nilq/babylm-100M · Datasets at Hugging Face

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wikən yiʔ sqilxʷ
" I saw the/those people."
The sequential complements are composed of the particles /ɬ/ and /ɬa/. /ɬa/ conveys temporal sequence while /ɬ/ represents a subordinate element.
way̓ x̌ast ɬ kʷ cxʷuy̓
"It's good if/that you come."
way̓ x̌ast ɬa kʷ cxʷuy̓
"It will be good when/after you come."
Okanagan also contains a number of locational complements which refer to when or where something happened. It is a point of reference. The /l/ and the variant /lə/particles are used to tie a predicate to a time or place.
xʷuy̓ lə sənkʷəkʷəʔac.
"He went in the night"
Ablative complements in Okanagan come in the form of the /tl/ particle. Along with directional complements, /k̓/ and /k̓l/, Okanagan speakers can indicate motion. The ablative complement /tl/ only serves to indicate ‘moving away from.' For instance, in the sentence below, the ablative is ‘from (across the ocean).'
Kʷ scutxx tl sk̓ʷətikənx
"Were you saying [that he is] from Seattle?"
The directional complement's two particles represent both direction towards something, and direction towards a specific location. /k/ signifies movement towards something:
k̓ incitxʷ
"to my house" (not towards it)
The /k̓l/ particle modifies this sentence so that it specifies the house as the location to which the subject must move.
k̓əl incitxʷ
"To my house" (there specifically)
Verbs may react in a number of different ways when a suffix is attached to the root stem of the word. Below are a number of ways in which intransitive roots are modified.
-t can indicate a natural characteristic of the root
c̓ik̓ "burn"
c̓ik̓t "burned"
-lx indicates the subject is engaged in an activity
qiclx "run"
-ils expresses state of mind.
nk̓wpils "lonely"
-p expresses lack of a subject's control
kmap "darkening"
Transitives:
-n involves action upon an object by a subject
kʷuʔ caʔntis "he hit me"
-s involve action or state resulting from an activity.
kʷu cˀaistixʷ
-cut indicates when the action of a subject is directed toward oneself.
tarqncut "kick oneself"
Transitive stems without person markings indicate imperatives
nlk̓ipnt "open it"
Intransitives can express an imperative via the –x suffix:
xʷuyx "go"
The Okanagan system relies heavily on its affixes to demonstrate tense, space, and time. Below are demonstrated various affixes that attach to roots to encode meaning.
Of the following two examples, they are only possible in the –n transitive paradigm.
ks- unrealized action
ikstxt̓ám
"I'm going to look after him"
səc- past perfect
ˁi-səc-txt'-am
"I've been looking after him."
The following examples are for intransitives.
-k Unrealized: expresses an intentional future action or state. (I am going to…)
Kn kʷal̓t
" I'm warm"
-aʔx Continuative: Action or state that is in progress
ɬ- Movement back
c- Movement toward speaker
kɬ- down, and under
tl̓ from, source.
k̓l to, at, goal, recipient, dative.
k̓ for, benefative.
l on, locative.
nˁəɬ with, comitative.
ˁit with, by, instrumental

