All posts by Chen Yuan

A Guide to Chinese Post-rock 重塑你对国内后摇的定义

October 25, 2019 2019年10月25日

Post-rock can be perplexing for the uninitiated. With its fluid use of analog and digital instruments, irregular chord progressions, and vocal-less compositions, the subgenre has upended the formulaic structure of traditional rock music. Post-rock songs are more like lengthy, melody-led narratives, designed to evoke powerful emotions and whisk listeners away to distant lands.

China’s first post-rock band wasn’t formed until 1998, but the scene has matured over the past two decades. As bands began experimenting, many started to include traditional instruments, which resulted in sounds with a distinctly Chinese flair. These unique sonic textures are what helped put Chinese post-rock on the map, but many bands are still flying under the radar.

In this edition of Neocha Select, we’ve put together a list of Chinese post-rock bands that we think you should check out. From up-and-comers to veterans, these bands from across the Middle Kingdom offer a gamut of different styles that’ll satisfy music lovers of all persuasions.

后摇滚（post-rock），摇滚乐里的无字天书——这种鲜有固定旋律、鲜有人声的音乐，瓦解了传统摇滚后重组旋律、揉杂着古典乐、器乐和现代电子音乐，它带来的是宛如长篇叙事般的情绪大爆发，虽然，它仿佛只提供了旋律和氛围，但所带来但震撼，却让无数乐迷感受到了海洋、宇宙、孤独和爱。而自从 1998 年第一批中国后摇乐团的成立，国内后摇的历史至今也已经书写了整整二十个年头。不少以器乐为主的演奏方式和东方传统文化的体现，也让中国后摇的独辟蹊径，获得不少国际的关注。

这篇 Neocha 精选集，从风格、地域、成立年份，多方面盘点了国内不同地域的后摇乐队，有元老级的先锋乐队，也有略为小众的新声代，希望能给你带来不一样的聆听体验。

Wangwen

惘闻

Region: Dalian, Liaoning
Year Formed: 1999
Style: Grandiose, Plaintive, Atmospheric

Wangwen is one of the most iconic bands in the Chinese post-rock scene, and they’ve been an international presence since their early years. They’ve crafted a signature sound that’s brash but desolate, forming dense soundscapes tinged with melancholic undertones. It’s precisely the band’s dimensionality that has turned even the harshest critics into fans. Guitarist Yuan Laoqian has summed it up the best, “Post-rock is subversive. It deconstructs melodic structures and explores an instrument’s full spectrum of sounds. It doesn’t follow genre expectations.”

地域：辽宁大连
组建时间：1999 年
关键词：宏伟、沉郁、大气

作为中国后摇的代表乐队，惘闻从成立至今一直活跃在国际舞台上。惘闻的创团元老兼吉他手谢玉岗曾说：“后摇是一种颠覆性的音乐，破除乐曲既有结构，挖掘器乐不同的声响，而非某种同一流派的音乐类型。”以器乐为主的惘闻乐队，音乐显得磅礴、粗犷而冷冽，这些宏伟的器乐引领听众在旋律中冲破现实的桎梏，但其中蕴含的细腻而阴郁的情感，却悄无声息地接踵而至。或许正是这样一种厚度，让绝大部分挑剔的耳朵获得了饱足。

 

Zhaozhe

沼泽

Region: Guangdong
Year Formed: 1998
Style: Traditional, Folk, Melodic

In China, Wangwen may be considered the quintessential post-rock band of the north but Zhaoze claims that title for the south. Though both are pioneers of the Chinese post-rock scene, they have vastly different styles. Zhaozhe broke grounds by being the first post-rock band to incorporate traditional Chinese instruments into their music: the result is a captivating sound that seamlessly weaves the elegance of Chinese folk music with the ferocity of rock. Blistering chord changes and nimble strumming on a modified guqin (a seven-stringed Chinese zither) combined with their guitar riffs, basslines, and drums make for emotionally charged tracks that excite the imagination.

地域：广东
组建时间：1998 年
关键词：古琴、民乐、悠扬

“北惘闻，南沼泽。”这是流传在众多后摇乐迷团中的一句话。作为最初成立的两支国内后摇乐队，沼泽和惘闻的曲风大相径庭。沼泽乐队开创性地摇滚中融入中国民乐：古琴。悠扬淡雅的传统民乐，撞上激烈狂野的摇滚，赋予了他们的音乐以独特的魅力，被改装过的古琴，在空弦音与泛音之间回切，而以往占主旋律的吉他、贝斯和鼓声成为了某种情绪点缀，更深邃的想象空间，就在那一次次的流转中豁然显现。

 

Return to Delicate Past

重返袖珍时光

Region: Henan
Year Formed: 2007
Style: Mellow, Ethereal, Romantic

Return to Delicate Past is a post-rock band that doesn’t believe in overengineering their sound. Fitting to their name, the band produces airy compositions through a less-is-more approach, one that implores listeners to sift through each note and take in the melodic details. Their music reminds listeners that simplicity has its merits and rewards those who aren’t afraid of stepping into unfamiliar sonic terrains.

