a higher level of animacy.
Third Person: Inanimate These pronouns are rarely gendered, and only done so when discussing something that represents something with a personal gender (like a statue).

	Singular	Plural	Ambiguous
Nominative	nar /nɒv/	naar /nɒ:ɹ/	nâr /naɹ/
Accusative	nan /nɒn/	naan /nɒ:n/	nân /nan/
Genitive	nak /nɒk/	naak /nɒ:k/	nâk /nak/
Instrumental	nab /nɒb/	naaph /nɒ:pʰ/	nâb /nab/

Semi-Animate

	Singular	Plural	Ambiguous
Nominative	voh /voh/	vooh /vo:h/	vuh /vʊh/
Accusative	von /von/	voon /vo:n/	vun /vʊn/
Genitive	vok /vok/	vook /vo:k/	vuk /vʊk/
Instrumental	vop /vop/	voop /vo:pʰ/	vup /vʊp/

Animals

	Singular	Plural	Ambiguous
Nominative	chim /tʃɪm/	chiim /tʃɪ:m/	chăm /tʃəm/
Accusative	chin /tʃɪn/	chiin /tʃɪ:n/	chăn /tʃən/
Genitive	chik /tʃɪk/	chiik /tʃɪ:k/	chăk /tʃək/
Instrumental	chip /tʃɪp/	chiiph /tʃɪ:pʰ/	chăp /tʃəp/

Animate

	Singular	Plural	Ambiguous
Nominative	chem /tʃɛm/	cheem /tʃɛ:m/	chăm /tʃəm/
Accusative	chen /tʃɛn/	cheen /tʃɛ:n/	chăn /tʃən/
Genitive	chek /tʃɛk/	cheek /tʃɛ:k/	chăk /tʃək/
Instrumental	cheb /tʃɛb/	cheebh /tʃɛ:bʰ/	chăp /tʃəb/

Articles Chavek has three articles that attach as prefixes, which do not inflect for case or number, only gender. It does not have an indefinite article, as the indefinite is implied by the noun being in the singular number. The negation article can be added before one of the other two articles to indicate a lack of the noun present, or it can be used on its own with a plural word.
Articles attach to all nouns in a noun phrase.

	Inanimate	Semi-Animant	Animals	Animate
Definite (the, a particular member of a group)	na- /nɒ/	mo- /mo/	hai- /hɒɪ/	he- /hɛ/
Proper (indicates a proper name)	ka- /kɒ/	ro- /ɹo/	nai- /nɒɪ/	ne- /nɛ/
Negative (negates the noun that follows)	řă- /ʁə/
(řăna-, řăka-)	lo- /lo/
(lomo, loro)	mai- /mɒɪ/
(maihai, mainai)	me- /mɛ/
(mehe, mene)

Verbs Verbs conjugate based on the tense, mood, number, and case of the subject; but not gender. There are two kinds of verbs, strong verbs and weak verbs. Strong verbs conjugate based on an ablaut with four stems (the 'a', 'e', 'i' and 'âi' stems, named after the shape the vowel takes in present tense). While weak verbs are usually loan words or words who's ablauts have become non-regular due to sound changes from Old Nothran.
Strong verbs are constructed with a minimum of one vowel, which conjugates for tense and mood. This is usually the last vowel, other vowels do not conjugate.
Tense Chavek verbs can take on three tenses: past, present, and future. There is no conjugated perfect tense, but if needed it can be indicated by the use of additional verbs. Most commonly the word 'tař'. There is technically no continuous tense, as such a state is implied in the present tense, but constructions made with ''tař'' can be interpreted as such if placed in the present tense. Ex: "chem haban tař," 'they are running'. This is mostly used for emphasis ('they are running').
Note: 'tař' is only used as an adverb relating to tense, it is not used for other versions of 'to be'. The way to form a copula in sentences like "he is a fireman" or "I am sad" is by use of the word semin /'ʃ⁠ɛ.mɪn/ (literally it means: 'exists' or 'exists as').
Weak Vowel Tense Markings They are applied as a series of prefixes to weak vowels, usually loan words or otherwise irregular vowels. They're primarily based on the 'a' stem.

Past	Present	Future
tâ- /ta/	na- /nɒ/	ge- /gɛ/

Perfect Tense The past tense is formed via use of the word tař /tɒʁ/. It is an a-stem word that means 'to be', but only in the sense of actions. It is used with all forms of verbs to form the perfect tense. Ex: "habân tâř" /taʁ 'hɒ.ban/, "had run"; and "ge-neetleu tăř" /gɛ.nɛː.t͡ɬɛʊ təʁ/, "will prospect (for ore/gems)" (from the dwarvish nëtlteu /neːt͡ɬ.tɛʊ̯/, meaning "mining prospect").
Mood Verbs have three moods: indicative, subjective, and imperative. They are shown in strong verbs via the ultimate vowel
The indicative is used for statements of fact, of which the speaker is sure of their validity. The subjective is used for statements of which the speaker is either unsure, or expressing their own opinion. The imperative is used for issuing orders, commands, requests, and other similar phrases.
A Stem

	Past			Present			Future
Ind.	-â- /a/			-a- /ɒ/			-ă- /ə/
Sub.	-âi- /aɪ/			-ai- /ɒɪ/			-âă- /aə/
Imp.	-âu- /aʊ/			-au- /ɒʊ/			-ăă- /ə:/

E stem

	Past			Present			Future
Ind.	-eâ- /ɛa/			-e- /ɛ/			-eă- /ɛə/
Sub.	-ei- /ɛɪ/			-ei- /ɛɪ/			-iă- /ɪə/
Imp.	-eu- /ɛʊ/			-eu- /ɛʊ/			-ee- /ɛ:/

I stem

	Past			Present			Future
Ind.	-iă- /ɪə/			-i- /ɪ/			-ie- /ɪɛ/
Sub.	-ie- /ɪɛ/			-ia- /ɪɒ/			-iă- /ɪə/
Imp.	-iu- /ɪʊ/			-iu- /ɪʊ/			-io- /ɪo/

ÂI stem

	Past			Present			Future
Ind.	-âă- /aə/			-âi- /aɪ/			-â- /a/
Sub.	-âe- /aɛ/			-â- /a/			-âă- /aə/
Imp.	-âu- /aʊ/			-ău- /aʊ/			-iă- /ɪə/

Weak Verbs The mood of weak verbs are formed via auxiliary verbs, with specific word choice coming down to the preference of the writer. Some are listed here, along with their stems. They are placed after the verb, before adverbs and adjectives. All of them are also used to emphasize the conjugation of strong verbs, usually forming a much stronger mood than when used with weak verbs.