= = = Manga iconography = = =

Japanese manga has developed its own visual language or iconography for expressing emotion and other internal character states. This drawing style has also migrated into anime, as many manga stories are adapted into television shows and films. While this article addresses styles from both types of output, the emphasis here is on the manga origins for these styles.
The popular and recognizable style of manga is very distinctive. Emphasis is often placed on line over form, and the storytelling and panel placement differ from those in American comics. Impressionistic backgrounds are very common, as are sequences in which the panel shows details of the setting rather than the characters. Panels and pages are typically read from right to left, consistent with traditional Japanese writing.
Because manga is a diverse art form, however, not all manga artists adhere to the conventions most popularized in the West through series such as "Akira", "Sailor Moon", "Dragon Ball", and "Ranma ½".
There are several expressive techniques typical (and some of them unique) to the manga art form:
While the art can be incredibly realistic or cartoonish, characters often have large eyes (female characters usually have larger eyes than male characters), small noses, tiny mouths, and flat faces. Psychological and social research on facial attractiveness has pointed out that the presence of childlike facial features increases attractiveness. Manga artists often play on this to increase the appeal of protagonists. Large eyes have become a permanent fixture in manga and anime since the 1960s when Osamu Tezuka was inspired by Disney cartoons from the United States and started drawing them in this way.
Furthermore, inside the big eyes, the transparent feeling of pupils and the glares, or small reflections in the corners of the eyes are often exaggerated, regardless of surrounding lighting, although they are only present in living characters: the eyes of characters who have died are the colour of the iris, but darker. Sometimes this death effect is also used to indicate characters who are emotionless due to trauma or loss of conscious control because of possession (ghost, demon, zombie, magic, etc.). In characters with hair partially covering the face, the eyes that would otherwise be covered are often outlined to make them visible, even when the hair is particularly dense and dark.
Certain visual symbols have been developed over the years to become common methods of denoting emotions, physical conditions and mood:
Eye shape and size can be exaggerated or changed altogether. Love-hearts and doe-eyes indicate an infatuation, while stars indicate that the character is star-struck. Spirals indicate confusion or dizziness, while flames or wide empty semicircles indicate that the character is angry or vengeful. When dead, unconscious or stunned, "X"s are sometimes used as an indication of the state. Eyes may be replaced with two "<"s facing in opposite directions to represent a variety of emotions, such as nervousness or excitement. Eyes without pupils and with reflective glints indicate a state of delirium.
Enlargement of the eyes, where they become huge and perfectly round with tiny pupils and no iris and going beyond the reach of the face (often shown with the mouth becoming like a stretched semicircle, the point of which extends past the chin) symbolises extreme excitement. Similarly, turning eyes into two thick half-circles, conveys a cute, delighted look (see Character design section below).
The character's eye shapes and sizes are sometimes symbolically used to represent the character. For instance, bigger eyes will usually symbolize beauty, innocence, or purity, while smaller, more narrow eyes typically represent coldness and/or evil. Completely blackened eyes (shadowed) indicates a vengeful personality or underlying deep anger. It could also indicate that someone's being a wise-guy type, particularly when accompanied by grinning. A character's eyes are shadowed regardless of the lighting in the room when they become angry, upset, something is wrong with them, or they are emotionally hurt. Bubbles forming in the corner of a child's or female character's eyes often indicate that the character is about to cry.
Mouths are often depicted as small, usually rendered with one line on the face. A fang peeking from the corner of the mouth indicates mischief or feistiness (unless, of course, the character has fangs normally). A cat mouth (like a number "3" rotated 90° clockwise) replacing the character's normal mouth, and usually accompanied by larger eyes may also represent mischief or feistiness (a notable exception being Konata Izumi from "Lucky Star", whose usual mouth shape is this).
Again, noses are often depicted as small, with only a brief L-shaped mark to locate them. With female characters, the nose can sometimes be removed completely when the character is facing forward. In profile, female noses are often button shaped, consisting little more than a small triangle. A nosebleed indicates sexual excitation following exposure to stimulating imagery or situation. It is based on a Japanese old wives' tale. A balloon dangling from one nostril (a "snot bubble") indicates sleep.
Sweat drops are a common visual convention. Characters are drawn with one or more prominent beads of sweat on their brow or forehead (or floating above the hair on characters whose back is turned). This represents a broad spectrum of emotions, including embarrassment, exasperation, confusion, dismay and shock, not all of which are necessarily considered to be sweat-inducing under normal conditions. Actual physical perspiration in manga is signified by even distribution of sweat drops over the body, occasionally on top of clothing or hair.
Throbbing "cross popping" veins, usually depicted as a cruciform or triskelion in the upper head region, indicate anger or irritation. These shapes can sometimes be exaggerated, and placed on top of hair when the character is facing away from the viewer. Further throbs indicate additional anger. However, some manga such as "Doraemon" use smoke puffs to represent anger, and does not have the vein insignia.
A red cheek or hatchings on the cheek represent blushing, usually used when embarrassed by romantic feelings, while oval "blush dots" on the cheeks represent rosy cheeks. This can sometimes be confused with a scribble on the cheek, indicating injury. Sometimes when the character is expressing strong emotions, such as sadness, a long blush through the nose would appear.
Facial shape changes depending on the character's mood, and can look from round apple-shaped to a more subtle carrot shape.
Parallel vertical lines with dark shading over the head or under the eye may represent mortification, fatigue, or horror. If the lines are wavy, they may represent disgust. A far cuter way to represent frustration/mortification is (mainly for female/young female characters) that they tend to puff out their cheeks while their line is delivered in a gruff voice, an elongated "3" showing puffed lips, to emphasize that puffed look.
Hair colors of anime characters are not just selected randomly. In some cases they express significant elements of that person's character (based on color symbolism in Japan).
To better elicit a more emotional response with the audience for a certain character, a manga artist or animator will sometimes use certain traits in the character's design. The most common features include youthfulness as a physical trait (younger age or pigtails) or as an emotional trait such as a naive or innocent outlook, a childlike personality, or some obvious sympathetic weakness the character works hard to correct (extreme clumsiness or a life-threatening disease) but never really succeeds to get rid of.
Other artistic conventions used in mainstream manga include:

= = = Barrow Harbour = = =

Barrow Harbour is a tidal inlet off Tralee Bay, County Kerry, Ireland. Once this was the major port for the region, servicing the monastic settlement of Ardfert and the general area of Tralee.
Barrow is overlooked by Tralee Golf Club, from which there are views of Tralee Bay and Banna Strand.
A narrow entrance to the harbour was protected by Fenit Castle on Fenit Island. The ruins of the castle still remain. Historically, a harbour chain was connected across the entrance to the harbour, which could be raised to prevent the incursion of unwelcome visitors - pirates.
Barrow House is located at the old quayside.

= = = Hakuyō Station = = =

The station is elevated. The station is unstaffed, and consists of a single railway line and a single side platform. The station is mainly used by students commuting to a local senior high school.
Because the town is becoming a residential area of Kitami, there are many shops and other businesses. Kitami Institute of Technology, Kitami-Hakuyō Senior High School, Japanese Red Cross Hokkaido College of Nursing and National Highway 39 are all nearby.

= = = Livigno Pass = = =

wikən yiʔ sqilxʷ

" I saw the/those people."

The sequential complements are composed of the particles /ɬ/ and /ɬa/. /ɬa/ conveys temporal sequence while /ɬ/ represents a subordinate element.

way̓ x̌ast ɬ kʷ cxʷuy̓

"It's good if/that you come."

way̓ x̌ast ɬa kʷ cxʷuy̓

"It will be good when/after you come."

Okanagan also contains a number of locational complements which refer to when or where something happened. It is a point of reference. The /l/ and the variant /lə/particles are used to tie a predicate to a time or place.

xʷuy̓ lə sənkʷəkʷəʔac.

"He went in the night"

Ablative complements in Okanagan come in the form of the /tl/ particle. Along with directional complements, /k̓/ and /k̓l/, Okanagan speakers can indicate motion. The ablative complement /tl/ only serves to indicate ‘moving away from.' For instance, in the sentence below, the ablative is ‘from (across the ocean).'

Kʷ scutxx tl sk̓ʷətikənx

"Were you saying [that he is] from Seattle?"

The directional complement's two particles represent both direction towards something, and direction towards a specific location. /k/ signifies movement towards something:

k̓ incitxʷ

"to my house" (not towards it)

The /k̓l/ particle modifies this sentence so that it specifies the house as the location to which the subject must move.

k̓əl incitxʷ

"To my house" (there specifically)

Verbs may react in a number of different ways when a suffix is attached to the root stem of the word. Below are a number of ways in which intransitive roots are modified.

-t can indicate a natural characteristic of the root

c̓ik̓ "burn"

c̓ik̓t "burned"

-lx indicates the subject is engaged in an activity

qiclx "run"

-ils expresses state of mind.

nk̓wpils "lonely"

-p expresses lack of a subject's control

kmap "darkening"

Transitives:

-n involves action upon an object by a subject

kʷuʔ caʔntis "he hit me"

-s involve action or state resulting from an activity.

kʷu cˀaistixʷ

-cut indicates when the action of a subject is directed toward oneself.

tarqncut "kick oneself"

Transitive stems without person markings indicate imperatives

nlk̓ipnt "open it"

Intransitives can express an imperative via the –x suffix:

xʷuyx "go"

The Okanagan system relies heavily on its affixes to demonstrate tense, space, and time. Below are demonstrated various affixes that attach to roots to encode meaning.

