Weishenmewwx - 我姓蓝,爱巍澜,最喜欢蓝色

MDZS Vol 4 Annotations

Part 1, pages 1-49

I finally finished Book 4! It was beautiful! I loved it! But a lot of word and phrasing choices didn’t fit my personal interpretation of the MDZS world, and the final chapter of Book 4 was translated based on an earlier version of MDZS, so I have a ton of notes.

Alright. Here we go:

The author is very affectionately roasting LWJ here, and simultaneously showing how LXC is an expert at reading his enigmatic little brother. The contrast between the high-register language of the brothers’ conversation vs the relatively informal narrative language is obvious in Chinese, and serves to make this short and otherwise rather somber exchange more interesting and a little bit fun.

I had a hard time with contractions and slang in this book. I’m sure it’s in all the other books, too, but this time the “gonna”s and “gotta”s and “yah”s rubbed me the wrong way.

Every single character in MDZS (except Xue Yang) is highly educated and speaks with care and precision. WWX talks more colloquially than LWJ (or, rather, LWJ speaks like ancient poetry and WWX just talks), and JC tends to punctuate conversations with criticism and threats, but they all speak like they endured years of formal schooling and have hundreds of classical poems and ancient texts memorized.

“If I can play a monkey and shoot illogical dramas, how difficult can these problems be?”

Words to live by 🥰

I love you, 朱一龙！

Zhu Yilong: No time to swell

EN translation of Zhu Yilong's Esquire Sept 2018 Cover Issue Feature Interview by wenella

朱一龙：我来不及膨胀

Zhu Yilong: No time to swell

ESQ: When did you realise that you became popular?

Zhu Yilong: I was filming (note: My True Friend) so I didn't feel anything... But when I went to record Happy Camp in Changsha, I was shocked to see so many people at the airport. Even the police was mobilised.

ESQ: Your fans praise you for maintaining the integrity of your acting despite a bad script. How did you do it? What do you think of imperfect dramas?

Zhu Yilong: I managed to develop pretty good tolerance over the years. If the script isn't great or is illogical, I will sort out the character's development and his lines to make it better. If not, it will be impossible to act.

ESQ: How do you feel about your previous acting experiences?

Zhu Yilong: How many good dramas are produced in a year now? Good dramas that excite audiences, that are praised by the industry, that feature excellent actors & directors? Probably one drama a year? With such limited good productions, it is hard for actors to land themselves in good roles. In fact, even though many actors are constantly acting in new shows, they rarely get the chance to play a role that they they really want. Well, one can choose to say, "I will not act if it isn’t a role that I like." But if you don’t act, who will approach you with roles in the future? If I didn’t accumulate a decade of acting experiences after graduating, how can I be sure that I will do well when I receive a a good script? Hypothetically, I could have taken up my role in Guardian even as a fresh graduate, but the result would definitely be different.

ESQ: Probably a tricky question; what motivated you to create your role as Savage in Hunting Savage (2011)?

Zhu Yilong: I was quite resistant initially. I thought, a savage? How do I play a savage? When I first started, I felt that I had to sort out the character's story. I was on very good terms with the director and we came to a consensus: let's just have fun. And we did.

ESQ: What did you learn from this experience?

Zhu Yilong: That all actors need experiences like this. It will help to build your resilience. After filming Hunting Savage, I found it easier to face other problems. I mean, what problems? If I can play a monkey and shoot illogical dramas, how difficult can these problems be? Therefore, whenever I encounter any problems with my scripts now, it isn't as devastating as before. I am able to resolve the issues. I have a better mindset and I do not shy away from any difficulties or challenges.

ESQ: Can you share if there were any dramas or roles played by you that were integral in shaping your acting style and approach?

Zhu Yilong: There are three shows. "Family Banquet," "Love for Three Lifetimes," and "The Story of Minglan."

Let’s start with Family Banquet. Feng Douzi’s personality is really different from mine. He is a bad student and all he wants to do is to make money. He sells houses, gets into illegal pyramid schemes; well, he is basically a rascal. I was only a year out of college when I played this character.