Auxiliary Verbs	Literal Meaning and use.	Mood
tař	"Is/to be," when used without other adverbs it forms a declaratory statement with an implied perfect state. "O-chem tâ-kařtau tâř," 'she cut a gem.' (Kartau is a dwarvish loanword meaning 'to cut gems').	Indicative
kâith /kaɪθ/	"Thinks," used in phrases like "nar na-salet kâith", '(I believe that) it crumbles.'	Subjective
zhaʾen /zʰɒ.ʔɛn/, e-stem.	"Must/needs to," used in phrases like "chem ge-nine zhaʾen," 'they must sing.'	Imperative

Adjectives Adjectives are rather simple, in that they do not inflect and come right after the noun or verb they modify. Due to this they are some of the most phonologically diverse words of the Chavek language, often breaking its word-structure due to loanwords.
Adverbs All verbs can technically function as adverbs, during which they inflect to match the verb they follow, though how understandable they are varies considerably. For an English example of what this means: "he ran strong(ly)." It's not technically grammatically incorrect, it's just not that sensible of a choice.
Noun-Verbs Making a noun into a verb is a rather simple process that entails placing the noun in the genitive case after an adjective and applying the prefix yă- /jə/. For example: "â-chem haban yă-nodik," "he runs like a bear" (lit: masq.pron.1st. run.present NVprefix-bear.gen). If a noun is used without the prefix it would imply that it is somehow affecting the verb to become the noun, which is definitely not sensible.
NUMBERS (Work In Progress) Base 12, with a multiplaction-based
1- sen /ʃ⁠ɛn/ 2- nen / nɛn/ 3- zhan /zʰɒn/ 4- then /θɛn/ 5- len /lɛn/ 6- chien /tʃ⁠ɪɛn/ 7- bhen /bʰɛn/ 8- ken /kɛn/ 9- vwien /vʷɪɛn/ 10- genen /'gɛn.ɛn/ 11- thân /θan/ 12- gwăř /gʷəʁ/
Preliminary Dictionary
gemem /gɛ.mɛm/, noun: informal second person pronoun.
haban /'hɒ.bɒn/, verb: run, to run, running.
kâith /kaɪθ/, verb, âi-stem: think, to think, thinking.
kartau /kɒř. tɒʊ/, verb: cut gems, fasten gems, make jewelry.
neetleu /nɛː.t͡ɬɛʊ/, from dwarvish nëtlteu /neːt͡ɬ.tɛʊ̯/, verb, weak: prospect for ore, search for object of one's desire (metaphorical/poetic)
nodim /'no.dɪn/, noun: bear.
semin /'ʃ⁠ɛ.mɪn/, verb, strong i-stem:

Def 1: Copula, used to connect the subject to the subject complement. Def 2: exist, existing, to be in a state of existence. 

řethem /'ʁɛ.θɛm/, noun: formal second person pronoun.
tař /tɒʁ/, adverb, strong a-stem: Used to form the perfect/continuous tense of verbs. Example: "chem habân tâř," "they have run.
zhaʾen /zʰɒ.ʔɛn/, adverb, e-stem: must, must do this, needs to do this.
So, what do you think? I know this was a lot, but I really want to catch any mistakes I may have made now before they get too imbedded into the language. Also, there is a lack of /j/ /ʔ/ and /ʁ/ in the language due to them just recently being added to the phonology (its supposed to sound like a mix of German and Arabic, and I realized it was missing some pretty important sounds both of them have).

I’ve seen multiple mentions of how compatible Toki Pona is with Bengali, phonetically speaking, but I am yet to see Toki Pona written using the Eastern Nagari script. To my knowledge, it seems it has not been done before. So, I decided to go ahead and make the writing system myself. Letters in the script can have slight variations in pronunciation in the handful of different languages that share it, but I have designed it to be completely intuitive for anyone already familiar with the writing system, regardless of which language they may typically write with it. If you aren’t and this is literally your first time ever seeing it, that’s perfectly fine too. Don’t be scared; it’s easy!
It’s important to note that this script is an abugida, which means vowels are considered inferior to consonants, and that standalone consonants are read with an implied vowel. The exception is the final consonant of a word, for which the implied vowel is dropped. In Standard Bengali, this vowel is pronounced [ɔ] or [o] depending on some grammatical rules that we don’t need to get into, because [ɔ] doesn’t exist in Toki Pona anyway. We can simplify this implied vowel to always be pronounced as [o], but we won’t be using it to represent the “o” sound in Toki Pona. We’ll have a dedicated letter for that.
You only write the full form of the vowel if it is the first letter of a word, or if it is the second vowel in a diphthong, but we don’t have those in Toki Pona so we won’t really need to worry about that too much. In a word like “awen,” you would write out the full glyph for “a.” If it is going to be pronounced with a consonant, like all of the vowels in a word such as “kulupu” you add diacritics to the consonant to change the vowel from the implied vowel to your vowel of choice. It is important to note that unlike in an abjad, it is imperative to mark these diacritics. So, even though the consonants in the word are ক, ল, প, and উ is the vowel u, “kulupu” is written as “কুলুপু,”where the glyph উ is nowhere to be seen.
So, here’s the alphabet! (CHECK COMMENTS FOR REVISED ALPHABET)
Vowels:
a (আ/া) e (এ/ে) i (ই/ি) o (ও/ো) u (উ/ু) w (উ)
Consonants:
jo (য) ko (ক) lo (ল) mo (ম) no (ন/্) po (প) so (স) to (ট)
W, the special vowel:
You may have noticed that “w” has been listed as a vowel, and if you’re particularly attentive, that it is completely identical to “u.” This is because despite the “w” sound featuring all over the languages that use this script, it doesn’t actually have a character for the letter. Rather, the sound is made in several diphthongs, which are written in various ways. I have simplified this as best I could into mostly just one way.
Basically, think of “w” as a counterpart to “u,” but one that pairs with other vowels rather than to a dominant consonant like the other vowels. It essentially is just “u” if you really think about it, except you slide it in between vowels instead of consonants as a sort of “vowel glue.” Let’s revisit the word “awen.” It starts with আ, and then the next letter is going to be উ, giving us আউ (aw/au) so far. Usually, if we were to add the vowel “e” to a consonant, we would write the diacritic ে. However, since “w” is actually a vowel here, adding “e” is actually creating a diphthong, so the full form এ must be used. Adding ন for “n,” this completes the full word: আউএন.
If you’re wondering, this is also why the diacritic ু exclusively refers to “u” and never “w,” because “w” never features adjacent to a consonant in Toki Pona. A word like “kiwen” would be broken down into four units: ki, w (u), e, and n (কি উ এ ন > কিউএন). Despite being a longer word than “kiwen” in Latin characters, a word like “palisa” is only three units in the Bengali-Assamese script: pa, li, and sa (পা লি সা > পালিসা). A word like “weka” would be first broken into w (u), e, and ka before being put together into উএকা.
Consonant Conjuncts:
There’s just one last tricky thing you need to note. Remember the implied vowel? It makes spellings like উনপা read as “unopa.” You will only ever run into this problem with the consonant “n” or ন, as this is the only consonant that any syllable is allowed to end in. It also will never occur with “nm,” as this conjunct is not allowed in Toki Pona. Specifically, it will occur whenever there is an “n” in the middle of a word that isn’t immediately followed by a vowel, because the script assumes an implied vowel. To fix it, we simply attach the diacritic ্ to a consonant in order to remove its inherent vowel without replacing it with another vowel. Adding this diacritic to ন forms ন্, which will present itself as উন্পা. So, “tenpo” would be টেন্পো, not টেনপো (tenopo), and “monsi” would be মোন্সি, not মোনসি (monosi). It may look a bit scary, but all I’m doing is adding the diacritic ্ in between the n and the following consonant to turn it from ন (no) to ন্ (n), keeping the pronunciation consistent with Toki Pona phonology.
And that’s pretty much it! It turns out that টোকি পোনা is incredibly compatible with this writing system, and it’s quite fun to use. I guess all that’s left is a নিমি. You can call it সিটেলেন পান্লা, সিটেলেন ওসোমিযা, or, more correctly, সিটেলেন পান্লাসোমিযা! Before I go, here are some common words:
টোকি পোনা ইকে মি সিনা ওনা উআন টু লুকা আলে আলি আলা মুটে যান সোউএলি কালা উাসো আকেসি কাসি কিলি কুলে উআলো পিমেযা লোযে যেলো লাসো আ এ ও লি পি নি এন লা লোন কিন ইন্সা মা কেপেকেন আন্টে সামা সুলি লিলি
See if you can read them, and try messing around to see what you can write yourself! ওলিন পোনা!

