#*ABOUT MDZS*! ALL ACTUAL ACADEMIC WORK *ABOUT MDZS* this is so cool...

[withthewindinherfootsteps]

I AM NOW THE PROUD OWNER OF A 400-PAGE LONG BOOK OF ACADEMIC ANALYSIS ABOUT MDZS (both the novel and CQL, as well as the wider danmei sphere, internet authorship, fan reactions in both CN and non-CN spheres, and so many more interesting things – there are photos of the contents list below) >:DDDD

I only got it this afternoon so have only read the (quite long?) excerpt available online and pages I came across while flipping through, but everything I've read so far is really interesting and well-written. If you're interested, it's promoted on the blog of @pumpkinpaix, where there are also chapter spotlights with comments from authors of each paper/chapter about them and about MDZS in general (which is how I found out about it, one came up in tumblr's 'based on this tag you follow...' recommendation), as well as FAQs (including where to buy it, though I did link that at the start). Alternatively, all posts about it are in the tag #catching chen qing ling!

I really recommend it, especially if content about MDZS interests you! and I promise I haven't been told to advertise this it's just something so so cool... a collection of academic work about MY FAVOURITE BOOK... and I know people do follow me for meta/analysis so this might be the sort of thing people looking at this blog will be interested in..?

[natsunoomoi]

Holy crap. So like with the previous post I was thinking about Fushigi Yuugi again and kind of checking up on what was up with Byakko Senki cuz I haven’t checked on it in awhile and it looks like it’s on hiatus right now and she’s working more on Arata Kangatari, which is cool cuz I thought she finished that, but I guess not and she just took a break to like finish Genbu and do Byakko or something.

But also I was scrolling through her Twitter to find that she is really into this Chinese movie “Legend of Luo Xiaohei” and so I was checking that out cuz so ironic that Japanese mangaka that got her big break writing manga about an ancient China setting is interested in a Chinese movie. So just looking through her Twitter thread and apparently she found out about Luo Xiaohei from watching a CM while watching Modao Zushi. LMAO It’s amazing, but this situation just feels like an ouroboros eating itself because I have a high suspicion that her work on Fushigi Yuugi imported into China back in the 90s was probably a huge influence on Chinese creators and artists to write their own stories about their culture and helped to popularize the xianxia and wuxia novel movements in more modern times. On top of that MXTX said she was inspired by a D. Gray-man fanfic and while she mentioned that title specifically, I think in the periphery Fushigi Yuugi itself and more recently Arata were probably an influence too. Growing up a number of my Chinese friends also said they got into anime overall because of Fushigi Yuugi because it was an anime and work from Japan about their culture and arguably done pretty damn well. 

In terms of the danmei movement as well, I’m pretty sure Fushigi Yuugi was included in what started the movement as the movement was influenced by Japanese BL that came in via Taiwan, and the beginning of Fushigi Yuugi had the whole thing between Nuriko and Hotohori even though that kind of went nowhere, Nuriko dies to everyone’s depression (I have several friends who refuse to watch the rest of the series after Nuriko dies because it’s not the same), and that whole ship goes off a weird deep end with Hotohori marrying a woman that looks like Nuriko. Also, the exact reasons for Nuriko being in the harem and all that. There was a whole lot of shipping in the 90s from Fushigi Yuugi and it was one of the first series that had a male cast that was almost entirely ikemen and I think the actual first reverse harem. A number of shows probably simultaneously popularized the female gaze in mainstream anime, but Fushigi Yuugi was definitely one of them. Like literally one or two years before there was a lot of manly men and guy’s guys kind of anime characters, but beautiful ikemen, no, not really. In 2021, there are some things about the series that are a bit problematic, but it’s influence on the world is pretty significant. It was one of the first shows I’d seen that had any kind of reference to homosexuality or transgender in it and although it’s not necessarily portrayed well, the fact that it was there and that Nuriko was such a beloved character it started a conversation and helped us to get to a time where the topics she represents can be more discussed. I’m actually not even sure what pronouns would be appropriate for Nuriko because of her reasons for what she did and in Japanese the pronoun problem is actually really easy to get around because you just don’t have a subject or speaking in 3rd person is totally normal. But still, without her the minds of thousands or even millions of fans around the world would not have been opened as early to LGBT topics. Her existence, even problematic as it might be, allowed people to consider and love a character of a different sexual orientation or gender identity than their own and just open their minds to just not being a homophobic, biphobic (cuz relationship with Miaka?), or transphobic piece of shit.