Looking back, I was glad that I did it. I can’t possibly do aloof and cool roles all the time. When I acted as Chi Rui in Love for Three Lifetimes, I wasn’t confident as I had very few lines. At that time, audiences often criticized actors for being expressionless. I mean, everyone loves animated and vivid performances, but Chi Rui was written as an aloof, icy, and expressionless character; what could I do about it?

ESQ: So it became a test of your emotional scenes......

Zhu Yilong: Yes, but audiences probably weren't able to understand this. I was very worried during the filming and kept discussing my scenes with the director. In the end, I didn't express Chi Rui's emotions through his facial expressions, but internalized them instead. I took his love & hatred to extremes and differentiated them.

ESQ: How did "The Story of Minglan" impact you?

Zhu Yilong: I tried to do something different in The Story of Minglan; that is, I did not design anything for my character. In the past, I had to be sure of the character’s logic and development before the filming and hence, I'd prepare extensively for my role. This was to ensure that my acting was consistent & logical. But Qi Heng had very limited scenes and the director had full control over the drama's pace. It was hard for me to tell what the eventual result would be like, so I couldn't follow my instinct.

ESQ: So what did you do this time?

Zhu Yilong: I didn't prepare much. When I first joined the set, I kept discussing my role with the director. I asked Director Zhang Kaizhou, "So what do you think of Qiheng?" I trusted him a lot. Director Zhang was very insightful and had a totally different personality from Qi Heng. Thus, he was able to look at this character more objectively. I adjusted my acting according to his demands. And as the filming progressed, I kept reminding myself to be more open-minded.

ESQ: What do you think of the relationship between an actor and good looks?

Zhu Yilong: Firstly, I don't think they contradict one another. There is no correlation between good looks and acting skills. Some genres require actors to look good. If not, it would be hard for the audience to accept them as the character. In film and tv, being good-looking can help an actor enhance the character's charisma, but this is also dependent on how the actor uses his good looks. He can’t behave in a way that impresses on audiences that all he does is to try and look good.

ESQ: You acted in a theatrical adaptation of “Devils on the Doorstep” (Dir. Jiang Wen, 2000) in college?

Zhu Yilong: Yes! I played Er Bozi (Second Neck) and all my lines were in Tangshan dialect. “I have a mouth just like my mum’s; it can’t keep secrets.” The previous version was played by Huang Bo. Several students from my cohort are particularly fond of director Jiang Wen, so we produced a new version.

ESQ: You're different from Jiang Wen. He's more flamboyant than you.

Zhu Yilong: Actually, we are pretty similar. I think flamboyance stems from one’s confidence. If you are like Jiang Wen and made a successful film such as In the Heat of the Sun (1995), you should express yourself confidently; your ideas are probably right as whatever that you say is based on the success of the work. However, if you insist on flaunting despite not having what it takes or if you think that being ignorant is cool, it is impossible for you to gain the recognition of others.

ESQ: Have you ever taken risks in your acting?

Zhu Yilong: I've always taken risks, but not without fear. I think I was a bit more daring when I first started filming. I thought that no one would watch those late-night movies on TV anyway, so I experimented with different acting styles.

ESQ: You’ve picked up some acting techniques by now, such as swallowing fake blood before puking or playing lame by stuffing a rock in your shoe. Why don't you try a smarter method instead? For example., you can get a sense of how it feels to be lame for a few days and you remove the stone from your shoe during the actual filming.

Zhu Yilong: I don't think there are any short cuts to acting. I can definitely try the smarter method. However, after reading the interviews and biographies of foreign actors, I realised that I haven't been able to immerse myself in my role as much as they did. This is something that I hope to achieve. (The former method) may be more harmful for my body, but I feel that it is more meaningful as I get to immerse myself in the character during the filming. If not, what is the point of acting? Using short cuts and techniques? What’s the point?

