Editor's Note: David Peterson is the creator of the Dothraki language used in the HBO show "Game of Thrones." Peterson also is a member of the Language Creation Society. A 30-minute profile of Peterson will air on CNN's "The Next List" this Sunday at 2:30 p.m. ET.
By David Peterson, Special to CNN
It's now a little over a year from the day when CNN’s "Next List" crew came to Orange County to do an episode on my language-creation work. At the time, I really had no idea what the coming year held in store for me, so I did my best to look busy.
I had recently joined Syfy's "Defiance" as a language creator, but hadn't yet done any serious translation work, and while I'd finished my work on season two of HBO's "Game of Thrones," there'd been no discussions about season three up to that point. I remained hopeful, but that March I didn't really have much going on.
During my first interview on the morning of twelfth, the "Next List" producer asked me if I'd be working on the Valyrian language for the show's upcoming season. Immediately alarm bells went off, as I started to think back and wonder, "Did I accidentally say anything?"
Though there had been no discussions, I and many assumed that some form of the Valyrian language would make an appearance in season three, but at that stage, any such discussion would have been premature, and certainly would have been covered by a non-disclosure agreement. Trying not to look too perturbed, I asked why she would ask that, and she told me that when she'd interviewed executive producers Dan Weiss and David Benioff earlier, they'd said I'd be working on Valyrian this season.
And that's how I learned I'd be creating a new language for season three of "Game of Thrones."
For those tuning in to the "Game of Thrones" premiere this Sunday, you'll still have to suffer through a few subtitles, but the audio will sound a bit different from seasons past. Though there are a number of Dothraki speakers yet alive on the show, there's surprisingly little Dothraki this season. In its place is quite a bit of dialogue in two related languages: High and Low Valyrian.
In George R. R. Martin's "A Song of Ice and Fire," High Valyrian was meant to occupy the place Latin occupies in the Western world. Latin was the language of the Roman Empire, spoken commonly for several centuries in and around the Italian peninsula and beyond. It's the mother language for all the Romance languages spoken today (Italian, Spanish, French, Catalan, Romanian, etc.).
High Valyrian, in turn, was the language of Martin's Valyrian Empire, an expansive domain that existed for several millennia before it was destroyed by a mysterious event cryptically referred to as the Doom. In its purest form, High Valyrian still exists as a language of scholarship and refinement, though its impact on the region was far greater.
High Valyrian was taken up and creolized by the old Ghiscari Empire, where it's still spoken at the time of action in the books and the show. And it served as the mother language for the various Low Valyrian languages spoke in the Free Cities of Volantis, Braavos, Myr, Pentos, Lys, etc.
This season, I worked on two of the Valyrian languages: High Valyrian (the oldest form of the language) and the Low Valyrian spoken in and around Slaver's Bay. To translate sentences into the latter variety of Valyrian, I would first translate them into High Valyrian, and then apply a series of phonological, semantic and grammatical changes to the text. The resulting language is approximately as different from High Valyrian as Old Spanish is from Classical Latin.
If you watch the "Game of Thrones" premiere, you'll hear some of the Slaver's Bay variety of Valyrian. Both Nathalie Emmanuel and Dan Hildebrand do an outstanding job with their lines. I was extraordinarily pleased with their performances, and I hope you enjoy them as much as I did.
And even if languages aren't your thing, I hope the Valyrian won't distract you from what I think is a truly superlative premiere for season three.
For linguist David Peterson, inventing a new language is “like creation itself.”
Peterson is the inventor of the Dothraki language, spoken in the HBO hit series, “Game of Thrones.” (Disclosure: HBO shares a parent company with CNN). And just as J.R.R. Tolkien’s languages infused “The Hobbit” and the “Lord of the Rings” trilogies with an authenticity rarely seen in fantasy fiction, “Game of Thrones” writers and executive producers Dan Weiss and David Benioff say Peterson’s Dothraki brings a depth to their savage warrior culture beyond that found even in George R.R. Martin’s “A Song of Ice and Fire.” FULL POST
Editor's Note: David Peterson is the creator of the Dothraki language used in the HBO show 'Game of Thrones.' Peterson not only created the language but also served as translator/dialect coach for select cast in 'Game of Thrones.' He is also a member of the Language Creation Society. A 30-minute profile of Peterson will air on The Next List on Sunday at 2 p.m. ET on CNN.
The full history of language creation is a fascinating and varied one, but for now, I want to focus on the use of created languages in television and film. As a starting point, it's useful to examine the usage of "foreign languages" in television and film. Though it's hard to imagine at this point a Russian character speaking something other than authentic and grammatically appropriate Russian in a feature-length film, that hasn't always been the case.
Consider, for example, the film adaptation of Thoroughly Modern Millie (1967). Moviegoers are familiar with the racism inherent in casting the "other" in older films. For the film, if an actor looked "Asian" that was good enough. That same attitude extended to the use of language in the film. Even without knowing Chinese, you can watch Thoroughly Modern Millie and tell that the "Chinese" spoken is complete and utter gobbledygook. That, though, was simply a detail: as long as it sounded "Asian", that was good enough. And mind, this was 1967. FULL POST
By Mark Milian, CNN
Laguna Niguel, California (CNN) – In YouTube's vision of the future, television will look a little like video games.
According to Google video head Salar Kamangar, connected TV will usher in an era of programming that will allow viewers to interact with content on their screen. He discussed his thoughts on where video entertainment is headed Tuesday at News Corp.'s D: Dive Into Media conference here.
The changes will constitute TV's "third wave," in which smaller groups of people gravitate toward thousands of niche channels, Kamangar said. The first wave refers to broadcast networks (few options, huge audiences), and the second to cable channels (hundreds of options, each with smaller audiences). FULL POST
By Mark Milian, CNN
(CNN) – Of all the digital bells and whistles that Comcast put into its next-generation cable box, executives were surprised about one hum-drum feature that was most popular during testing.
"They love being able to check the weather," Tom Blaxland, a senior director for the company's Xfinity TV digital platform, said in a recent interview. "That's actually the most popular app we have."
"They say it's amazing," he added. FULL POST