Why do you write/create Creative Non-Fiction? The long and short of it is that I find inspiration in finding new ways to communicate with others, such as by analysing music compositions and how they make me and my friend feel, or working on my Japanese lyric writing and game development with my friend who is extremely fluent. The failure of others to learn your language and instead speak only to their own experiences said in their own words is, I imagine, related to colonialist standards of enforcing a privileged, Imperial tongue, but it is also a matter of being unwilling to give compassion. It relates to my piece in Epoch because of the way that disability and heavily stigmatized Madness isolate those at the intersections of being dealt a bad hand. And the concept of finding different languages such as through visual media forms and symbolisms or musical orchestration or literal foreign languages just like Japanese being ways to expand and redefine communication. My current work is about “language and how it dies.” By this I mean the way that two people can know the same language but they don’t have the paradigms to understand one another. My fluency in Japanese made an enormous breakthrough after I started training my ear to make orchestral compositions, a trade I entered into on somewhat of an impulse. I am extremely drawn to polyphonic compositions in either classical orchestration like Philip Glass, or contemporary koto masterpieces such as those by Sawai Hikaru, or even in compelling layered samples in electronic music like Justice’s work. In music, there’s something called polyphonic melodies which mean multiple melodies layered over one another, happening simultaneously, rather than just one melody with accompanying parts. I find the most inspiration nowadays through learning other languages, particularly Japanese and the language of orchestral music composition. Their story THE HAND YOU’RE DEALT: TAROT, DISABILITY, AND HOW YOU WIN THE GAME can be found in Epoch Issue 01: Beginnings They have two chapbooks, THE FAIRIES SING EACH TO EACH (Flower) and LUNG, CROWN, AND STAR (Lazy Adventurer). Xuan Nguyen is a writer and artist who does music as FEYXUAN. The language modes mimic the powerful loss that happens when stories-when trauma-is translated.Fey, found in other places as FEYXUAN or Xuan Nguyen (they/them) You can consider that the only real choice you make in the game is which language to play it in, and each language option provides a different "route," a similar but very distinctly different iteration of the story. The ENG/JPN versions are two different renditions of the story, thus requiring a separate JPN translation, emulating what happens when you try to translate something as complex as identity. It has three language options: JPN, ENG, and JPN translation. The original soundtrack derives inspiration from traditional Asian pentatonic scales, particularly but not limited to Japanese ones, that also derive a modern, Genshin's Liyue-type twist that sets it firmly in contemporary times. Ochitsubaki has a deep, rich tapestry of aesthetics in unifying modern elegance with unique retro anime-inspired character portraits. Ochitsubaki is only loosely a visual novel, which is to say it is a story-based game with a strong aesthetic component. It's about recovering from trauma through the genuine compassion and consideration of another person, who manages to See the aftereffects of trauma and are willing to meet that person's unique needs, regardless of if they "understand" them or not. It is a bilingual JPN/ENG game about translation and how it can run as deeply as the way hypermarginalized people constantly "translate" their identities and trauma for the understanding of others, no matter how far it is from the source material. OCHITSUBAKI || 落ち椿 is a visual novel about the impossibility of translating trauma.
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