ESQ: You've played a lot of roles that are very different from yourself. Looking back, do you feel surprised by your performance? Do you feel a sense of accomplishment?

Zhu Yilong: To be honest, those roles aren’t great. I think the characters are rather superficial. Actors can express a range of emotions and play a variety of roles, but it takes a lot more to make a character deep. No actor can play one role today and another role the next day. Every role is contingent on one's experiences; you need to invest time to experience a character’s life.

ESQ: Have you been this sober since you were a kid?

Zhu Yilong: I don't know. In retrospect, it might have something to do with my dad. My dad loves to talk to me about life & values. When I was 13 years old, my dad dragged me into the snow on New Year's Eve and told me that "people need to decide how to lead their entire life." My dad is a loving father; he has never scolded or hit me. Whenever my dad was in a good mood, he’d come to pick me up from school and took me to play games. My mum would chase after us and drag me back home. She’s pretty strict.

ESQ: Your parents treat you very differently.

Zhu Yilong: Yes, I looked better when I was a child. I had curly hair and big eyes. My mum loved to tie my hair into a ponytail, apply red nail polish on my nails, and dress me in skirts or dresses. My dad, who used to practice Sanda, was very upset with my mum over this. He threw me into a Sanda training team as a way of developing my masculinity. Looking back, parental education has a direct impact on a child's development.

ESQ: You said you want life to be simpler, but characters you play to be more complicated. Why?

Zhu Yilong: Because I’m lazy (laughs). Life is so complicated every day. There are so many things to think about, it is tiring. I like a simple life; to keep interactions with people simple. To keep things simple. As for my roles, I like them to be more complicated & layered. I don’t want to play a role that will allow people to predict what will happen to him in the last episode just based on the first.

ESQ: Some people say that your generation of actors debuted at the wrong time.

Zhu Yilong: When we just graduated, the main characters on TV were played by actors such as Sun Honglei and Zhang Jiayi. We could only play their son or younger brother. We didn't have opportunities to play more sophisticated characters as we weren’t senior enough.

And when we finally made it into our 30s to play the roles that we want, audiences seem to prefer very young actors. It is as though we have missed out on something.

ESQ: Do you feel upset?

Zhu Yilong: Not really, I don't think too much about this. I'm neither a young fresh meat nor a veteran actor. If I can't play the role I want, I'll just try something else. I mean, I've played a monkey before, there is nothing that I can’t act, right?

Post translation note: It warms my heart to read a 2018 article and realise how Zhu Yilong has grown closer to his acting goals since then. This interview was probably done in Aug 2018 after Guardian concluded. I like it because it focused a lot on getting Zhu Yilong to express his views on the craft of acting, rather than to answer the usual (and meaningless) questions regarding “high traffic stars” or “idol vs. actor.” Happy reading. If you want to re-translate this thread into another language, pls DM me for permission and credit + share the link to the original post. Thanks!

      Bookshelf inserts

hey say that you can’t judge a book by its cover. But what if the cover alone can tell you the whole story? Welcome to the world of book nooks where creativity runs wild!

These hand-made creations will draw you into tiny places of wonder: from the hobbit hole to the Blade Runner-inspired apocalyptic alley or Lord of the Rings-themed door replica equipped with motion sensors.

This book nook my mother got on Ebay

A Magical bookshop in your own bookshelf

I made a booknook for a christmas gift, my inspiration was Blade Runner. It’s 11" X 6"

Not only are book nook inserts a fun way to train your creativity muscle, they can also be a solution to making reading great again. A recent study done by Pew Research Center showed that a staggering quarter of American adults don’t read books in any shape or form. The same study suggested that the likelihood of reading was directly linked to wealth and educational level. Add high levels of modern insomnia and full-time employment that leaves many of us drained at the end of the day, and the idea of opening a book seems unappealing, to say the least.