I put together a language creation template. What do you think? Any ideas?I am still a novice, but I have put together this from what I have learned playing around.
Conlang Grammar Template

1. Phonology & Orthography

• Consonants: Complete list and orthographic representation, including allophones.
• Vowels: Complete list and orthographic representation, including allophones.
• Diphthongs: List and notation.
• Syllable Structure: Rules, patterns, and phonotactics.
• Stress & Intonation: Rules for emphasis, pitch, and prosody.

1. Morphology

• Nouns
  • Gender (masculine, feminine, neuter, etc.)
  • Number (singular, plural, dual, etc.)
  • Case (nominative, accusative, genitive, dative, etc.)
  • Declension patterns
  • Derivation methods for class changes (e.g., noun to adjective)
• Verbs
  • Tense (past, present, future, etc.)
  • Aspect (perfective, imperfective, progressive, etc.)
  • Mood (indicative, imperative, subjunctive, conditional, etc.)
  • Voice (active, passive, middle, etc.)
  • Person (first, second, third)
  • Number (singular, plural)
  • Conjugation patterns
• Pronouns
  • Personal (I, you, he/she/it, etc.)
  • Possessive (my, your, his/her, etc.)
  • Demonstrative (this, that, these, those)
  • Interrogative (who, what, where, etc.)
  • Relative (who, whom, which, that)
  • Reflexive (myself, yourself, himself, etc.)
  • Reciprocal (each other, one another)
  • Indefinite (someone, anything, etc.)
• Articles
  • Definite (the)
  • Indefinite (a, an)
• Adjectives
  • Agreement with nouns (gender, number, case)
  • Comparative and superlative forms
• Adverbs
  • Manner, place, time, frequency, degree
• Prepositions
  • Simple (in, on, at)
  • Complex (in front of, next to, etc.)
• Conjunctions
  • Coordinating (and, but, or)
  • Subordinating (because, although, if)
  • Correlative (either...or, neither...nor)
• Interjections

1. Syntax

• Word Order: Basic and alternate sentence structures (SVO, SOV, VSO, etc.).
• Modifiers: Rules for adjective and adverb placement.
• Negation: Construction of negative sentences.
• Questions: Formulation of yes/no and open-ended questions.
• Relative Clauses: Creation and integration.
• Direct & Indirect Speech: Conventions and transformations.
• Compound Sentences: Use of coordinating conjunctions.
• Complex Sentences: Use of subordinating conjunctions.
• Clause Linking: Rules for combining clauses.
• Ellipsis: Guidelines for omitted structures.

1. Semantics

• Quantifiers: Expressions for quantity and degree.
• Determiners: Words that precede nouns (articles, demonstratives, etc.).
• Degree Words: Enhancers or diminishers of adjectives/adverbs.
• Meaning in Context: How meanings change in different scenarios.
• Metaphors and Idioms: Conventional figurative expressions.

1. Pragmatics

• Formality Levels: Distinctions in formality and politeness.
• Registers: Language use variations in different contexts.
• Speech Acts: How utterances perform actions (e.g., requests, promises).

1. Particles

• Grammatical Particles: Functional words for grammatical purposes (e.g., tense, negation, interrogation).
• Discourse Particles: Words that organize discourse (e.g., however, moreover).
• Case Particles: Words that mark grammatical case.

1. Auxiliaries

• Aspectual Auxiliaries: Words that provide temporal context, specifying if they are words, clitics, or affixes.
• Modal Auxiliaries: Words that express necessity, possibility, permission, etc.

1. Discourse Markers

• Transitional Phrases: Words and phrases for discourse cohesion.
• Filler Words: Utterances to manage conversation flow and pacing.
• Topic Markers and Focus Particles: Words that indicate topic and emphasis.

1. Honorifics & Politeness

• Honorific Forms: Terms and grammatical forms showing respect.
• Politeness Levels: Variations according to social status or intimacy.
• Variation with Verbs and Nouns: Changes in form with different parts of speech.

1. Non-Verbal Communication

• Gestures: Description of gestures that accompany speech.
• Facial Expressions: Use of facial expressions to convey meaning.
• Body Language: Including proxemics and other non-verbal cues.

1. Writing System

• Script Type: Alphabet, syllabary, logography, etc.
• Direction: Left-to-right, right-to-left, top-to-bottom, etc.
• Punctuation: Usage of punctuation marks.
• Calligraphy and Style: Variations for artistic and functional use.
• Orthographic Depth: Relationship between spelling and pronunciation.

1. Lexicon

• Word Formation: Processes to create new words (compounding, affixation, etc.).
• Borrowing: Adoption of words from other languages.
• Neologisms: Creation of entirely new words.
• Semantic Fields: Detailed areas such as kinship, colors, etc.
• Idioms and Slang: Including colloquial expressions.
• Taboos and Euphemisms: Words and expressions for sensitive topics.