Then also Genbu Kaiden and Uruki’s powers. Yeah.... I mean, also kind of with the earlier discussion, the idea of dual cultivation I don’t recall even being brought up much before in most media, but such ideas were also banned and repressed in China at a certain point. Documentation shows it was more of an ancient practice that suddenly became known about again. The book I was talking about that has it more explicitly written is banned in China has its only original surviving copy in the Japanese National Library as it was one of the books brought to Japan by scholars escaping persecution in China and bringing with them books to escape one of the many episodes of mass book burning. According to my Chinese lit professor who had us read an English translation of that book as a part of our curriculum anyway. Supposedly the translator of said book had to go to Japan to read the original in order to write the translation. There’s apparently a number of ancient Chinese texts like that because book burnings were a thing at different points in Chinese history, so if you are a scholar of Chinese lit if you want a complete picture of your field for some texts you do actually have to come to Japan to do your research. But yeah, that power mentioned in that very book Watase-sensei gave to Soi, and also the story of Fushigi Yuugi takes place in that very library that contains that ancient copy of a banned and would have been lost to the world book. If you’re asking why a “dirty” book would be something a scholar would grab to save, ancient lit scholars do regard it as a rather well-written piece of literature even though the content of it is basically taboo.

But also the Fushigi Yuugi Suzaku Ibun game is a hot mess when it comes to this same issue because if you romance Nuriko you can save her from death and my friend Hikari said she wasn’t sure if she was happy about fucking with the universe like that. (I’m not either.) Nuriko’s death was such a huge impact on the story and everything. Also, notably, most of the Suzaku Shichiseishi died, but Nuriko had the LONGEST tribute. Like Chiriko and Mitsukake’s was like a tag on of a few minutes. Hotohori’s was too even, but it was addressed more in the later manga chapters the publisher pressured her to write and in the OVA series afterward.

Also, like Fushigi Yuugi other than the Neverending Story was one of the original sucked into a book holy shit how do I survive stories. Idk if SVSSS is influenced by it in that way, but it’s fair to draw the parallels because of the similar theme. It’s just canonically Taiitsu Shinjin is not behind the the system in the book and in a number of ways Shen Yuan is more competent than Miaka. Miaka gets a lot of shit though and when I re-watched FY a second time I actually found the gripes people generally have about it make up only a small part of the series. People just talk it up so much that it seems like a huge thing when it’s not. Plus the technical canon is only the original TV series because that’s where Watase wanted to end the story and that is an emotional rollercoaster that makes you cry so good. But like there’s some other kinds of parallels as well like how toward the end and like the last two episodes you hate Nakago up until the exact moment you find out why he’s an absolute asshole, and characters straight up criticizing him about how he’s an asshole the whole damn series just gives the same kind of feels that SY gave criticizing the original throughout SVSSS. Can’t say for sure, but Fushigi Yuugi has a lot of clout in a general sense.

But yeah, Watase-sensei said that she was really surprised by the animation quality of Chinese animation these days and she thought Japanese anime was going down in comparison. Same, yo. Same. But still, her work was probably a huge contributor to the movement that allowed MDZS to exist because her art is damn beautiful, Chinese influenced, and she had one of the first works in Asia to like bring the subject of LGBT issues into the mainstream after years of oppression from mostly Western influence because in pre-modern Asia no one gave a shit before and there’s a significant amount of classical novels that address some form of LGBT issues at least in Japanese lit and like even academic documentation that notes Confucius saying that doing it with a guy was better than with a woman. And the author of the work that probably was very influential to BL back in the 90s watches MDZS. She noted that there wasn’t any in the actual anime, which is true, but I think she helped that series to exist and she watches the anime so it’s kind of exciting.

I hope it influences her to go finish Byakko, but OMG I want her to finish Arata too because I like Arata. I should try to find time to read more of it because the anime is too short and the wiki descriptions of what’s happening are so damn confusing and incomplete.

