Orphaned languages of Teppala

Note that, despite the title of this page, it might be better described as Orphaned conlangs of Teppala. These are not actually minor languages; they're languages that don't have a place in my current conworld because it's historically impossible for them to exist alongside the others. None of them has proper diachronics because I created these languages at a time when I didn't know better.

Pre-Moonshine languages

I did not create any organized a priori conlangs prior to 1994. For Camia I used distorted English when I was about 10 years old, of a type that changed from one story to the next and thus was never a proper conlang. The first a priori language was "Manni", spoken by a series of tribes of people in Camia who superficially resembled Native Americans. Their language had voiceless nasals and I think four vowels. However, for some reason I decided to create an alphabet for this language, and when I lost the piece of paper that told me which letter was which, I couldn't even read my own notes and thus my entire memory of the language was lost.

Wamian

Not really a single language, "the Wamian language" is essentially a term for any lanuggae consisting of features I dont like, which goes to the nation of "Wamia", which itself is not a single nation but rather a term for any nation fulfilling a similar role.

When I was 10 years old, Wamian was essentially English spoken by a particular boy who had a speech impediment. So severe was his speech impediment that he didnt replace all /l/ and /r/ sounds with /w/, as stereotypical toddlers did ,but instead replaced all /l/, /r/, and /w/ sounds with /b/. (As some toddlers do.) The boy's name was Gary, but he could only call himself "Gabby". Thus just as Wamians "couldnt even say their own country's name", he couldn't say his.

Later I seem to have decided that Wamians spoke a language that had changed very rapidly over time, whereas Camians spoke a language that was extremely conservative. If planet Teppala had been settled by the Proto-Germanic people, Wamians today would be speaking modern English, while Camians would be speaking something resembling Gothic or perhaps even a language still intelligible with proto-Germanic itself.

Moonshine (1994)

This was a language I created in 1994, and was my first true a priori conlang. It had no ancestors or daughters, and I remember considering it to be eternal. It was very compact, and I remember writing "Power speaks a language that works in its written but not its spoken form". That is to say, Moonshine was so full of homophones that it was literally impossible to communicate in Moonshine out loud without being ambiguous. It could be compared to a hypothetical Japanese in which the kanji are used freely, meaning that, for example, the syllable /shō/ could refer to any of more than 70 kanji, which nevertheless would be perfectly understandable when written down.

Phonology of Moonshine

Early signs of my love for babylike speech were visible in Moonshine. On my very earliest sketch of the language, I gave it a phonology with no dorsal consonants at all: there were labials and coronals, and that's all. However, I slowly warmed to the idea of pushing the postalveolar series (/č ǯ š ž ñ ṇ̃/, the last being a voiceless nasal) into velars.

Another trait that Moonshine had in common with baby babbling was that there were no /r/ or /l/ sounds. However, this was because I wanted the language to have a perfectly symmetrical phonology, and could not figure out a way to work liquids into the system. Later on, I added them anyway, saying that /r/ was the opposite partner of /l/. All in all, the language had 32 consonants, which is far above average, but I'm not sure if I had any reason for making so many consonants other than that I felt I needed them for symmetry. I didn't explicitly identify the language as having a simple phonology or resembling baby talk so the large consonant inventory never bothered me.

Moonshine was also tonal, but I literally didn't know what tones were, even if one might think it should have been obvious. I seemed not to realize that it was possible for people to change the pitch of their voice while speaking and thought that it must have been a metaphor for some concept I didn't fully understand. Later, I abandoned the tones and repurposed the high-tone vowels as diphthongs, meaning that there was exactly one diphthong for each pure vowel.

Almost every root, even those for complex things, was monosyllabic. I remember wanting a language that looked "modern" and compact, and I remember holding up Hungarian as a model to follow.

Moonshine culture

I always identified Moonshine with cold weather, imagining its population as somehow consisting entirely of teenagers and children eating ice cream outdoors in the middle of a blizzard. It was the language spoken "north and east of Russian". I remember distinctly being disappointed when I realized that Russian was totally unlike Moonshine since it seemed stand in the way of a trend of languages becoming distinctly more Moonshine-like as one moved east in Europe. However I soon learned that not just Russian, but all Slavic languages in general, had those characteristics I disliked.

The name had nothing to do with alcohol, but rather with its speakers' apparent cultural habit of being nocturnal and avoiding the sun. I seem to have subconsciously associated it with icecream, which may come from a single dream I had one night where Old English had been flawlessly preserved on an island off the coast of Massachusetts and the population of that island seemed to consist of teenagers and children who were very fond of eating icecream outdoors even in cold weather.