This time, I'll talk a bit about how spelling in zonai works. The basis of it lies within the list of Shrine names and their need to be condensed into fourteen basic letter (the zonai glyphs). Depending on how you count, there's somewhere around 24 to 30ish unique letters (depends in part if you count digraphs as unique letters like ch or sh since they most often represent unique sounds).
One thing to note is that the Shrine names are theorized to be anagrams of real life shrines located in Kyoto, Japan (even some of their locations line up to real world locations which is really cool). So that there is a distinct "almost" Japanese feel to them isn't really surprising. You get common clusters to Japanese like kyo and ryo and tsu. You get "n" as the only thing allowed as a coda consonant.
But you also get some weirder stuff like the strange "c"s that occur only at the end of words. Or the one instance of "yn" word finally as well. Other letters are rare as well, like "f" and "p", "b", and "z", or that "w" only really occurs at word boundaries or in the sequence "wak#".
In other words, my set of fourteen needed to handle these odd occurrences.
My initial draft of the fourteen included "a". It occurs 178 (16.6%) times in the Shrine name list, the most often used letter (the next being i at 124 (11.6%), with both o and u at 94 (8.8%) and 93 (8.7%) respectively. E sits way lower at 22 occurrences (2%). Compare this to Japanese (which has something more like u (23.5%), a (23.4%), i (21.5%), o (20.6%), and e (10.9%)) you'll notice it's similar, be more skewed, whereas Japanese is much more evenly distributed between the four main vowels (of course with a bigger dataset it might even out more but we'll take it).
So, because "a" has five percent more instances than the next lettevowel, I decided that this is something that easily could be "not written." In other words, consonants have an inherent "a" the is supplanted by any other vowel that follows, making zonai likely an alphasyllabary.
"-" itself is an odd character. It's got remarkablely consistent distribution. It occurs only between two of the same vowel (like a-a) or "n" and a vowel (n-a), but never with "e". I would have chalked it up to just a writing mechanic marking long vowels and geminate "n" if there weren't the two occurrences of "oo" and "uu" (smh), so, it required its own thing, its own letter.
However, this ended up a boon in disguise because it let me create digraphs with other consonants, helping me expand my phone-to-grapheme inventory:
m- (my/p) n- (ny) - (well talk about how and why there's both ny and n- as separate things in a bit) r- (ry/w) k- (ky/y) t- (ch/ts) s- (sh/c) z- (b) j- (d) h- (g)
Note: "my" as a cluster never actually appears in the shrine list, but it fit with the series and helps me out later because "p" has given me much trouble on where it fits in the inventory. I initially grouped it in a very odd grouping as the main phoneme with "b", "w", and "z".
These four letters had some of the least amount of any occurrences within the list, but some of the most problematic distributions which hindered me grouping them with more logical phonemes. They fit together...decently...but there were complicated rules to get each one (like that you had to fit the environment of "b" before you could get "w"s environment), and looking through a compilation of common sound changes across languages you never really saw "z" as a viable option for any of the other three. (This is also why I had "p" as a letter a while back but then switched it to "z").
I've always sorta considered my palatalized n, k ,r, and m as separate phonemes than they're unpalatalized versions and it wasn't until it hit me that they have very small distributions that I was able to make a better set of allophony that matches the patterns of the rest of the inventory. It also helped me fix my reoccurring "w" and "y" problem. "Y" i initially had as an allophone of "e", and that worked decently, but since I was using "e" to help in diphthongs as "a" (since "e" never occurs in diphthongs, only in monophthongs), there were a few times where it'd cause problems on choosing whether it'd go to "y" or "a". And "w" I tried making an allophone of "-" for a bit but it was giving me similar problems.
This change also had the benefit of reducing and simplifying the amount of rules/environments that allophony could occur, making them much easier to remember.
I know that these are still just weird as pairings, both the digraphs and the allophones. Some are not very realistic but there wasn't much I could do considering what I had to work with. I'm sure someone could make a better version, but you know what, it's quirky, it works, and I rather like how it turned out.
Let's get into the details.
Of the allophony that occurs within Zonai, it really only occurs within the hyphen digraphs, which makes remembering them a whole lot easier. The digraphs, by nature occur way less frequently than their monograph counterparts.
Here is the allophony:
/mj/ -> [p] / redups°, _(V){h(-),N}° - "my" goes to "p" in reduplication and before or after any "h" or nasal with or without a vowel between.
/rj/ > [w] / _{k(-),#}° - "ry" goes to "w" following or preceding any "k" or word initially/finally ("k" will have an inherant "a" between it and "w")
/y/ > [kj] / #_o°, _e° (bar #_om°, _eV°) - "y" goes to "ky" before or following "o" when word initial/final except when "o" is followed or preceded by "m". It also goes when before or following "e" except when "e" is part of a diphthong) - this one's a bit odd since it makes it seem like "y" is the phone, but I still consider "ky" to be it, but is being slowly suppleted by "y"
*/b/ -> [f] / _u° (bar #_u°) * -"b" goes to "f" when before "u" only word internally
/tʃ/ -> [ts] / _u°, #_° (bar #_i°) - "ch" goes to "ts" before or after "u" or at word boundaries, except when "i" follows in the word boundary environment
/ʃ/ -> [ç] / _#° - "sh" goes to "c" when at word boundaries.
/e/ -> [a] / _V° - "e" goes to "a" before or after another vowel

• two of same vowel makes a long vowel, so /o/ = [oː]

-Note, I'm including ° in these to indicate that the reverse of these rules is true as well (basically #_ as well as _#, hence the awkward wording of the rules ("before or following")), this is a very important thing in Zonai, as spelling has to work both forward and backward. It gave me so so so much trouble and is one of the reasons why making allophony work properly was such a pain.
In addition to this, there are some not necessarily allophonic rules (which get spelled as like such in the romanization), as spelling rules for the zonai glyphs.
There's a few things I needed to solve,
-how to get "n-a" (or other vowel) as it occurs in the rom/shrine list rather than "n-" to "ny" as I have in my digraph system.
-how to get "a" when not in the environment of a consonant
-how to get consonants without "a" at the ends of words.
-how to make "a-a" (and other vowels) appear more common than it does within zonai glyphs. (Since it's a decently common thing in the shrine names list)
The methods of doing so center mostly around the letters "e", "-", and especially "h".
Here's my rule set:
The basics: - consonants have an underlying "a", so writing CC (C stands for any consonant) is understood as CaCa

• at the end of words, the inherent "a" drops off, so CaCa becomes CaC
  
• if a consonant is followed by a vowel (e, i, o, or u), it replaces the inherent "a", so CaV= CV eg. k(a)i = ki
  

Using "-": (representing glottal stop) - hyphen word initially has an inherant "a" if followed by a consonant. So "-t" = "-at", but "-ot" is as is.

