~Hakurei Shrine~ > Patchouli's Scarlet Library
Dialogue Tips
Bias Bus:
For Suika, it usually depends on who's writing. While I have not written her dialouge out personally, I have seen several versions of her on Touhouproject.com (say what you will about that place, I find alot of the best authors for Touhou are right there on that IMGboard). For instance, I do recall one author writting her speech as nothing more than nonsensical slurs that, at first glance, were unreadable. While another had her talking as if she wasn't drunk at all.
I suppose the same can be said for Yuugi (being both her and Suika drink ALOT).
Drake:
Yuugi has never actually acted drunk. Just playful.
Hieda no Aya:
This is a good topic!
I don't really see why you'd worry about writing Suika drunk, though. Just write her as Suika; you already know what her dialogue looks like when she's drunk, it's what she's like all the time. She's never slurred before, so why should she suddenly start now?
Now, if you had to write her sober, you could panic...
Quad City QBs:
You wanted to know how to write someone typing drunk?
Tonepoet:
The most important thing about derivative character writing is to stay true to the character, as portrayed in the original works, otherwise you may as well do something original. Fanon is fine for parody purposes or maybe pulling off a fast joke but if you rely on it, it demeans the value of a more serious work and comes across as unoriginal. You might even want to write in order to avoid fanon references, as they can illicit unintended meanings to your reader or stunt the work's potential. For example, when writing a sad, tragic tale of revenge if Ran sees Chen dead or mortally wounded, do not have her shout out "CHEEEEEEEN!" If you do, congratulations! The reader cannot take you seriously now. The mental link to something funny in the reader's mind just spoiled the mood. Not that long drawn out shouting is advisable in serious work anymore, as it has been overused to the point of being cliched. I'm just trying to make a point.
As far as Suika goes there are two types I've noticed in fan works: Happy Drunk Suika and Badass Antagonist Suika. Her basic movements in IaMP suggests mere happy playfulness but on the other hand she is beating everybody senseless all the while. Happy drunk with a mean streak is plausible, I suppose or perhaps she's just the overbearing sort who doesn't realize her own strength. She seems like a very flexible character to me, so it depends mostly upon what you need in the setting. I'm not sure about Suika specifically but different people can act very different when drunk: Some people just laugh and giggle at everything and lose a bit of discretion; some are wild party folk :toot: who drink until they puke :barf:; others become quite violently inclined, abusive and dangerous; others still just kinda become irate and pessimistic, though I doubt Suika's one of these. Excessive substance abuse can lead to addictive tendencies like antisocialism or perceived dependency. I doubt Suika would like having her gourd taken away. People who're habitually drunk usually drink for the purpose of escapism, though this can be a real downer if you want a happy tale. She seems like she could be a very flexible character, so I'd write her depending on exactly what you lack in the setting. This may require some sitting down and examining the other character relations to see what sort of things your story lacks without her, not to mention how that effects the overall mood you're looking for.
I'd give more advice on various ways one can write specific characters and what I think they might say. However, I'm afraid I've been trying my best to keep myself ignorant as possible to the game's official plots and dialog until I can actually buy, patch and complete the full versions. It'll be a much better experience playing that way. I hope this general advice can be of help though.
Why yes, yes I did just add the wild party folk part just so I could use those two emotes, despite the fact that they unintentionally break my paragraph in two. Why do you ask?