Now imagine yourself walking past a bookshelf full of these mini worlds—the dioramas of an alley. They catch your attention and you cannot help but see what’s inside. The pioneer of the book nook concept is the Japanese artist Monde. Monde introduced his creations to the Design Festa in 2018 and received overwhelming feedback. 178K likes on twitter later, Monde has become an inspiration to the aspiring arts and crafts lovers who join on r/booknooks to share their spectacular ideas.

Hobbit Hole

Design, print and paint a small shelf to decorate shelves

worlds hidden in a bookcase

A double wide endor inspired wilderness piece

Old Italy book nook

Diagon Alley booknook

Witch is watching you

Warhammer-style booknook

Creature from the Black Lagoon bookshelf monster

A booknook inspired by Les Miserables

source https://www.boredpanda.com/book-nook-shelf-inserts

I love this so much,  thank you!😊❤️❤️❤️❤️❤️

Super-Vocal 声入人心

I have been obsessed with listening, and occasionally watching, song clips from Super Vocal recently.

YouTube

声入人心 单曲纯享

声入人心 单曲纯享

Yes, yes - everyone who likes 周深 Zhou Shen had recommended to watch the whole thing multiple times, but I never had any desire to expand beyond Zhou Shen until recently.

Maybe it was seeing 刘宪华 Henry Lau's expressions as he watched other people sing.

Such a cutie. A polyglot polymath cutie with really nice abs (you all saw the movie Double World, yah?)

Or maybe it was Zheng Yunlong (I still don't think he's fair. Nothing about Zheng Yunlong is fair. Not his height, not his face, not his singing. It's just not fair. Especially when they put him in costume. Any costume. Or do his hair. Any hairstyle. ）

And it's all been incredibly wonderfully ... gay? Since they only have men on the show, all the duets have been between guys. They didn't even bother changing the lyrics to pretend they were singing about girls -- it's just "Oh, 哥 big brother, I miss you" etc. So awesome.

And the men are so wonderfully put together. And talented.

Anyway, I highly recommend it. Everyone was right - Super-Vocal is totally worth listening to / watching. (Maybe someday I'll get to watch the entire thing instead of just listening at work.)

Common Anime Words Glossary

Glossary of common anime words and their meanings in Japanese explained.

I want to read every entry on this site! I just found it today, and it explained the BETSUNI i’ve been hearing so much in video games and couldn’t figure out!!!

I expect a LOT of phrases this site goes through would help clarify confusion I’ve been having. It’s a nice site.

I’m annotating the Official Translation of MDZS before I lend it out to non-Chinese friends, and as I was reading I realized that the Chapters are different! Paper Book ch 1 = online book ch 1-4!

Which is ok, fine, sure…but that also means that there are no incredibly cute chapter titles to make the relationship between author and reader feel more intimate. I love MXTX as much as I do partially because every few chapter titles felt like it was a charming little inside joke that she wrote just for me (and her other millions of readers).

Here is a screenshot and link to Awesome Charming Cute Chapter Titles:

Here are the English Translations, courtesy of the MDZS wiki ❤️:

So my questions now:

do I just Pencil In the Cute Chapter Titles in the paper novel where they would/should appear?

Do they matter as much when it’s so difficult to translate the completely different style that they are written in — cutesy slang — vs. the writing style of the novel — proper “period” XianXia? I mean, of all the LWJ references in the chapter titles, she only writes his actual name Lan Wangji “properly” twice. Twice, in over 100 chapters. I learned how to read slang in Chinese because of these chapter titles! (And the end-chapter notes, and some of the comments :)

What’s the best way to introduce this story to a non-Chinese, non-XianXia, non-BL-reader?!?!?

My Highly Responsible Teenage Daughter keeps reminding me to Clean Up My Phone (delete images and video), so I can’t really justify keeping albums and albums of Zhou Shen pictures on my phone, but I really really want access to Lots of Zhou Shen photos without having to scroll through tumblr for (how long has it been? That’s not sunlight coming through the window, is it?) -

BaikeBaidu to the rescue:

https://baike.baidu.com/pic/%E5%91%A8%E6%B7%B1/15089196?albumId=3139037095&bk_fr=view_album&hit_contrast=1

MDZS Volume 4 Annotations

Part 4, pages 152 - 174

More notes on MDZS vol 4! A few anti-slang, and then a lot of clarifications of sentences or words that I felt were strange or misleading or not as precise as they could be.

