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One word, same sound, different characters
I came across the word 决绝 juéjué recently and thought it was interesting that it's comprised of two different characters with the exact same pronunciation. Here are some other examples, just for fun. Definitions are from MDBG.
【1】 秘密（祕密）mìmì - secret; private; confidential; clandestine / a secret 他的秘密被我发现了。
【2】 翻番 fānfān - to double / to increase by a certain number of times 公司利润年年翻番。
【3】 各个（各個）gègè - every / various / separately, one by one 从各个方面来说，他是很用功的。
【4】 决绝（決絕）juéjué - to sever all relations with sb / determined / decisive 听他语气这样决绝，恐怕很难说服他改变心意。
【5】 实时（實時）shíshí - (in) real time / instantaneous 用户可查询实时天气信息及未来5天天气预报。
【6】 逝世 shìshì - to pass away / to die 今天是祖父逝世周年的日子，因此全家都到祖父的坟前祭拜。
See similar posts: All the shishi words I know
Plus see below for many additional words (ones I have not learned) that I found via MDBG.
意译（意譯）yìyì - meaning (of foreign expression) / translation of the meaning / paraphrase / free translation
异义（異義）yìyì - differing opinion
义译（義譯）yìyì - to translate a term into Chinese using a combination of characters or words that suggests its meaning
岩盐（岩鹽）yányán - rock salt
玩完 wánwán - (coll.) to end in failure; to come to grief; to bite the dust
魣鱼（魣魚）yúyú - perch
订定（訂定）dìngdìng - to set / to designate / to stipulate / to provide / to draw up / to formulate (rules etc) / stipulation
都督 dūdū - (army) commander-in-chief (archaic) / provincial military governor and civil administrator during the early Republic of China era (1911-1949 AD)
陆路（陸路）lùlù - land route / overland route
股骨 gǔgǔ - femur *Well...not really with 3rd tone sandhi
和合 héhé - harmony
辑集（輯集）jíjí - to anthologize
寄迹（寄跡）jìjì - to live away from home temporarily
结节（結節）jiéjié - nodule / tubercle
全权（全權）quánquán - full powers / total authority / plenipotentiary powers
屈曲 qūqū - crooked
泄泻（泄瀉）xièxiè - diarrhea
行刑 xíngxíng - to carry out a (death) sentence / execution
触处（觸處）chùchù - everywhere
仇雠（仇讎）chóuchóu - (literary) enemy / foe
事势（事勢）shìshì - state of affairs
世事 shìshì - affairs of life / things of the world
授受 shòushòu - to give and accept
熔融 róngróng - to melt / to fuse
btw i'm currently looking into mao zedong shows and just saw a scene of him gifting someone a copy of rot3k
Crossposted from BlueSky!
I'm a Theravada Buddhist. I saw many people interpreting the story and meaning behind Black Myth Wukong, differently. But I hope the devs team didn't intend to insult Buddha Dhamma by recreating this new story and distort the meaning of Buddhahood or Enlightenment itself..
I don't know if they intended to insult Buddhism, but I can say that their presentation of Buddhism in the game is disrespectful.
@ryin-silverfish recently posted a wonderful essay on what's known as the "JTTW Conspiracy Theory," which is a method of interpreting the story by twisting details, making the heavenly hierarchy look evil. The game follows this method. I recommend that you read the essay:
I unknowingly ran into the JTTW Conspiracy Theory a couple of years ago. A Chinese article claimed that the Buddha lies in the novel. This is my rebuttal.