Of the following two examples, they are only possible in the –n transitive paradigm.

ks- unrealized action

ikstxt̓ám

"I'm going to look after him"

səc- past perfect

ˁi-səc-txt'-am

"I've been looking after him."

The following examples are for intransitives.

-k Unrealized: expresses an intentional future action or state. (I am going to…)

Kn kʷal̓t

" I'm warm"

-aʔx Continuative: Action or state that is in progress

ɬ- Movement back

c- Movement toward speaker

kɬ- down, and under

tl̓ from, source.

k̓l to, at, goal, recipient, dative.

k̓ for, benefative.

l on, locative.

nˁəɬ with, comitative.

ˁit with, by, instrumental

= = = Manga iconography = = =

Japanese manga has developed its own visual language or iconography for expressing emotion and other internal character states. This drawing style has also migrated into anime, as many manga stories are adapted into television shows and films. While this article addresses styles from both types of output, the emphasis here is on the manga origins for these styles.

The popular and recognizable style of manga is very distinctive. Emphasis is often placed on line over form, and the storytelling and panel placement differ from those in American comics. Impressionistic backgrounds are very common, as are sequences in which the panel shows details of the setting rather than the characters. Panels and pages are typically read from right to left, consistent with traditional Japanese writing.

Because manga is a diverse art form, however, not all manga artists adhere to the conventions most popularized in the West through series such as "Akira", "Sailor Moon", "Dragon Ball", and "Ranma ½".

There are several expressive techniques typical (and some of them unique) to the manga art form:

While the art can be incredibly realistic or cartoonish, characters often have large eyes (female characters usually have larger eyes than male characters), small noses, tiny mouths, and flat faces. Psychological and social research on facial attractiveness has pointed out that the presence of childlike facial features increases attractiveness. Manga artists often play on this to increase the appeal of protagonists. Large eyes have become a permanent fixture in manga and anime since the 1960s when Osamu Tezuka was inspired by Disney cartoons from the United States and started drawing them in this way.

Furthermore, inside the big eyes, the transparent feeling of pupils and the glares, or small reflections in the corners of the eyes are often exaggerated, regardless of surrounding lighting, although they are only present in living characters: the eyes of characters who have died are the colour of the iris, but darker. Sometimes this death effect is also used to indicate characters who are emotionless due to trauma or loss of conscious control because of possession (ghost, demon, zombie, magic, etc.). In characters with hair partially covering the face, the eyes that would otherwise be covered are often outlined to make them visible, even when the hair is particularly dense and dark.

Certain visual symbols have been developed over the years to become common methods of denoting emotions, physical conditions and mood:

Eye shape and size can be exaggerated or changed altogether. Love-hearts and doe-eyes indicate an infatuation, while stars indicate that the character is star-struck. Spirals indicate confusion or dizziness, while flames or wide empty semicircles indicate that the character is angry or vengeful. When dead, unconscious or stunned, "X"s are sometimes used as an indication of the state. Eyes may be replaced with two "<"s facing in opposite directions to represent a variety of emotions, such as nervousness or excitement. Eyes without pupils and with reflective glints indicate a state of delirium.

Enlargement of the eyes, where they become huge and perfectly round with tiny pupils and no iris and going beyond the reach of the face (often shown with the mouth becoming like a stretched semicircle, the point of which extends past the chin) symbolises extreme excitement. Similarly, turning eyes into two thick half-circles, conveys a cute, delighted look (see Character design section below).

The character's eye shapes and sizes are sometimes symbolically used to represent the character. For instance, bigger eyes will usually symbolize beauty, innocence, or purity, while smaller, more narrow eyes typically represent coldness and/or evil. Completely blackened eyes (shadowed) indicates a vengeful personality or underlying deep anger. It could also indicate that someone's being a wise-guy type, particularly when accompanied by grinning. A character's eyes are shadowed regardless of the lighting in the room when they become angry, upset, something is wrong with them, or they are emotionally hurt. Bubbles forming in the corner of a child's or female character's eyes often indicate that the character is about to cry.