More below the cut!

How would you lure someone into reading MXTX's novels beyond the usual "the main CP is this and that"? Cos for example, every time someone tells me to read MDZS, they mostly just say Wangxian is married and have a child and leave it at that, which isn't encouraging at all??? Sorry to bother you with this question. I love reading your responses though!

Hi there anon!~

I think pitching MXTX novels as purely “couple is so-and-so” is also a bit of a disservice, too! One of my favorite things about many danmei novels is indeed that they are very plot-heavy and contain lots of thought-provoking concepts. For the sake of this answer, I will limit it to MDZS since you gave that as an example.

For me, the most interesting thing about MDZS is not necessarily that “Wangxian are married and have a son” but the actual struggles that both Wei Wuxian and Lan Wangji endure in order to get to a point where they can be happy together. It takes one of them dying and coming back, plus the shattering of social complacency that occurs during the present timeline of the novel. And even then, that’s not even really the main focus of the novel, it’s more like a product of everything else that happens. Their history is also long and marred with anger, confusion, heartbreak, and understanding.

I have my own preferences of how I read Wei Wuxian, for example, that I think differs from other people’s. Same for how I like to interpret Wangxian. In an effort not to rock the boat, I’ll just say that I think Wangxian is a very compelling and interesting couple because they both put in work to make it work. I like thinking of how they are just very fundamentally different people, but do well together because they choose to.

But again, I think MXTX made a point also in not focusing too much on their relationship itself, but rather the plot and how/why it develops the way it does. She had something she wanted to say with this work, as she does with each one of her works. MDZS is first and foremost a murder-mystery with the background of a war story. It’s about the dangers of mob mentality, how fast the crowd will turn against you if you step out of line. It’s about how rocking the boat has far-reaching consequences, and how society often wants the easiest and cheapest way to morality. It’s about how the pressure to be perfect will shatter someone, yet the cracks may not show until it’s too late. How oppression can make both heroes, and monsters – and that sometimes, that distinction is simply a matter of who is telling the story.

(I also want to note that there’s also the one theme that MXTX seems to really favor, and is present in all 3 of her works: having one person on your side can be enough.)

These are all incredible concepts that I think are really worth reading the novel for. Not to mention, they are eternally relevant conversations to have. MDZS is a novel painted in gray, and deserves thoughtful consideration of such. (Of course, it can also just be a lot of fun!) Even how you view the main character is absolutely dependent on what perspective you want to see him through. This itself is really interesting and unique.

The way the novel ends, with a lot let unsaid – intentionally so – is bittersweet yet satisfying. Fascinating in the sense that yeah, not everyone gets a happy ending, but in a way that genuinely makes sense. (But if you’re worried, fear not, Wangxian do end up married and with a son, after all lol!)

Ultimately, these are adult novels, meant for an adult audience – and created as much for the purposes of having fun, as they are to be discussed and analyzed through a scholarly lens. So I definitely share your frustration in being pitched a novel purely on the couple, because YEAH I do care a lot about the couple (see: how I devote at least 80% of my brain power to thinking about Hualian kissing), but I also do want a story that is satisfying in more than just one way. I.e., is stratifying in both terms of its main couple’s relationship AND a fleshed-out plot line with lots of themes to analyze, because I like having fun in both of those ways!

I think even when we pitch other MXTX novels (or danmei novels in general), it’s helpful to do it the same way. To focus on what makes the novel great in its entirety, not just a small, reductive portion of it. Especially when it’s very clear that the author has so many things they’re trying to say with the work. However, I’ll end this here because this answer is getting so long lol! I hope this helped you out, anon, and maybe even sold you a little more on MDZS haha! (ﾉ´ヮ`)ﾉ*: ･ﾟ

CLADISTICS ruined my life