chinese fire art huohu火壶 (photographer: hunterwonder, KleinBlue)
追繳 zhui jiao: pressing someone for payment after the fact (such as collections)
追剿 zhui jiao: chasing down someone to annihilate them
a single typo and our intrepid heroes are now rent collectors (or your collection bounty hunters got a bit too zealous)
Funniest Chinese euphemism for dying is "to go see Marx"
Fanservice Paradox Audio Drama || Insert Song, "Breakthrough"
原著&作词：稚楚@稚楚zc 作曲&编曲：汤汤@水汤汤QAQ （开篇唱段改编自京剧《穆桂英挂帅》梅兰芳版） 录音师：张雨歌 混音：王二小@王222222小 录音指导：喵☆酱@喵酱油 汤汤 封面设计：载酒以渡@载酒以渡 监制：等待苍老@粉红胡子Vincent 红线@Chris线 风行流动@风行流动_strive 嗒嗒@是TaTa不是DaDa 协助：天然 伞伞 豆子@豆子非常豆 三七@三七等于二十一丶
演唱组（排列按首字母） 方觉夏：吴晛@初心者吴晛 贺子炎：谷江山@谷江山729 江淼：胡良伟@故意不上钩的鱼yo 凌一：邓宥希@渣昀_有希君 路远：刘明月@刘明月阿 裴听颂：马正阳@NAOKI煦
凌一： 猛听得金鼓响画角声震 唤起我破天门壮志凌云 番王小丑何足论 我一剑能挡百万兵
江淼： 黄沙四野掀血雾 破阵以逐鹿
方觉夏： 我行之路为无路 且任你埋伏
凌一： 一石起千浪 两指弹万音 夜遁影从月 满弓雪中行 （方觉夏和声：满弓雪中行）
路远： 背水负生死 破釜屠麒麟 单骑斩阎罗 血身披旗旌 （方觉夏和声：单骑斩阎罗，血身披旗旌）
贺子炎： Turn on the fire. hu 韬光养晦 我早已翘首以盼 这一战 德不配位 你当心方寸大乱陷泥潭 就当个失语的花瓶 少干预真实的声音 我自认四面楚歌的命且看你因果报应 千军万马 今日将我六人逼上绝境 信不信杀出一条血路 我也一意孤行 英雄不论输赢 成败在此一举 多谢你泄露天机我今后惮赫千里
方觉夏： 惮赫千里~
凌一： 新的世代早已降临是你不敢承认
贺子炎： 别眨眼 别晃神 剑光冷十步杀一人
方觉夏： 麻烦抓紧时间排队做我刀下亡魂
裴听颂： 谁投降 谁默认 飞白刃深藏名与身
路远： 且由我——
齐： 放任诘问肮脏规则 兵不血刃 wow 夜奔抗衡虚假世界 凭谁造神 凭谁造神 不闻不争只道英雄 不问出身 wow
江淼： 此行莫问前程
方觉夏： 听我一曲破阵
齐： 听我一曲破阵
裴听颂： 这世道明争暗斗 举目皆是笑里藏刀 等指教等来却是无恶不作阴毒损招 璞玉外泄 曲不成调 这歌词你听来可好？ 若非满堂讥笑 怎知我鹤鸣九皋 心肠溃烂妒火中烧 这恶病还缺一剂猛药 原创孤军开膛一刀 血趁热喝长生不老 奈何我生来就暴躁 吃一堑必定反咬 琴声抛 利剑出鞘 提你人头踏碎灵霄
路远： 闭眼听这战场厮杀之音 我笃定这次绝不囿于困境
凌一： 这条路并无终南捷径 我只信我从不信命 啊——
方觉夏： 新的世代早已降临是你不敢承认
【贺子炎（低）】 【凌一（高）】 别眨眼 别晃神 剑光冷十步杀一人
方觉夏： 麻烦抓紧时间排队做我刀下亡魂
【裴听颂（低）】【凌一（高）】 谁投降 谁默认 飞白刃深藏名与身
路远： 且由我——
齐： 放任诘问肮脏规则 兵不血刃 wow 夜奔抗衡虚假世界 凭谁造神 凭谁造神 不闻不争只道英雄 不问出身 wow
江淼： 此行莫问前程
方觉夏： 听我一曲破阵
齐： 听我一曲破阵
江淼： 黄沙四野掀血雾 破阵以逐鹿
方觉夏： 我行之路为无路 且任你埋伏
[image 1: digital ink-brush style illustration of Shen Wei/Heipaoshi from Guardian, in a reversible composition reminiscent of the design of a court card in a playing card deck. One orientation shows Shen Wei, eyes closed, a necklace with a rounded pendant floating just above his slightly-cupped hands. The reverse shows the masked Heipaoshi (“Black-Cloaked Envoy”) with his sword extended above his head, pointed behind him, and his black hood billowing and framing his face. Organic, inky lines whip about the figures, creating the sense of ink trails, billowing fabric and wispy shadow, cloud, or wave-like forms.
images 2-3: very rough scribbly sketches of the above composition]
A commission for yaaurens of the two identities of the “Black-Cloaked Envoy” from the Chinese SF/fantasy-danmei drama 镇魂 (“Guardian”)! I haven’t seen this series myself, but I learned a great deal while working on this, and it’s epic. I haven’t done a flippy reversible composition in a while, and it was awesome to get to draw such a fantastic character who is so perfect for a brush-style illustration!