• consonants followed by hyphen represent corresponding digraphs (list above), so "n-" = "nya" (not "n-a") and "n-e" = "nye"
  
• vowels followed by hyphen represent the vowel hyphen vowel sequence, so "o-" = "o-o". "E" changes to "a" in this instance, so "e-" = "a-a." Vowels followed by two hyphens extend the sequence, so "o--" = "o-o-o". If followed by another vowel, it creates an ending diphthong, so "o--u" = "o-o-ou". Two of the same vowel makes a long vowel, so "o--o" = "o-o-oo".
  

Using "h" and inherent vowel: - use "h" at word boundaries preceding or following a consonant to force an inherent "a" to stay. The "h" doesn't typically stay unless the word is a monosyllable. So isaha#° = isa#° and #hado° = #ado°, but taha#° = tah°

• "h" will stay at word boundaries if preceded by another "h" or a different vowel than the inherent one. So kthh° = katah° or ktoh° = katoh° (without "h" it'd just be kato°)

Using "h" and "e" diphthongs: - normally when an "e" occurs with another vowel it changes to an "a", there is however in the shrine list there is one instance of "eu" at the beginning of a word, so placing "h" next to a cluster containing "e" causes the "e" to remain "e". So #heu° = #eu° (I haven't yet decided if this is only at word boundaries or if it extends past this.)
Using "h" in clusters: - clusters (meaning those made using "n") are written using an "h" between the "n" and the consonant. So nhk° = nka° rather than nak° and nhh° = nha° rather than nahah°

• to get "n-o" rather than "nyo", you need to place an "h" before the "n", so "hn-o" = "n-o"

One last thing.
Zonai has the distinct problem of being perfectly able to reverse. I say problem because as I alluded to earlier, this one thing has messed with my system soo many times. I had a mini existential crisis when going back and making sure that I could spell the lightroot names properly. Up to this point, I had been using only the shrine names with a slight consideration that they have a reverse form without majorly thinking on it. So when I went back to double check, I found so many things breaking the earlier rules I had set. Things like "y" and "w" and the abominations of reversed digraphs.
Stuff like Chichim becoming mihcihc. How do work with even "hc"!? It about broke me lol. See, the problem stems not just from the weird forms and not knowing how to pronounce them. It stems from the fact that while zonai and it's rom both have digraphs, they have different digraphs. The romanization has "g" but to actually spell it, you need two glyphs, "h" and "-".
So while you can easily spell the shrine name "jogou" as "joh-ou", reversing it as "uo-hoj" gets you "uo-ohoj", not "uogoj", you'd need to have "uoh-oj" to get that.
You could go ahead and say that both "h-" and "-h" digraph to "g" but this has two problems not including the fact that "-" is getting more functions than just digraphing (which is arbitrary).
First is the question of how do you know which of the two forms to use? What determines whether I use "h-" or "-h" when I want "g"? Both a word and it's reverse are viable word forms within zonai and it there's nothing really telling as to which comes first, in fact it doesn't really matter which does since the way zonai handles reflection is more cyclical in nature.
And while the first problem might not cause problems per se, the second problem definitely does. Because zonai uses and inherent vowel system, it's majorly common to get consonant consonant sequences. Stuff like "tk" becoming "tak" or "m-r" becoming.... What? In a system where digraphs are formed with a hyphen only to the right (or bottom in a top down system), that'd be easy to answer, that's "myar", but once we allow digraphs to form with hyphens to either side, that could be "myar" or it could be "maw" (really "marya" but the "a" drops and the "ry" changes to "w"). You could say those are the same word, but... Why? The only reason they are is an odd spelling mechanic. Feels too odd for that to be the case, so not the route I wanna take.
If we discard us trying to shoehorn a way in which digraphs read the same front and back, it becomes, then, the almost paradoxical question of should this thing, this...this poetic style of reversion follow the straight reversion of zonai glyphs or the reversion of the romanization. Because it is one or the other. A reversion of zonai will never ever ever match a reversion of the rom one to one. You can't do it with a limitation of fourteen glyphs. Not possible.
The answer I went with? It, well, fits. Maybe not quite as elegantly or as satisfyingly as I had hoped, but it does.
You see, I've been building this head cannon. If you know game lore you know about Mineru. She's a zonai, one of the last. She's also known to be a scholar. She makes constructs, studies cultures and history, is seen within an extensive library.
There's a large likelyhood that she is the author of the ring ruins tablets (it's hinted at I'd say within Tauro's translation of the Floating ring ruin). She's also likely the one that included the names of both the names of the shrines and the lightroots within the purah pad. She had access to it and if not her, it's a very odd situation of where did these names even come from?
I also imagine she's quite the poet.
As I've shown in the Lomei maze slate (which I don't think Mineru wrote), Zonai has a style of writing that is reflective and cyclical. This doesn't happen with every piece of writing. This is a poetic style, sort of a Zonai cultural haiku or something, and it's a direct reflection.
But there are a few instances within zonai glyphs where you can get a chunk reflection, where only parts of the glyphs are reflected directly but others stay as their original direction. You can see this (and curtisf pointed this out on his site) where the shrine of light has
uoiemsk
(a very very very common string throughout the game)
And the water temple having
skemiuo
Not a direct reversion, but a reversion of chunks.
In other words, zonai writing features two different styles of poetic reversion. A reversion of glyphs and a reversion of sounds. Considering that the shrines and lightroots were place names, which likely would have been more frequently spoken aloud, it makes sense that of the two, they would have taken the reversion of sounds rather than glyphs.
And Mineru, who translated them into a script that was readable by link (my guess would be sheikah since you can see hylian on all the signs and the purah pad and the original sheikah slate were both of that make, and link being in the vicinty of royalty could have had the chance to learn it), seeing the opportunity and wanting to add a bit more flair, reversed the sheikah translation as well.
So while "T-it-im" goes to "Mit-it-" in zonai, Mineru made "Chichim" go to "Mihcihc" rather than "Michich".
Kind of a lot but hope you enjoyed,
Koallary Zonai Survey Team Assistant of Language Speculation and Construction

The ABC’s of the German Language
By Samuel Nornhold Jr
Printed with Google Docs
About the author
Hello, my name is Samuel Nornhold and I’m glad you chose this book to read for whatever reason. I wish you well in learning this beautifully complex language. I’m writing this because it was difficult to find good sources, or at the least, understandable sources for me to learn from.
As you explore this book and the German language be sure to check out my sources. In this book I’ll break down the grammatical rules into simple terms. I wish the best for you!
I am not completely fluent, but I'm asking Germans to review this book.
The alphabet
Aa Ää Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Öö Pp Qq Rr Ss Tt Uu Üü Vv Ww Xx Yy Zz ß
Ää, Öö, and Üü are called umlauts.
“To make it short, there would not be extra letters if there were no need, so it is essential to deal with these umlauts if you want to speak German successfully. How hard it is to get used to these letters and their sound is very individual and mostly depends on which languages you already speak. While English does not know letters with this sound like “ä”,”ö” or “ü”, other languages do, and therefore it will be easier to use and pronounce Umlauts correctly for their speakers. Also, it is essential to differentiate between the vowels “a,” “o,” “u” and the umlauts “ä,” “ö” and “ü” since there are words that only differ in this one letter but mean something different entirely.”