[imaginaryelle]

Okay, @tonyglowheart , here is that promised response:

@three--rings  already brought up some points I was going to mention so I’ll skip over going into detail on those and just say that I agree with the use of caution and thoughtfulness in approaching works produced by other cultures (of whatever language), and I, too, love a mash-up of MDZS and CQL for ideal storytelling. Accepting genre tropes in general is really important as well. I once showed my grandfather a piece of my writing based on pulp adventure stories like Indiana Jones and his main reaction was “All these secret chambers and codes and gadgets, isn’t that all very convenient?” and I just had to shrug and say, that’s the genre, it’s part of what makes it fun to read. Also, based on reading about various medicinal histories I’ve been exploring, I can say that the coughing up blood thing is a trope based in Ancient China’s traditional medicine. Lots of pre-understanding-of-blood-circulation societies thought expelling old or stale blood was important for the body (possibly based on how menses works and reflected in Western medicine’s several-century-long obsession with bloodletting), and I recently read that having it caught in your chest and needing to cough it up was part of China’s take on things. I’m still not sure about all the other face bleeding, but if it’s not actually based in something historical it seems like a reasonable extension for the genre.

Okay, so the thing I want to respond to most is the translation bit, because I… okay. I understand that people are going to find works in translation less accessible than works written in a language they can read, and especially works written in their native language and of their own culture. Because obviously there are a ton of underlying ideas that inform word choice and symbolism and character arcs that most people just don’t really think about until they make a serious study of writing or literature (or they travel and learn more about other languages and literature traditions). On a linguistic studies level, language literally shapes the way humans in different cultures think, and what they pick out as important (an academic article that compares English and Chinese specifically can be found here). Even the distinctions between British English and American English, on a word choice and theme or syntax level, can have an impact. I have seen it turn kids off a book, because there are just too many elements they don’t get (this is, for example, why there are two English versions of Harry Potter). Same thing with different decades even. I’m talking about kidlit and YA here because that’s a lot of what I work with, but in that realm, the way we approach stories today is just incredibly different from how they were approached even 50 years ago, even in the same language and the same country. Think Judy Blume or The Dark is Rising vs Diary of a Wimpy Kid or Percy Jackson. And I’m fascinated by those changes, and by the effects of culture and bias on translations (I am extremely hyped to read Emily Wilson’s Odyssey translation, for example), so I tend to approach them as puzzles, where I’m reading the work, but also looking for clues that will tell me more about both the translator and the author to hang in balance. I enjoy that part, and I enjoy figuring out aspects of the two languages that can contribute to how a translation evolves.

I’m a language and literature nerd, and I know not everyone is going to take the approach I do.  I’m not going to fault anyone for saying they don’t enjoy or can’t get into a translation. That’s a perfectly valid opinion. Reducing a work to its translation and judging it only on that impression of it, however, seems pretty shortsighted to me. Here are some things that I think are important to keep in mind when reading a Chinese work in translation, just based on my own extremely limited knowledge:

1. In Chinese storytelling it’s an established practice to reference idioms, poetry, folklore and historic events as a sort of shorthand for evoking the proper tone. Chinese writing tends to be extremely allusive, and much more understated than what we’re used to in English-language storytelling. We can see hints of this in some of the MDZS translator notes, and it’s likely that this difference feeds into a lot of dissatisfaction with the translation. Either the allusions are not translated in a way that adds meaning for an English-speaking reader, or the standards for detail are different. Indirectness and subtly are huge parts of Chinese literature, and so different words or scenes will have very different connotations for Chinese vs. English speaking audiences. And this isn’t even touching on the use of rhyme and rhythm in Chinese writing, which are all but impossible to translate a lot of the time, or the often extremely different approaches to “style” and “genre” between the languages (an interesting article on comparative literature is here at the University of Connecticut website). Given this knowledge, it’s entirely possible that, for example, the smut scenes are more effective in Chinese than in the English translation. In fact, I find it difficult to believe it would be popular enough to get multiple adaptations and a professional publishing run if they weren’t. In translation, smut is a lot like humor: every culture approaches it a little differently. Unless a translator is familiar with both writing traditions and the relevant genres (or they have editors or sensitivity readers who can offer advice), something is going to get lost in the process. And sometimes that something is what at least one of the involved cultures would consider to be the most important part. It’s unfortunate, but it happens.