It was really fun to conceive the image in a way that would show off what I call his super cool flippy-back sword move (I am not very good at naming moves) and lots of wispy brushy flowiness.
Thank you so much yaaurens for this opportunity to create this very special piece for you!
I’m currently still open for commissions! More info here.
How did I miss this? also has third option, 汉英双语, which gives the example sentences plus English translations
http://ccl.pku.edu.cn:8080/ccl_corpus
Center for Chinese Linguistics Peking University
Put in a word/phrase, and it will give you example sentences. Has a modern/ancient toggle.
Devils Horns sunrise during a partial eclipse (2019) location: Al Wakrah, Qatar, photog. Elias Chasiotis
OP: "After one month, I finally created a low-end Black Myth Wukong set with my kids."
[eng by me]
It‘s scary to see how very important european petitions get no visibility whatsoever. We had a basic income petition last year which failed because not enough people knew about it. Now we have a „tax the rich“ one that only lasts until october this year and only has around 250k out of 1 mio. signings.
Most EU people go through their every day life w/o knowing about them. There are no ads, no marketing…nothing. I know that costs money though one might think important petitions that lead to a better and progressive life would be supported by the government or ministries in some way, but nooooo
And why should they? It’s petitions that would help out the poor and middle class, but endanger capitalism and their exploitation, sooo: government and business leads for example.
So here the link for those who are interested:
for future reference
I got a particularly poetic practice sentence doing Clozemaster flashcards today:
随着夜幕降临，整个城市进入了梦乡。 suí zhe yè mù jiàng lín zhěng gè chéng shì jìn rù le As night descends, the city sleeps.
The translation provided by Closemaster is considerably less poetic than the original phrasing.
夜幕 yè mù - defined by my browser's pop-up dictionary as "the gathering darkness" or more literally "the curtain of night" with 夜 yè meaning night and 幕 mù meaning curtain.
降临 jiàng lín is a verb that combines the character 降 jiàng, meaning "to descend" with 临 lín meaning "to arrive" so it could be translated as "to come down/touch down." If you used this word to describe a bird landing on a tree branch, you might translate it as "to alight."
进入 jìn rù means "to enter" or "to join." 梦乡 mèng xiāng is another fun word. 梦 mèng means "dream" and 乡 xiāng means "country/countryside" so the two characters together mean "dreamland."
I'm reminded of a Robert Lewis Stevenson poem that contains the couplet:
But every night I go abroad Afar into the land of Nod.
There, "the land of Nod" is both a pun on the expression "to nod off" and a biblical reference.
I got a particularly poetic practice sentence doing Clozemaster flashcards today:
随着夜幕降临，整个城市进入了梦乡。 suí zhe yè mù jiàng lín zhěng gè chéng shì jìn rù le As night descends, the city sleeps.
The translation provided by Closemaster is considerably less poetic than the original phrasing.
夜幕 yè mù - defined by my browser's pop-up dictionary as "the gathering darkness" or more literally "the curtain of night" with 夜 yè meaning night and 幕 mù meaning curtain.
降临 jiàng lín is a verb that combines the character 降 jiàng, meaning "to descend" with 临 lín meaning "to arrive" so it could be translated as "to come down/touch down." If you used this word to describe a bird landing on a tree branch, you might translate it as "to alight."
进入 jìn rù means "to enter" or "to join." 梦乡 mèng xiāng is another fun word. 梦 mèng means "dream" and 乡 xiāng means "country/countryside" so the two characters together mean "dreamland."
I'm reminded of a Robert Lewis Stevenson poem that contains the couplet:
But every night I go abroad Afar into the land of Nod.
There, "the land of Nod" is both a pun on the expression "to nod off" and a biblical reference.
Disney's unconventional "Cinderella" (1950) (long)
Having watched most of the many adaptations of Cinderella, I've come to realize what a unique adaptation Disney's 1950 animated classic really is. Unlike Snow White, which only had a few stage and screen adaptations before Disney produced its groundbreaking film, Cinderella had already been adapted many times before Disney's turn came, and Disney's version makes a surprising number of departures from the standard Cinderella "formula." It was definitely a fresh, creative Cinderella when it made its debut, and it arguably still is. Yet because it's become so familiar in pop culture, and today so often serves as our childhood introduction to the tale, it's easy to overlook its inventive storytelling choices. The 2015 live action remake uses several classic Cinderella adaptation tropes that the original 1950 film actually subverts!
Here's a list of the often-overlooked ways in which Disney's Cinderella stands out from earlier adaptations, and from many later ones too.