Mouths are often depicted as small, usually rendered with one line on the face. A fang peeking from the corner of the mouth indicates mischief or feistiness (unless, of course, the character has fangs normally). A cat mouth (like a number "3" rotated 90° clockwise) replacing the character's normal mouth, and usually accompanied by larger eyes may also represent mischief or feistiness (a notable exception being Konata Izumi from "Lucky Star", whose usual mouth shape is this).

Again, noses are often depicted as small, with only a brief L-shaped mark to locate them. With female characters, the nose can sometimes be removed completely when the character is facing forward. In profile, female noses are often button shaped, consisting little more than a small triangle. A nosebleed indicates sexual excitation following exposure to stimulating imagery or situation. It is based on a Japanese old wives' tale. A balloon dangling from one nostril (a "snot bubble") indicates sleep.

Sweat drops are a common visual convention. Characters are drawn with one or more prominent beads of sweat on their brow or forehead (or floating above the hair on characters whose back is turned). This represents a broad spectrum of emotions, including embarrassment, exasperation, confusion, dismay and shock, not all of which are necessarily considered to be sweat-inducing under normal conditions. Actual physical perspiration in manga is signified by even distribution of sweat drops over the body, occasionally on top of clothing or hair.

Throbbing "cross popping" veins, usually depicted as a cruciform or triskelion in the upper head region, indicate anger or irritation. These shapes can sometimes be exaggerated, and placed on top of hair when the character is facing away from the viewer. Further throbs indicate additional anger. However, some manga such as "Doraemon" use smoke puffs to represent anger, and does not have the vein insignia.

A red cheek or hatchings on the cheek represent blushing, usually used when embarrassed by romantic feelings, while oval "blush dots" on the cheeks represent rosy cheeks. This can sometimes be confused with a scribble on the cheek, indicating injury. Sometimes when the character is expressing strong emotions, such as sadness, a long blush through the nose would appear.

Facial shape changes depending on the character's mood, and can look from round apple-shaped to a more subtle carrot shape.

Parallel vertical lines with dark shading over the head or under the eye may represent mortification, fatigue, or horror. If the lines are wavy, they may represent disgust. A far cuter way to represent frustration/mortification is (mainly for female/young female characters) that they tend to puff out their cheeks while their line is delivered in a gruff voice, an elongated "3" showing puffed lips, to emphasize that puffed look.

Hair colors of anime characters are not just selected randomly. In some cases they express significant elements of that person's character (based on color symbolism in Japan).

To better elicit a more emotional response with the audience for a certain character, a manga artist or animator will sometimes use certain traits in the character's design. The most common features include youthfulness as a physical trait (younger age or pigtails) or as an emotional trait such as a naive or innocent outlook, a childlike personality, or some obvious sympathetic weakness the character works hard to correct (extreme clumsiness or a life-threatening disease) but never really succeeds to get rid of.

Other artistic conventions used in mainstream manga include:

= = = Barrow Harbour = = =

Barrow Harbour is a tidal inlet off Tralee Bay, County Kerry, Ireland. Once this was the major port for the region, servicing the monastic settlement of Ardfert and the general area of Tralee.

Barrow is overlooked by Tralee Golf Club, from which there are views of Tralee Bay and Banna Strand.

A narrow entrance to the harbour was protected by Fenit Castle on Fenit Island. The ruins of the castle still remain. Historically, a harbour chain was connected across the entrance to the harbour, which could be raised to prevent the incursion of unwelcome visitors - pirates.

Barrow House is located at the old quayside.

= = = Hakuyō Station = = =

The station is elevated. The station is unstaffed, and consists of a single railway line and a single side platform. The station is mainly used by students commuting to a local senior high school.

Because the town is becoming a residential area of Kitami, there are many shops and other businesses. Kitami Institute of Technology, Kitami-Hakuyō Senior High School, Japanese Red Cross Hokkaido College of Nursing and National Highway 39 are all nearby.

= = = Livigno Pass = = =