Moonshine alphabet

I did my earliest Moonshine writings using a modified form of the Greek alphabet, even though the Greek alphabet was poorly suited to the language and I think I needed to borrow some letters from the Roman alphabet even then. (e.g. I have no idea what my /ñ/ letter would have been). At one point I created an a priori script for Moonshine in which two syllables could be represented in just one character. I think I was inspired by Hangul since I remember the elements for /b/ and /p/ being straight lines (I dont remember what I used for /m/). I know that I developed this script into a fully functioning form because I remember once changing my screen background to a sentence that said "This computer belongs to me." in Moonshine in the a priori script. However, as my notes for the script were on paper, I soon lost them and, just like with Manni, my knowledge of any notes I had made in that script were lost. (But I rarely wrote in the script.)

Mathematics

Moonshine was a mathematical language, meaning that new words were oftne derived by mathematically adding two words together. For example, pō might become pūb.

Dictionary

Although I had access to a computer, I kept my dictionary on paper, which meant that the dictionary was not in alphabetical order, but rather in the order that I came up with each word. In part, this was probably due to the large phoneme inventory of Moonshine, especially the nasals, of which, in the early form of Moonshine, there were ten phonemes sharing only two Roman letters: /m mʰ ṃ ṃʰ ṇ ṇʰ n nʰ ñ ñʰ/, where the underdots mark out labiodental and dental consonants. Later I moved the palatals to velars, but this would have been no easier to write on a computer.

Some years later, when I copied the English side of the paper wordlist to a computer, words that had been created on the same day in the original Moonshine ended up being next to each other alphabetically in the new language. This is why the words for "housewife" (wurop) and "urethra" (wupurop) resemble each other so much in Pabappa and other languages that I derived from this old paper wordlist.

Aesthetics and goals

Despite the handicap of a paper dictionary (which my mom eventually threw out) and a naive phonology, I considered Moonshine my best work for a long time, and it is the only one of my "oldoldold" conlangs that I've attempted to revive. I had such high standards, though, that the lexicon was never more than a few hundreds words at its peak and it is lower than that now. In fact, when I derived words for #Asup, I had to first derive them for Moonshine and then carry them through. These were not sound changes, but rather a series of formulas meant to cipher one language into another. I still did not seem to know about true sound changes and would not for a few more years.

I seem to have associated Moonshine with childhood, despite having worked on it primarily during my middle teen years. What set Moonshine apart from later conlangs was that Moonshine was a SpeedTalk-like conlang, where all words were as short as possible, and in some translation tests I managed to achieve 4X the compactness of the English translation. For example I had a word that meant "Power, the only boy and the laborer of the group, whispers his battle plan to the girls." In my later conlangs, the words had more room to grow and I for some reason seemed to associate these long words with literal tallness and short words with my own short stature as a child and early teenager. (I have always been very short for my age.)

Asup

One of a few names for a conlang I created in 1997 and played with for about a year afterwards. I also called it Gaze, but I think this may have been originally a name for their religion. It was rigidly structured, and good at succinctly expressing religious concepts. For example, the root word for church was an, and there were two roots for God: al and m. (I believe that I didnt capitalize them.) There were also monomorphemic roots for things such as "forgiven baby" (īpp) and "spirited man" (I dont remember this one though). Both of these were intended to be interpreted with meanings related to Christianity.

The phonology of Asup was not as babylike as that of Moonshine. However, I still do not consider it to have been a "harsh" guttural type of language. There were five vowels and an array of consonants somewhat smaller than that of Moonshine. There was also a syllabic m, which could be short or long (this was around the time that the song MMMBop came out).

In some ways, I identify the spirit of the Asup language with Khulls, even though they look nothing alike on paper, nor do they sound much alike to the ear either.

Asupian was a very dynamic language, in the sense that I changed it rapidly as I worked on it. Eventually I shaded into Echo.

Echo

Echo was a lanuggae I created in 1998. It was my first language to embrace ideas that I disliked, such as a relatively small phonology, and a slow speech tempo that made sentences in Echo longer than in English quite often. I remember ovàvu "water", where previously my word for water had often just been a single letter.

It was a "tropical" language as well, in the sense that when I was working on Echo I had fallen in love with tropical Africa and wanted to make the Camians somehow a warm-climate culture, despite their history of having always identified themselves with cold. THis is why Camia was suddenly a racially diverse nation, with the self-insert character being halfway in between white and black. I did not consider him mixed-race; I felt that Camia would have a separate identity for people like him that didn't depend on what his parents looked like. However, I seem to have considered dark-haired people to automatically not be white, meaning that someone could actually change their race as they grew up if their hair got darker (I didnt know at the time that people's hair often changed color ,despite it having happened to myself).