Cinderella herself. Disney's Cinderella isn't a traditional Cinderella in personality. The "traditional" portrayal of Cinderella, seen in virtually every adaptation before Disney's and several afterwards too, is the portrayal I call "The Waif": a very young, fragile, melancholy girl, dressed in pathetic rags and smudged with ashes, who makes the audience want to rescue her and who wins the Prince's heart with her wide-eyed innocence and artless charm. But whether chiefly to set her apart from earlier screen Cinderellas or from Disney's earlier delicate ingenue Snow White, Disney's Cinderella is none of those things. She comes across as older, or at least more sophisticated. Nor is she waif-like, but instead combines down-to-earth warmth with ladylike dignity, even at her lowliest. She doesn't sit in the ashes ("Cinderella" is her real name in this version), and her servants' dress is humble yet clean and only slightly tattered. She's gentle and kind, yes, but also intelligent, practical, playful, sometimes sarcastic, philosophical, optimistic, genuinely cheerful when she's with her animal friends, and yet angrier and stronger-willed than virtually all earlier Cinderellas. She doesn't beg to go to the ball, but asserts her right to go, and then sets to work fixing up an old dress of her mother's for herself. Only her stepfamily's sabotage, first by keeping her too busy to finish the dress, and then by destroying it after the mice and birds finish it for her, prevents her from taking herself to the ball without a Fairy Godmother. To this day, she stands out as a complex, unique Cinderella, which pop culture too often forgets.
Lady Tremaine. Some critics today complain that Disney makes Cinderella's stepmother a total monster instead of giving her "nuance" and call her portrayal "sexist." But can't we agree that her sheer cruelty enhances the film's dramatic power? And compared to earlier portrayals of Cinderella's Stepmother, it definitely makes her stand out. In most pre-Disney Cinderellas and many after, the Stepmother is a pompous, vain comic antagonist. Once again, Disney was innovative by portraying Lady Tremaine as a dignified, manipulative, and truly sinister villain, who takes quietly sadistic pleasure in abusing Cinderella and will stop at nothing to prevent her from going to the ball or marrying the Prince. As far as I know, she's also the first Stepmother to realize before the slipper-fitting that Cinderella was the lady at the ball and to take action to prevent her from being found. That's a commonplace plot device in more recent adaptations, but in 1950 it was a creative twist!
The mice and other animals. Viewers debate whether Cinderella's mouse friends, Jaq, Gus, et al, and their misadventures evading Lucifer the Cat are a welcome addition or take away too much screen time from Cinderella herself. But there's no denying that the presence of the mice and birds is an inventive storytelling choice, which makes Disney's Cinderella stand out! And I can provide a long list of reasons why they're more than just "filler." (1) They add liveliness, humor, and appeal for younger children. (2) They gave the animators an outlet for the type of character animation they did best, rather than binding them to the harder work of animating realistic humans. (3) They give Cinderella someone to talk to besides her stepfamily. (4) They give her a way to demonstrate her kindness. (5) The struggles of the mice with Lucifer parallel Cinderella's abuse by her stepfamily, and Cinderella's undying optimism not only keeps her from despair, but inspires them too. (6) They arguably provide a further reason why Cinderella stays with her stepfamily – not only does she have nowhere to go, but an entire community of small sentient creatures relies on her for food and protection. (7) They reward Cinderella for her kindness. From the start, her friendship with the mice and birds makes her life easier to bear, both by easing her loneliness and because they do helpful deeds for her, like mending and cleaning her clothes. They fix up her mother's dress for her to wear to the ball – only the stepfamily's last-minute cruelty requires the Fairy Godmother to step in. And in the end, they're directly responsible for Cinderella's happy ending by freeing her from her locked room. They do all these things because Cinderella has protected them, fed them, made them clothes, and been their friend. Therefore, Cinderella's good fortune never feels "just handed" to her: her kindness directly earns it.
The Fairy Godmother. It's always varied between illustrators whether Cinderella's Fairy Godmother is portrayed as a grandmotherly old woman or as youthful, regal, and beautiful, but screen and stage adaptations before the Disney version virtually always took the "youthful, regal, beautiful" approach. That is, when they didn't change her into a wise, fatherly male magician-advisor, as in several opera adaptations! At any rate, seriousness and dignity were the norm for this character in most adaptations from the 19th century through the 1940s. Making her a sweet, comforting, grandmotherly figure, with a comically and adorably absent mind, was another of Disney's fresh choices.