2. Chinese grammar is slightly different from English grammar (and I’m focusing on Mandarin as the common written language here. For anyone interested, a very basic rundown of major differences is available here). Verb tenses and concepts of time work differently. Emphasis is marked differently – in English we tend to put the most importance on the start of a sentence, while in Chinese it’s often at the end. Sentences are also often shorter in Chinese than in English, and English tends to get more specific in our longer sentences. From what I understand, it’s also a little more acceptable to just drop subjects out of a sentence, and that is more likely to happen if someone is attempting to be succinct. I’ve been told that it’s especially common in contentious situations, as part of an effort to distill objections or arguments down to an essential meaning (if I’m wrong about this or there’s more nuance to it, I’m happy to learn more). As one example of how this affects translation, let’s take that and look at Lan Wangji’s dialogue. I’m willing to bet that most of his words are direct translations, or as direct as the translator could manage. But his words don’t work the same way in English that they do in Chinese. If you continuously drop subjects and articles (Chinese doesn’t have articles) out of a character’s speech in English, they start to sound like they have issues articulating themselves, and I see that idea reflected in fic a lot. The idea that Lan Wangji just isn’t comfortable talking or can’t say the words he means is all over the place, but I don’t think the audience was intended to take away the idea that Lan Wangji speaks quite as stiltedly as he comes off in the English translation. He’s terse, yes. But I at least got the impression that it’s more about choosing when and how to speak for the best effectiveness than anything else, because so many of his actual observations are quite insightful and pointed, or fit just fine syntactically within the conversation he’s part of.

3. Chinese is both more metaphorical and more concrete than English in some ways. In English we use a lot of abstract words to represent complex ideas, and you just have to learn what they mean. In Chinese, the overlap of language and philosophy in the culture results in four-character phrases of what English would generally call idioms. Some examples I found: “perfect harmony” (水乳交融) can be literally translated as “mixing well like milk and water” and “eagerly” (如饥似渴) is read as “like hunger and thirst.” If these set phrases are translated to single word concepts in English, we can lose the entire tone of a sentence and it’ll feel much more flat and... basic, or uninspired. The English reader will be left wondering where the detailed descriptive phrase is that adds emotion and connotation to a sentence, when in the actual Chinese those things were already implied. 

As translations go, MDZS in particular is an incredibly frustrating mixed bag for me, partially because of the non-professional fan translation, and partially because my knowledge of Chinese literature and especially Cultivation novels is so minimal as to be nearly non-existent. But I have enough exposure to translations in general and Chinese language and literature in particular that I could tell there were things I was missing. The framework of the plot and scenes was too complete for me to ever be able to say that any particular frustration I had was due to the author, not the translator. There’s a big grey area in there that’s difficult to navigate without knowing both languages and the norms of the genre extremely well. At one point I was actually able to find multiple translation for a few of the chapters and I loved that. It was really cool to see what changed, and what remained essentially the same, and I was actually really surprised to find that rant you mention, because to me, more translations is always better. I think it was probably about wanting to corral an audience, and possibly also about reducing arguments from the audience about whether a translation was “wrong” or “right.” And that is an issue that’s going to crop up more in online spaces than it has traditionally. Professional translators don’t have to potentially argue with every single reader about their word choice. But then, professional translators also tend to have a better grasp of both the cultures they’re working with as well, and be writers of some variety in their own right, and while I can’t know how fluent (linguistically or culturally) the ExR translator was at the time, the translator’s notes lead me to believe that at minimum their understanding of figurative language use was incomplete. So I can’t fault people for not enjoying the translated novel as much as CQL, for example, because it can be quite choppy and much of the English wording feels like a sketch of a scene rather than something fleshed out fully, but I don’t think it’s fair to apply that impression to MXTX herself or the novel as a whole in Chinese.

More about ExR: I also got the sense that they have a strong bl and yaoi bias as you mentioned, mostly from the translator’s notes. And in general, okay, that’s fine, they’re working with a particular market of fans and I’m just not as much a part of that market. I knew going in that I wasn’t the target audience. I’m okay with that. What I was less okay with was getting to the end and reading the actual author’s notes in translation and finding that the author herself expressed a much more nuanced, considerate, and balanced approach to the story and her writing process than I had been led to believe by the translation and the translator’s notes. And so when people want to criticize the author for things that happen in the translation…. I just think it’s very important to remember that the translator is also a factor, as is the influence of the cultivation genre, and the nature of web novels, and the original intended audience. As you said, white western LGBT people were never the intended recipients of this work. It comes from a totally different context. But I think it’s also important to remember that, again as you noted, it wasn’t first written as a professional work. It was literally a daily-updated webnovel, which works a lot more like a fanfic than a book in terms of approach. And on top of that, it was the author’s second novel (if I’m reading things correctly) and one that they experimented with a lot of new elements in. Those elements earn a lot of forgiveness and benefit of a doubt from me.