– Study German Online 

The quote in more simple terms is “umlauts are very hard for English speakers because they're not in the English language.”
So this is how you would pronounce them.
“If you want to pronounce the “ä” properly, you can think of saying the English “air”. The sound that appears before the “r” is what you want.”

– Study German Online 

“To pronounce “ö” as you should, you need to form your lips as in “o” first, and again imagine somebody pulling on your lips. We can compare it with when you say “her” in English. The sound between the letters “h” and “r” is the sound you need. A classical example of confusion with “ö” are the words “schon” (already) and “schön” (beautiful).”

– Study German Online 

“Last but not least, you should learn how to pronounce the umlaut “ü”. For English speakers, it is the easiest to do it as follows: Try to say “ooh” with your lips pursed. The tip of your tongue needs to touch the lower front teeth from behind (which applies to all umlauts)”
– Study German Online
Uses of umlauts
Umlauts are mainly used for sounds in words, but they can be used to pluralize words. Take for example, “Bruder” (brother) is singular, but pluralized it’s “Brüder” (brothers) pluralized.
Vowels
Vowels are different in German than they are in English.
“Vowels in German are pronounced differently according to whether the vowel is short or long. A vowel is short when it's followed by a consonant cluster, otherwise it's long. It’s a bit different from English, where the vowel a in the English word cat is short whereas the a in farmer is long.”

– RocketLanguages 

How to pronounce “A”
“A: The German short A is pronounced like the U in “hut” only more open and tense. The German long A is pronounced like the A in “father”.”

– LearnGermanOnline 

How to pronounce “E”
“E: The German short E is pronounced like the E in “get” or in “men”. The German long E is pronounced like the A in “laid” but longer and without gliding. In some words, the E is doubled to show that it is long. Many German words end with a final E or ER. The final E, as well as E in a final ER, is hardly voiced. It is pronounced similar to the final A in the English word “idea”.”

– LearnGermanOnline 

How to pronounce “I”
“I: The short i (capitalized I not L) is pronounced like the I in “mitten”. The German long I is pronounced like the EE in “seed” but without gliding. Sometimes the letter I is followed by the letter E to indicate that it is long.”

– LearnGermanOnline 

How to pronounce “O”
“O: The short O is pronounced like the O in “knot” or in “hot” if you are British. The long O is pronounced like the O in “so” but with the lips more rounded and without gliding.”

–LearnGermanOnline 

How to pronounce “U”
“U: The short U is pronounced like the OO in “foot”. The long U is pronounced like the OO in “pool” or “stool” but with the lips more rounded and without gliding.”

–LearnGermanOline 

Consonants
Consonants are very interesting, for vowels are somewhat similar to English, whilst consonants are completely different in numerous cases (in my opinion).
“Most German consonants are pronounced much as they are in English. The exceptions are C, J, L, Q, R, S, V, W, and Z.”

– LearnGermanOnline 

Now, I know these aren't consonants, but these are simpler and similar.
“Ch”:
When I first started learning German, I made the common beginner’s mistake of pronouncing “ch” as the English equivalent of “ch”. I found this on the Web.
“CH: This letter is pronounced as a rasping sound made in the back of the mouth something like clearing the throat before you spit. The Scots use this sound to pronounce “loch” (as in Loch Ness). CH is pronounced this way. Here are some examples: machen, Buch, Sache, ach!”

– LearnGermanOnline 

“Sch”:
I pronounced it as the “sch” in “school” when I was younger. It’s pronounced as “sh”.
“Ck”:
It's the same as English's “Ck”.
“Ig”:
“IG: The suffix IG (used to convert a noun into an adjective) can be pronounced in various ways. The Westphalians pronounce it as if it were spelled ICH (see CH above). The Rhinelanders pronounce it as if it were spelled ISCH. Others pronounce it like the IG in “pig.” Take your choice.”

– LearnGermanOnline 

“Pf”:
“PF: This letter combination is pronounced very nearly like a simple F, but not quite. It is more like the PF in “stepfather”. The P becomes a little explosive puff before the F. Examples include Pferd, Pfarre, Pfeffer, Pfütze.”

–LearnGermanOnline 

“B: This letter is pronounced as it is in English, except a final B is pronounced more like a P. The word halb (“half”) is pronounced as if it were spelled halp.
C: Except in the ligatures CH and SCH, the letter C is not a genuine German letter and is used only in borrowed foreign words. Pronunciation tends to follow the original source language. Many of the borrowed words come from French. Therefore, the CH in words like Chance, Chef, Chauvinist, etc. is pronounced like the CH in champagne. The Words Chat, Cheeseburger or checken, which were borrowed from English, are pronounced like in English. The initial CH in words like Chor, Christ and Chromatik is pronounced like a K.
…
D: This letter is pronounced as it is in English, except a final D is pronounced more like a T. The word Rad (“wheel”) is pronounced as if it were spelled Rat.
G: This letter is pronounced like it usually is in English (“good” or “green”).
…
J: This letter is pronounced like the English initial Y in “yes”.
L: The German L is pronounced somewhat differently than the English. Try curling the tip of your tongue up to touch just behind the top front teeth and keep the back part of the tongue lower as you pronounce it.
…
Q: As in English, Q is always followed by U in German words. The combination QU is pronounced KW (except in the borrowed word “queue”). Examples are quälen, quer, Quelle, Quatsch!.
R: Most North Germans tend to swallow their final R’s to the point of nonexistence (like Bostonians or New Zealanders who pronounce “car” as cah). South Germans, Swiss German speakers and Austrians almost tongue trill their R’s like a Scotch “burr”.
S: A single S at the beginning of or in the middle of a word is pronounced like the English Z. At the end of a word an S is pronounced as it is in English. A double S (ss) is pronounced like the English S although it may be broken into separate syllables (was-ser). A double S following a long vowel is often represented by an eszett (ß).
Note: There has been a highly controversial reform of German spelling in 1996 in which the use of eszetts (ß) has been changed. The usages given in this course refer to German as it has existed for nearly the last hundred years because many people still use eszetts in the old way.
…
V: This letter is pronounced like F except in a few borrowed words (Vase, Verb, Veranda) in which it is pronounced like in English.
W: This letter is pronounced like V in English.
Z: This letter is pronounced like TS in “sits” or “tsunami”. Examples are Herz, plötzlich, Zimmer, zerbrechen.”