Cinderella's entrance at the ball. We all know the classic image of Cinderella's entrance from other adaptations. Cinderella appears at the top of the grand staircase that leads down to the ballroom, and a hush falls over the assembly, as not only the Prince, but all the guests and members of the court are amazed by the unknown lady's beauty and magnificent dress. Even in versions without a staircase, Cinderella captivates the room the moment she enters. Adaptations both before and after Disney's, including Disney's own 2015 live action remake, play her entrance this way. But the 1950 animated classic subverts it! The grand staircase leads up to the ballroom, not down to it, and Cinderella's entrance isn't a triumph at first, but a vulnerable moment as she makes her way up the stairs alone, dwarfed by the splendor around her. Then, when she reaches the ballroom, no one notices her at first, because the other ladies are being presented to the Prince and all eyes are on him. But then the Prince notices her in the shadowy background as she quietly marvels at her surroundings, and leaves his post to approach her and invite her to dance. Only then does the rest of the assembly notice her, because she's the one the Prince has singled out. It's more understated and it feels more realistic than the traditional entrance, as well as more clearly symbolic of Cinderella's venturing above her station, then both literally and figuratively being led out of the shadows by the Prince's unexpected attention.
The slipper-fitting plan. Over the years, it's been fairly popular to mock the idea of using the glass slipper to find the Prince's love, as if there were no chance it would fit anyone else. Disney's version is creative by having the slipper-fitting search be the comical, hot-blooded King's idea, not the Prince's, and making it clear that it's not, nor is it meant to be, a foolproof plan to find Cinderella. The Duke points out that the slipper could fit any number of girls, but the King doesn't care if they find the right girl or not: he just wants to hold his son to his pledge to marry "the girl who fits this slipper" and force him to marry the first one who fits it. This also means that Disney doesn't do what most adaptations do and have the Prince conduct the search himself, but follows the original Perrault tale by having a gentleman, in this case the Grand Duke, do it instead. This prevents audiences from mocking the Prince for relying on the slipper instead of knowing his beloved's face.
Cinderella breaking free and asking to try on the slipper. Even though in Perrault's original tale, Cinderella asks to try on the slipper, she almost never does in adaptations. In most versions other than Disney's, including Disney's own 2015 remake, Cinderella's presence in the house (and/or the fact that she has the other slipper) is either discovered by accident or revealed by Cinderella's allies, not by Cinderella's own initiative. In some versions, she even tries to hide from the Prince and/or the search party, either out of fear of her stepfamily or because she feels unworthy of the Prince in her rags. But not Disney's animated Cinderella! First of all, she has an assertive emotional breakthrough when she calls on her dog Bruno to chase Lucifer away and free Gus to slip her the key to her locked room. Earlier on, she urges Bruno to try to get along with Lucifer, lest the stepfamily not allow him to sleep in the house – it's clear that Bruno represents her own rebellious side, and in that scene she's really talking about herself, revealing that she tolerates her stepfamily's abuse so she won't lose her own "nice warm bed" and be homeless. But in the climactic scene, when she finally sees a way out, she gives up playing nice and seizes her chance. First she unleashes Bruno on Lucifer, and then she runs downstairs and directly asks to try on the slipper, not caring how her stepfamily will react, or what the Grand Duke will think of her shabby dress, or whether the audience will accuse her of gold-digging or not. This isn't a common breakthrough in other Cinderella adaptations, but it fits perfectly (like a glass slipper, you might say) with the Disney Cinderella's stronger-willed and more self-assured characterization.
"I have the other slipper." We can probably all safely assume that when audiences first saw Disney's Cinderella in 1950, they all expected Cinderella to try on the glass slipper she lost, with her identity revealed by its perfect fit. They never would have expected Lady Tremaine to trip the footman and break the glass slipper... only for Cinderella to calmly reveal that she has the other one. It's yet another clever and unexpected twist, not seen in any other version. Not even Disney's own 2015 remake.
Disney's Cinderella deserves far more credit than it gets for being unique among the myriad versions of the tale, especially compared to the versions that came before it.
bunny and mooncake house by 岁晏有余
八月十五日夜玩月 - Frolic ‘neath the moon on Mid-Autumn’s night
by 刘禹锡 (Liu Yuxi, 772 - 842)
天将今夜月 一遍洗寰瀛 tiān jiāng jīnyè yuè yī biàn xǐ huányíng Heaven takes tonight’s moon and gives the world, land and sea, a thorough cleansing.
