I definitely agree it's a matter of the audience's ability to separate the tone of the narrative from the work. For instance, if it's a work that purposefully cultivates an anachronistic tone that uses modern slang, it could be to invoke a certain kind of mood, or just be accessible. Other writers try to keep the narration's style consistent to the language used in-setting. That sort of objective differentiates between whether you use Giraffe to describe an Elezen in your narration or Dhalmel... I think it's really just a matter of what sort of impression you're going for. I like to keep the narrator separate from the setting's vernacular, but I'm not practiced enough yet to keep things consistent.
This is actually sort of a tricky sticking point for me as I'm pretty fond of allusions to other work in my writing, and it even worked its way into my background storywork without me really thinking twice about it. It was totally reflexive for me to start adding connections to old kabuki plays and folklore that haven't been confirmed to exist in setting. When I started writing a background piece that I really should bring over here from my other forum, I used a children's game that I couldn't confirm to exist in setting. It's sort of walking a tightrope, but the way I see it, it's like reverse translation convention. If I can't find an equivalent idea in setting, I like to think there is one, and by invoking its real world counterpart, one can assume that the Hydaelyn version is in effect. That helps me also with things like the existence of vampires (I'm always going to come back to that...) in the setting; even if the flavor text of things using the word "vampire" was never visited in-depth, I could assume that a similar mythological motif existed in the world and by using "vampire," I'm using shorthand for that equivalent. Thus "baseball" in narration could be shorthand for some similar sport that probably exists in Hydaelyn.
This is actually sort of a tricky sticking point for me as I'm pretty fond of allusions to other work in my writing, and it even worked its way into my background storywork without me really thinking twice about it. It was totally reflexive for me to start adding connections to old kabuki plays and folklore that haven't been confirmed to exist in setting. When I started writing a background piece that I really should bring over here from my other forum, I used a children's game that I couldn't confirm to exist in setting. It's sort of walking a tightrope, but the way I see it, it's like reverse translation convention. If I can't find an equivalent idea in setting, I like to think there is one, and by invoking its real world counterpart, one can assume that the Hydaelyn version is in effect. That helps me also with things like the existence of vampires (I'm always going to come back to that...) in the setting; even if the flavor text of things using the word "vampire" was never visited in-depth, I could assume that a similar mythological motif existed in the world and by using "vampire," I'm using shorthand for that equivalent. Thus "baseball" in narration could be shorthand for some similar sport that probably exists in Hydaelyn.
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AV by Kura-Ou
Wiki (Last updated 01/16)
My Balmung profile.
AV by Kura-Ou
Wiki (Last updated 01/16)
My Balmung profile.