– LearnGermanOnline 

“Ei” and “Ie”
“Ei” is pronounced the same as Eye, and “Ie” is pronounced like the “ee” in bee
S, SS, and ß
“ß does not exist everywhere that German is spoken—the Swiss dropped it years ago. But its purpose is to help readers figure out pronunciation: A ß signals that the preceding vowel is pronounced long, instead of short, and that you should make an “ss,” not “z,” sound. It's also written to signify “ss” after a diphthong.”

– qz.com 

Now I’ll go over how to use s, ss, and ß.
How to use a single s:
“At the beginning of words:
der Saal (hall, room), die Süßigkeit (candy, sweet), das Spielzimmer (playroom)
Mostly in nouns, adjectives, adverbs and a few verbs when preceded and followed by a vowel:
lesen (to read), reisen (to travel), die Ameise (ant), gesäubert (cleaned)​
Exception and Examples: die Tasse (cup), der Schlüssel (key); some common verbs -> essen (to eat), lassen (to let), pressen (to press), messen (to measure)
After consonant -l, -m, -n, and -r, when followed by a vowel: die Linse (lentil), der Pilz (mushroom), rülpsen (to belch)
Always before the letter –p: die Knospe (a bud), lispeln (to lisp), die Wespe (wasp), das Gespenst (ghost)
Usually before the letter –t: der Ast (branch), der Mist (dung), kosten (to cost), meistens (mostly)​
Exception Examples: Verb participles whose infinitive form have a sharp -s. See the rule about using –ss or –ß with infinitive verbs.”

 – ThoughtCo 

How to use ss:
“Usually written only after a short vowel sound: der Fluss (river), der Kuss (der Kiss), das Schloss (castle), das Ross (steed)
Exception Examples:
bis, bist, was, der Bus
Words ending in –ismus: der Realismus
Words ending in –nis: das Geheimnis (secret)
Words ending in –us: der Kaktus”
–ThoughtCo
How to use ß:
“Used after a long vowel or dipthong:
der Fuß (foot), fließen (to flow), die Straße (street), beißen (to bite)
Exception Examples: das Haus, der Reis (rice), aus.”
“When these verbs are conjugated, then these verb forms will also be written with either –ss or –ß, though not necessarily with the same sharp –s sound in the infinitive form:
reißen (to rip) -> er riss; lassen -> sie ließen; küssen -> sie küsste”

 – ThoughtCo 

How to build sentences
This is the most fun part about german in my opinion. It's very similar, but so different.
Verb placement:
“Word order (also called syntax) in German is usually driven by the placement of the verb. The verb in German can be in the second position (most common), initial position (verb first), and clause-final position.”

– COERLL UTexas 

If that rule was in english, sentences would look something like this:
Tommy rode his bike down the road and he “wee” said.
That was very oversimplified, but it gets the point across.
Commas
Commas are very simple, they separate the independent clause and the dependent clause.
The independent clause is part of a sentence that can be a sentence on its own, while a dependent clause can’t.
An example of a independent clause is:
Go help dad, lil’ Timmy.
An independent clause needs a subject and a verb.
The dependent clause is “lil’ Timmy.”
Also, this is the easiest rule of them all, capitalize every noun and pronoun.
Articles
There are four The’s
Die (feminine, and plural for neutral and masculine as well as feminine)
Der (masculine)
Das (neutral)
Den (masculine accusative)
Masculine accusative is when something happens to something masculine.
An example from a song:
Gott erhalte Franz, den Kaiser.
God save Francis the emperor.
God is saving francis the emperor (masculine)
If masculine accusative didn't exist in German, the lyric would sound like this:
Gott erhalte Franz, der Kaiser.
There are three A’s
Ein (neutral and masculine)
Eine (feminine)
Einen (masculine accusative)
If english followed all of the rules I covered:
The Man “hey John how is die Wife?” asked.
“She is great doing!” John replied.
“And die Kids?”
“My Kids are great doing, and yours?”
“I got my Kids a Puppy to with play.”
Supplies
Now, this is the end of my needed research to help you. Now you need a 500 german verbs list, a 500 german nouns list, and a story book of your choice. You can practice by using german grammar rules and translate it. A baron’s list of 501 German verbs sells for twenty seven dollars on Amazon™.