About MXTX herself: Most of the posts or references to posts that I’ve seen that judge or dismiss her have to do with the stated sexuality of characters who are not Wei Wuxian and Lan Wangji. And it just kinda baffles me, because this is fandom. Most of us spend our time writing about characters who are stated to be straight all the time. Why is anyone getting up in arms about this? How can anyone in fandom just summarily dismiss an author for producing original work that centers around a gay relationship when that’s… literally what most of us write, to some extent or another? Again, I’m not saying there’s aren’t aspects that can be criticized in her stories, but the hypocrisy is kind of amazing. I think that fandom, as a culture overall, has issues with treating gay men and their relationships as toys rather than people, and individuals can address their own behavior on that as they learn and grow. That doesn’t mean that every work about gay men having sex is fetishistic, and honestly I’d say that the translator demonstrates more of that attitude than the actual story ever does. The smut is such an incredibly tiny part of the world, plots and character arcs in MDZS that it could be taken out without significantly changing the main narrative very easily. That’s… not fetishistic. That’s smut as part of an overarching romance plot.

Which leads me to the tropes discussion. Yes, obviously there are tropes in MDZS. There are tropes in every story. It’s not a failing, it’s part of writing. Are some of those tropes BL or Yaoi tropes? Sure. Wei Wuxian denying his own sexuality for much of the novel and his tendency toward submission and rape fantasy are some of the very first tropes mentioned in relation to the genre. That Wei Wuxian just sort of seamlessly moves from “pff, I’m NOT a cutsleeve, I’m just acting like one” to shouting “Lan Zhan, I really want you to fuck me” in front of friends, enemies and family without much of a process for dealing with the culture of homophobia around him also seems to be characteristic of the genre. But I think that’s about where it ends. You and @three--rings both made some good points about the nature of the actual relationship, which I agree with: There’s not much of a power play element, or an assigned gender roles element. They’re both virgins who only partially know what they’re doing from looking at illustrations of porn, and they do enthusiastically want to have sex with each other. They’re just bad at negotiating their kinks clearly and could use a decent sex ed manual. The trope I actually have the most issue with is the use of alcohol. I personally despise the trope of “I’ll get someone drunk on purpose for reasons that benefit me personally,” due to my own real life experiences. But it’s an exceedingly common trope in Western media (Idk about Chinese media, but my guess would be it exists there too), and it’s not exclusive to mlm smut scenarios. It’s pretty much everywhere. And, thankfully, Wei Wuxian does seem to eventually realize that he’s fucking things up by using it. That said, despite knowing what happens to him when he drinks, La Wangji keeps doing it. So they’re both contributing to that mess, no matter how much I dislike that it exists, and the narrative doesn’t actually condone it. No one says “Oh, Wei Wuxian, that’s such a good idea, that’s definitely something you should keep doing.” He is consistently warring with himself over it but unable to resist. It’s still dubcon and manipulation, and I certainly understand people not wanting to read it. I just also think that reducing the entire relationship down to “bad, terrible, fetishistic BL tropes” requires the reader to ignore large parts of the story and pretty evident intent on the parts of both the characters and the author.

On purity culture: Yeah, that’s obviously been cropping up all over the place the past several years (I have indeed been in marvel for ages :P). It does seem like there are places in fandom (to some degree any fandom), where “I don’t like how this idea was executed in this context” gets conflated with “This entire work is terrible,” which is a disservice to everyone involved. I agree that there are many things that can be legitimately criticized in MDZS, but I also just… really don’t understand where this attitude comes from that because something is not perfect, it’s trash. Wasn’t fandom essentially invented out of the desire to respond to canon? To make it more your own? Isn’t picking out the parts you like and ignoring the bits you don’t (or writing around the bits you hate until you can fit them in a shape you like better) pretty much what all fic is about? Aren’t those holes people are sticking their fingers into and complaining about opportunities for more fan content?  But even more than “purity culture” I would term it “entitlement culture,” because a lot of it seems to be about the idea that media should fit into and support a certain set of beliefs at all times. A lot of fandoms are no longer an atmosphere of “I don’t like the way this is presented so I’m going to create my on version that works for me.” Instead there’s a growing element of “I don’t like the way this is presented so that means it’s wrong and bad and the original creator should admit that it’s wrong and bad and fix it to satisfy me.” And honestly? That’s just sad to me. More and more, we’re not having a conversation with canon, or even with each other. We’re not building what we want to see we’re just… tearing other people down. I really don’t understand what anyone finds fun in that, and I’m going to do my best to keep creating the things I actually do want to see instead.