Echo was also the first language to have proper tones, as Moonshine's tones were created at a time when I didnt understand how tones worked. This was part of the "tropical" atmosphere of the language, as I was rejecting the Semitic-influenced "dry" phonology of the Asupian language in favor of the new, softer, "wet" phonology. Bilabial consonants were very common.

However, I still had apparently not bothered to learn how sound changes worked, and essentially every single word followed its own rules for sound changes. e.g. sometimes -e was dropped, sometimes not. Echo was also a very dynamic language, and never had a finalized phonology. I think towards the end of my time with it, I dropped all voiced stops from the language, but I must have abandoned the language shortly afterwards because I don't remember ever looking at devoiced versions of personal names such as Pango and Batu.

Fojy

An extremely complicated language I worked on during high school. It was based largely on complex mathematics, the details of which escape me now. It was entirely CV, but had 15 tones and a large array of both consonants and vowels. Vowels could also be pharyngealized or nasalized or both. The 15 tones were actually broken down as 5 tones for vowels and 3 tones for consonants, with the intent that the "tone" of the consonant determines the starting point for the tone of the vowel, with the vowel's own tone merely being the ending point.

Due to the gigantic phonology, I had to regress to writing everything on paper, and I've lost my entire source material over the years and remember very little else. I think I later came up with a system that wrote the tones with vowel letters, so that, for example, "láykàa" could indicate a word where the two syllables start high and low, respectively, and end on the y and a tones, respectively, which are from a set of five rather than a set of three. There were no diphthongs since it was a purely CV language, so this system actually made sense.

Every consonant could be soft or hard. Generally, hard consonants were found in root words and soft consonants were found in infixes which marked inflections. Thus, a name like Mutuphijojewijygi is actually just a root word, I think Muti, with the infix -uphijojewijyg-.

Eevery word was literally a number. Many words began with fo- because this marked leading zeros in the number sysytem.

Xap

This language could be considered to be as one with Andanese, since it shares the same phonology and alphabet, and has a similar grammar. But Xap's lexicon was still of the type where the language did not have a proper history, and therefore I "spammed" the dictionary by dumping in thousands of words from old, abandoned conlangs that didn't make sense when mixed together. On the other hand, the freestyle approach to lexicon building allowed me to make oddly specific words such as:

• kutaka "mayor sign in the middle of the road"
• kahalaca " locked in jail with the hands and head stuck outside the cell"
• yukana " relying on intelligence and physical strength only "
• nihilalaka "without any divine intervention"
• luala "to behave like a "mascot", trying to sweep away conflict by making jokes"

Some words had private definitions that, even with explanation, would still be meaningless to other people:

• muhua " uipila abandon all hope ye who enter here"
• kutau "Beethoven"

` The language also had enormous piles of synonyms, with no difference in meaning whatsoever between many words. For example, the words ahahama, kumihanana, kuna, kunana, lanahala, and luna all mean "moon" and each can substitute for any other with no change in meaning. (Luna is not a loanword from any Earth language; even here, I stuck firmly to a priori instincts. The pre-Andanese form of the word was something like lónay.) I think these six are just six of a much larger set of Andanese words of which most have not survived, because I remember once saying that Andanese/Xap had "nine words for cat and no word for pants" whereas in the dictionary I have now I can "only" find seven words for cat.

The most extreme example I can find is that Andanese has 43 words for "love". Although some are given specific definitions, more than half of them are defined simply as "love" and therefore can substitute for each other with no change in semantics.

Some words were taken from the names of characters (mostly female) in my earlier work. For example, a girl named Kaiciti gave her name to the emotion of being "in awe at the power before her".

History of Xap

Xap actually began as a language called Abapes. Xap is the same name after a series of sound changes, although the sound changes were not of the proper historical type; I was still thinking of the language as being detached from culture and time and therefore my sound changes were random and unrealistic. The name "Xap" actually merges several words, not just Abapes. One of them is Zebes, the name of the planet in the first Metroid game. Normally, I've thrown out all borrowed names like that, but in this case I kept it because it's a triple etymology (Zebes, Abapes, and Peepa).

Thaoa (2010)

The (post-2010) Thaoa language began as an attempt to create a language full of features I disliked, but as I worked on it I came to find beauty in it after all. Nevertheless, it is my least favorite of the conlangs I am working on now, and I find it difficult to put any significant effort into it.