The world I'm building for a fantasy novel I hope to write is home to two indigenous language families, Orcish and Fatan. I plan to flesh out two or three in each family, though others will likely get a passing mention. The proto-languages probably won't feature noticeably if at all in the narrative, but a few of their daughters will. So they would obviously be an important foundation to establish for the sake of constructing those more relevant "modern" languages.
My fantasy setting is a single continent hosting three cardinal races: orcs, fairies, and human mages. I envision orcs as essentially the Neanderthals of their world, though maybe with a more imposing average height. They tend to be stocky, thick-limbed, and big-boned, often with large noses, all to contrast with the more diminutive and gracile fairies.
I wanted their languages to reflect that contrast, so I designed Proto-Orcish to have a vaguely Germanic sound, with at least some of the characteristic "harshness" that is often subjectively attributed to natlangs like German and Dutch. I tried to take such inspiration in moderation, though, and relegated it mostly to the phonology. The morphology is where I think things get a bit more exotic.
​
CONSONANTS
https://preview.redd.it/7eumhay79gxb1.png?width=894&format=png&auto=webp&s=a3f0501dd397fb8a04f81cc63e9c0c33b66f237c
MONOPHTHONGS
https://preview.redd.it/qrg4sla98zyb1.png?width=334&format=png&auto=webp&s=16aa59905e66a389ecc179c0a9520e1e5f61f93a
DIPHTHONGS
https://preview.redd.it/v1vufrrbmw9c1.png?width=334&format=png&auto=webp&s=9eba451c8ebcaeb7d29c40c8588e7e92d8e870ed
ORTHOGRAPHY
Phonemes not listed below are represented as in the IPA.
https://preview.redd.it/qv41huvl9zyb1.png?width=221&format=png&auto=webp&s=ae5664e3a535a5438c78b314700aa0c42f501db8
NOMINAL, ADJECTIVAL, & DETERMINER MORPHOLOGY
Nouns, adjectives, and determiners all take agglutinative suffixes for case and number.
-(ɛ)r = ergative
-uː = dative
-iː = genitive
-oː = instrumental
-l = dual
-m = plural
​
https://preview.redd.it/wtonosg18gxb1.png?width=441&format=png&auto=webp&s=dd7fbc5b956cabed665112f3e7927111f18adaee
The dative doubles as the go-to prepositional case, while the instrumental doubles as a locative case, both spatial and temporal.
​
PRONOUNS & PRONOMINAL MORPHOLOGY
https://preview.redd.it/ffunt2y78gxb1.png?width=441&format=png&auto=webp&s=cb7ed247944b5d9e3d1d7bc5f652bfbf98455b62
https://preview.redd.it/ycca5d0b8gxb1.png?width=221&format=png&auto=webp&s=b6d52fdfa308e9cea8893c1df5354f3620c046ee
​
VERBAL MORPHOLOGY
Proto-Orcish agglutinates prefixes for tense, aspect, and mood while agglutinating suffixes for person and number.
fr- = past tense
ɛʊ̯- = subjunctive mood
n- = imperfect aspect
-ɔɪ̯ = 1st person
-æɪ̯ = 2nd person
-ɑʊ̯ = 3rd person
-l = dual
-m = plural
https://preview.redd.it/w0sru8og8gxb1.png?width=551&format=png&auto=webp&s=cc32a701f9673daa03a364a35802e924384599ca
​
https://preview.redd.it/jeyh61wk8gxb1.png?width=551&format=png&auto=webp&s=bb6f4cc3bee8afd3e38efbfdb88694782a0c4f9c
​
https://preview.redd.it/ifczx8zn8gxb1.png?width=441&format=png&auto=webp&s=a01cb6899dc8cd589a9bca488baf6fa8325cc8aa
Future tense is expressed with a future participle and the appropriate form of the copulative verb hau as an auxiliary. The participle is declined as ergative or absolutive according to the transitivity of the root verb.
​
SYNTAX
Prepositions must precede their complements, while adjectives, determiners, prepositional phrases, and relative clauses must follow the nouns they modify. Aside from these rules, word order is quite free, though SOV is a common default.
​
MORPHOPHONOLOGY
Proto-Orcish abhors hiatus and will resolve adjacent vowels in one of three ways.
(1) Non-identical adjacent short vowels will diphthongize if they match the components of a phonemic diphthong. Additionally, /ʌ/ and /æ/ will both shift to accommodate diphthongization with a following /ɪ/ or /ʊ/, forming /æɪ̯/ or /ɑʊ̯/ respectively.
(2) Identical adjacent short vowels will merge into a single instance of the corresponding long vowel.
(3) In all other cases, an epenthetic /h/ is inserted between the two vowels.
Particularly in verbal morphology, an epenthetic /ɛ/ will be inserted if affixation creates an unpronounceable consonant cluster. The first E in frespreuẑau and enspreuẑau are both examples.
Proto-Orcish phonotactics also prohibit a liquid immediately following a diphthongal off-glide and will insert an epenthetic /h/ (and sometimes /ɛ/) as needed to prevent it.
​
SAMPLE TEXT
("My Mother Told Me")
​
Spaiŝer nȳsker nȳv frehoizgau splīŝ
Smoihō strūhō enhauhoi dehaihūlger
Froilem yg gāhem xizem,
Despreuẑūlg toyd staulūm sphoilsefūm,
Devloifpūlg er skoymū,
Despreuẑūlger proynj smȳŝ,
Ēr sklaijbū kǣkū toyd stauvdū,
Deskailūlger thǣmem splǣm.
​
/ˈspæɪ̯θɛr ˈnyːskɛr nyːv ˈfrɛhɔɪ̯zgɑʊ̯ spliːθ
ˈsmɔɪ̯hoː ˈstruːhoː ˈɛnhɑʊ̯hɔɪ̯ dɛˈhæɪ̯huːlɡɛr
ˈfrɔɪ̯lɛm ʏɡ ˈɡɑːhɛm ˈxɪzɛm
ˈdɛsprɛʊ̯lðuːlɡ tɔʏ̯d ˈstɑʊ̯luːm ˈspʰɔɪ̯lsɛfuːm
ˈdɛvlɔɪ̯fpuːlɡ ɛr ˈskɔʏ̯muː
dɛsˈprɛʊ̯ðuːlɡɛr prɔʏ̯nʒ smyːθ
eːr ˈsklæɪ̯ʒbuː ˈkaːkuː tɔʏ̯d ˈstɑʊ̯vduː
dɛsˈklæɪ̯huːlɡɛr ˈtʰaːnɛm splaːm/

Hi there!
I'm a hobby conlanger (language-maker) who recently took up an interest in commissioning/producing my own computer-synthesized singing voice. Because the VB needs to handle loanwords from Chinese, Japanese, Korean, and English well, I needed a custom reclist. Here's what I came up with, but I haven't managed to test it yet. Can I see how you guys would take it? Symbols are based on SAMPA with minor modifications .
Initial Consonants (count 36)

• XAMPA capitals are replaced with a + after,
• XAMPA ` is replaced with an r after
• (consonant)+h is aspiration, used in Korean p t k and English standalone p t k
• Unaspirated consonants are used for English consonant cluster transitions and Korean double consonants.
• Korean double ss is covered by , Korean single s is covered by

​

m n l r j n+ b d dz ts dz+ g p t ts tsr ts+ k ph th tsh tshr tsh+ kh f d+ s sr s+ h v t+ z zr z+ w 

Vowels + Liquids (ct. 15)

• <5> (syllabic l) is there because how it functions in English consonant clusters)
• <3>(English er) and (Chinese er) are counted separately because of recent shifts in Mandarin
• Korean "eo" is covered by <@>, "eu" is covered by , no rounded vowels.
• This list may be able to handle Cantonese if adding <9> and <9i>, but I don't know if the person I'm commissioning this can produce that sound.

​

i m+ 5 y u 3 i+ u+ a+ ei ou e o a @ 

Final Consonants (ct. 8)

• m, n, and n+ are there due to vowel nasalization
• j and w are anticipated to be patchy but they're there to cover any diphthongs
• p, t, k are there to cover no audible release

​

m n n+ j w p} t} k} 

Syllabics (ct. 14)

• The second row may not need multiple samples for different pitches.

​

mm nn nn+ ff tt+ ss ssr ss+ hh vv dd+ zz zzr zz+ 

The idea here would be I would record the V(15), CV (540=36*15), and then the VC (120=15*8), and they syllabics (14) to have 689 short samples that are either V, CV, VC, or CC that can, with some trouble, cover its bases in English, Chinese, Japanese, and Korean.
Theoretical examples for covering English consonants:

• [ss tsra aj i+k}] for "strike"
• [the ek} ss tsm+] for "texts" (with a slight Japanese/Korean accent, but better than recording thousands of samples, and I think Korean eu is an vowel that's easy enough to hide?)

I have a few questions:

• Does it make sense to do what I'm doing, techniques-wise?
• For the amount of samples it's doing, would it sound decently natural?
• How long would this take to record?
• What classification of would this be?