There’s only a certain amount of emphasis to go around. The more things you italicize, the less important each italicized word seems, and then when something’s really important it doesn’t stand out. It’s like swearing—if I swear every time I spill a glass of water, then it loses its effect and when I drop a hammer on my toe there is nothing I can think of that will express the strength of my feelings.
In comics, the difference in weight between bold and standard is much less than in typical fonts. I think it works well in comics but here it makes me read things out of order in a distracting way.
There’s only a certain amount of emphasis to go around. The more things you italicize, the less important each italicized word seems, and then when something’s really important it doesn’t stand out.
I keep trying to tell my mom exactly this, every time we need to design some kind of print materials for the family business. She just doesn’t get that emphasis is about the relative share of a reader’s attention to different parts within a text, a positional good of sorts.
Oh, I keep getting that argument and I disagree completely. Swearing does not add nor substract emphasis; it is punctuation, placeholder words that might as well be onomatopeias. For an example of a character who swears constantly and still manages to highlight quite well differences in emotional intensity, I would suggest you look at Malcolm Tucker from british political satire The Thick Of It. For another who never swears yet also conveys utter fury, anger, frustration, pain, and so on impeccably, I would suggest having a look at any of the latest Doctors from Doctor Who. An angry David Tennant is a frightening frightening sight to behold. In the case of the hammer on your toe, I believe a heartfelt ARGH! does the trick nicely, with an extra hiss afterwards is you feel like it.
I personally find that part of the relief from swearing comes from breaking a taboo, and that this weakens over time. But perhaps watching The Thick Of It will reveal to me a more sustainable way.
As for italics, in the limit case where everything is in italics you surely would not conclude that THE WHOLE THING IS EXTRA SUPER IMPORTANT. So there’s some crossover point; we just disagree on where it is. I believe my view is common at least for more formal (book-type) writing.
Swearing does not add nor substract emphasis; it is punctuation, placeholder words that might as well be onomatopeias.
At least for my own speech, profanity is primarily a way to add emphasis. This seems to also be true for a significant fraction of the people I’ve known.
Of course, profanity is not the only available source of emphasis. There are still lots of ways to convey emphasis with the level of profanity held constant.
There’s absolute emphasis (“Listen up, because I will only say this once” draws extra attention to the entire statement that follows), and relative emphasis (the word “constantly” in ”...a character who swears constantly and still...” is emphasized more than its neighbors, regardless of the level of passion it is read with). You can get someone to pay more attention in general, but attention paid to one thing is still attention not paid to something else.
Again, it depends on how the things relate to each other. Example: you are kissing your beloved. The heat, the smell, the touch, the beat, the movement… can you really say that focusing your attention on any of those elements means you’ll lose sight of all the others? Example: a movie scene. If the music, the visuals, the dialogue, all support and underline each other, focusing on one will not make you pay less attention to the rest.
I suppose this is scoped to the statement “if I swear every time I spill a glass of water, then it loses its effect and when I drop a hammer on my toe there is nothing I can think of that will express the strength of my feelings?”
Because the overall point that emphasis must be conserved stands quite well.
Not really. Watch any opera or musical, listen to any speech; there’s enough emphasis around to go on for hours and days, as long as you keep it varied and well-executed.
Heck, just marathon Gurren Lagann and tell me when you actually think the emphasis wears thin. My bet is, never.
I never said there never need to be any down times, I said there was no such thing as conservation of emphasis. Even in Lagann, the down times were tense, emotional affairs; at their lightest, they were deeply contemplative; that is hardly a lack of intensity.
There’s only a certain amount of emphasis to go around. The more things you italicize, the less important each italicized word seems, and then when something’s really important it doesn’t stand out. It’s like swearing—if I swear every time I spill a glass of water, then it loses its effect and when I drop a hammer on my toe there is nothing I can think of that will express the strength of my feelings.
In comics, the difference in weight between bold and standard is much less than in typical fonts. I think it works well in comics but here it makes me read things out of order in a distracting way.
I keep trying to tell my mom exactly this, every time we need to design some kind of print materials for the family business. She just doesn’t get that emphasis is about the relative share of a reader’s attention to different parts within a text, a positional good of sorts.
Oh, I keep getting that argument and I disagree completely. Swearing does not add nor substract emphasis; it is punctuation, placeholder words that might as well be onomatopeias. For an example of a character who swears constantly and still manages to highlight quite well differences in emotional intensity, I would suggest you look at Malcolm Tucker from british political satire The Thick Of It. For another who never swears yet also conveys utter fury, anger, frustration, pain, and so on impeccably, I would suggest having a look at any of the latest Doctors from Doctor Who. An angry David Tennant is a frightening frightening sight to behold. In the case of the hammer on your toe, I believe a heartfelt ARGH! does the trick nicely, with an extra hiss afterwards is you feel like it.
I personally find that part of the relief from swearing comes from breaking a taboo, and that this weakens over time. But perhaps watching The Thick Of It will reveal to me a more sustainable way.
As for italics, in the limit case where everything is in italics you surely would not conclude that THE WHOLE THING IS EXTRA SUPER IMPORTANT. So there’s some crossover point; we just disagree on where it is. I believe my view is common at least for more formal (book-type) writing.
You don’t need to study the entire population to extrapolate a result. Here’s a [ http://tvtropes.org/pmwiki/pmwiki.php/Quotes/TheThickOfIt ]representative sample .
At least for my own speech, profanity is primarily a way to add emphasis. This seems to also be true for a significant fraction of the people I’ve known.
Of course, profanity is not the only available source of emphasis. There are still lots of ways to convey emphasis with the level of profanity held constant.
There’s absolute emphasis (“Listen up, because I will only say this once” draws extra attention to the entire statement that follows), and relative emphasis (the word “constantly” in ”...a character who swears constantly and still...” is emphasized more than its neighbors, regardless of the level of passion it is read with). You can get someone to pay more attention in general, but attention paid to one thing is still attention not paid to something else.
Again, it depends on how the things relate to each other. Example: you are kissing your beloved. The heat, the smell, the touch, the beat, the movement… can you really say that focusing your attention on any of those elements means you’ll lose sight of all the others? Example: a movie scene. If the music, the visuals, the dialogue, all support and underline each other, focusing on one will not make you pay less attention to the rest.
Key word: synergy.
I suppose this is scoped to the statement “if I swear every time I spill a glass of water, then it loses its effect and when I drop a hammer on my toe there is nothing I can think of that will express the strength of my feelings?”
Because the overall point that emphasis must be conserved stands quite well.
Not really. Watch any opera or musical, listen to any speech; there’s enough emphasis around to go on for hours and days, as long as you keep it varied and well-executed.
Heck, just marathon Gurren Lagann and tell me when you actually think the emphasis wears thin. My bet is, never.
In all of your examples, there are down times. Even Lagann.
I never said there never need to be any down times, I said there was no such thing as conservation of emphasis. Even in Lagann, the down times were tense, emotional affairs; at their lightest, they were deeply contemplative; that is hardly a lack of intensity.
On second thoughts, there is no particular minimum to emphasis, so it clearly isn’t conserved. There is an issue of diminishing returns.
Phrased that way, I have to agree. Of course, diminishing returns can be streched with proper technique, but they are there nonetheless.
Well before the time skip, and the last episodes were just plain irritating.
That is an unusual perspective. The only parts that are left are the parts most people complain about. Nia’s Awakening and the Deep Space arcs.
Is there some research that investigates the effect in a more detailed fashion?