暑退九霄净 秋澄万景清 shǔ tuì jiǔxiāo jìng, qiū chéng wàn jǐng qīng Summer retreats, leaving the ninth sphere pure and the Autumn crisp, every view refreshing.
星辰让光彩 风露发晶英 xīngchén ràng guāngcǎi, fēnglù fā jīngyīng The stars bow aside for that vibrant light; the breeze and the dew, they sparkle and shine.
能变人间世 翛然是玉京 néng biàn rénjiān shì, xiāo rán shì yù jīng In the world of man, change is only right, but beyond such bounds is the Celestial Capital divine.
Keep reading
光亮 / light
(spotify / youtube)
singer: Zhou Shen 周深 lyrics: Gou Lin 苟璘 (+ Su Shi 苏轼) score + arrangement: Qian Lei 钱雷
back to zhou shen songs after a quick deviation into 王子 zione territory!
海上 一阵风吹起
on the sea, / a brief wind arises
白云涌向陆地
white clouds surge towards dry land
季风带走沙粒
the monsoon carries away grains of sand
四季 冷暖的交替
four seasons / take turns in contrary temperatures
多鲜活的生命 又枯萎的痕迹
countless vibrant lives, countless withered outlines
是奔跑中突然袭来的风雨
in the running, sudden wind and rain charge forth
是黑暗中一根火柴燃烧的光明
in the dark, a single match burns with light
也许你猜不透未知的宿命
maybe you can’t guess an unknown fate
像流星飞翔着它却不知目的
like the flight of a shooting star, it merely does not know its purpose
可是啊 我却
but, oh, i am only
却愿意相信
i am only willing to believe
最渺小最微弱最柔软最无畏的你
the smallest, the faintest, the softest, the most fearless you
用尽了全力 努力地回应
exhausting all strength / a diligent answer
再无边再无尽再无解总有一线生机
still boundless, still endless, still answerless / but there will be a gleam of life
光亮你自己
to set you alight
(Xiqiang:)
莫听穿林打叶声
nothing hears the creation of leaves through the wood
一蓑烟雨任平生
a cloak of mist and rain loosens all life
畅音阁里终一叙
unbridled sounds finish a narration in the pavilion
六百年一粟 沧海一梦
six hundred years, a grain / the ocean, a dream
可是啊 我却
but, oh, i am only
却愿意相信
i am only willing to believe
最渺小最微弱最柔软最无畏的你
the smallest, the faintest, the softest, the most fearless you
用尽了全力 努力地回应
exhausting all strength / a diligent answer
再无边再无尽再无解 总有一线生机
still boundless, still endless, still answerless / but there will be a gleam of life
光亮你自己
to set you alight
(Xiqiang:)
莫听穿林打叶声
nothing hears the creation of leaves through the wood
一蓑烟雨任平生
a cloak of mist and rain loosens all life
畅音阁里终一叙
unbridled sounds finish a narration in the pavilion
六百年一粟 沧海一梦
six hundred years, a grain / the ocean, a dream
无论目的 最无畏的你
regardless of purpose / the most fearless you
不问宿命 最无畏的你
regardless of fate / the most fearless you
really helpful technique ^ once you know how to divide by halves and thirds it makes drawing evenly spaced things in perspective waaay easier:
chinese fashion with fire
Cosplay of zhang qiling张起灵 (nickname xiaoge小哥) from dao mu bi ji 盗墓笔记 The Grave Robbers' Chronicles by xu lei, one of the most beloved characters (paper people) in chinese fandoms (the coser is 小杰), and the book was written in 2006 and isn't finished yet and is still being serialized. Chinese fans voted for "which character from books you consider that won't affect your feelings and impression of her/him/them at all, no matter how badly the movie or TV version fails" and "The character that most convinced you they were real", and zhang qiling won the first place. Many book fans think the only successful live-action zhang qiling is cast by xiao yuliang肖宇梁 in Ultimate Note终极笔记.
mianhuawawa (popular chinese fandom merch, cute fluffy dolls having a real-life sense of companionship) of zhang qiling (cr: 支仓没睡)
A navy blue hoodie, black pants, boots, an ancient chinese dao, and a qilin麒麟 tattoo have become his trademark.
for the internet’s joy and also cc @heart-bones, here are as many of napoleon’s adoption photos as i can upload!
bonus: illya’s, in which he begs the viewer not to murder and eat him:
“But if you forget to reblog Madame Zeroni, you and your family will be cursed for always and eternity.”