地域：河南焦作
组建时间：2007 年
关键词：细腻、空灵、浪漫

重返袖珍时光的音乐并不是波澜壮阔的那种，正如乐队名一样，这是一支醉心于“给听众打开一个袖珍物件内部的繁茂内景”、让人“对细碎时光不断解析与深掘”的后摇乐队。它像是一个袖珍的放大镜，给听众呈现细微的切入点，从而让人们对未知图景，进行宏大的想象与思考。

 

Sparrow

文雀

Region: Beijing
Year Formed: 2007
Style: Grandiose, Romantic

Sparrow‘s music marries instrumental ambiance and electronic influences with math-rock time signatures, creating tracks that brim with warmth and strength. Through razor-sharp drum beats and meticulous songwriting, they’ve crafted a distinctive sound that ebbs and swells with intensity, one that listeners can get lost in for days.

地域：北京
组建时间：2008 年
关键词：辽阔、浪漫

器乐、数字、电子，毫不违和地交织在一起，合成一段段温暖、明亮又不乏力量的曲调，就是文雀带来的后摇。这个乐队的鼓点鲜明、节奏紧凑，曲风时而跳脱时而澎湃，却能让人在旋律里沉迷整日，真的像大雁般不问归途。

 

Little Wizard

小巫师

Region: Shaoxing, Zhejiang
Year Formed: 2008
Style: Brash, Dissonant

Despite the electronic and punk influences that appear in their music, Little Wizard has a style that leans towards traditional rock sounds. In their music, the slow burn of emotions found in typical post-rock is nowhere to be found, instead replaced by an unrelenting energy that kicks off on the getgo. Powered along by punk-rock drums and electronic synths, their music hit listeners like a defibrillator to the chest.

地域：浙江绍兴
组建时间：2008 年
关键词：摇滚、朋克

小巫师的音乐，某种意义上像是回归了摇滚乐的怀抱，不同于一般后摇乐曲一开始的情绪渲染，小巫师的曲子常常开篇直入，鼓点带动节奏，迅猛有力，情绪一触即燃，加上电子朋克的元素，听来相当酣畅淋漓。

 

Amber

琥珀

Region: Xi’an, Shanxi
Year Formed: 2008
Style: Rhythmic, Gentle

Though the band was formed in Xi’an, Amber‘s music is far removed from the gravitas that many associate with the ancient Chinese city. Their sound is elegant, mesmerizing, and infused with a contemporary sensibility. The track, “Hangover Star,” is often cited as many people’s first taste of post-rock in China. With recurrent melodies and a slow-ascending emotionality, Amber’s music soars to climactic heights before caressing listeners with euphonic harmonies.

地域：陕西西安
组建时间：2010 年
关键词：节奏强、温柔

诞生于古城西安的琥珀，旋律却并未如其名称和地域般历史氛围浓重，它反而是一支优雅而迷人的后摇乐队，代表作《宿醉之星》被很多人称为“后摇入门曲”，循环的旋律、渐渐推进的情绪感，它的爆发并不激烈，却出奇地意味深远。

 

Mofei

莫非

Region: Shanghai
Year Formed: 2008
Style: Clean, Down-to-earth

From “Dopamine” to their latest release “Spring Festival,” Mofei has a playful approach to choosing track names. The way they interact with online fans is similarly tongue-in-cheek, often responding to comments with a heavy of self-deprecating humor. The band has crafted a distinguishing sound that’s raw and unpretentious. Listeners won’t find bleary-eyed melancholy or bludgeoning rhythms in their music; what they will find is a sound that, much like the band itself, is introspective, pure, and sincere.

地域：上海
组建时间：2011 年
关键词：干净、真实

莫非乐队的歌名很有意思，从《多巴胺》再到最新的《春节》，基本上都取材于生活，真实简单。他们在网上回复乐迷的留言也有意思，基本都是带着自嘲的腔调说着大实话。再回到他们的音乐，没有哀婉的弦乐，也没有不间断的爆炸鼓点，莫非乐队和他们的音乐，很适合拿来和自己共处，干净、实诚。

 

Tation

天声

Region: Qinghai, Xining
Year Found: 2012 年
Style: Chinese-style, Grandiose, Abstract

Tation‘s music is often described as “post-rock from the highlands of China” and it is: the members are all from the snow-capped mountains of the Qinghai-Tibet Plateau. With their sharp focus on instrumentation, Tation creates meandering tracks that combine classic folk instruments with experimental electronic sounds. Their tracks, through masterful manipulation of tension, take listeners in and out of riotous crescendos and spacious interludes. The band’s Chinese name, Tian Sheng (meaning “sound from the heavens”), is inspired by a line from poet Li Bai’s Gu Feng: “They disappear, suddenly, into the shadows; but the wind returns with a voice from the heavens.” Considering the polarity of their sounds, it’s a name that feels particularly fitting.

地域：青海西宁
组建时间：2012 年
关键词：中国风、抽象、壮阔

这支被称为“高原后摇”的乐队：天声，的的确确来自雪山之巅的青藏高原。他们以器乐创作为核心，一首长篇后摇里，会糅合民族乐器、实验电子，时而静谧时而壮阔，音色极具张力。从混沌而来，向苍茫而去，他们的乐队名字也恰恰应了李白那句诗：“去影忽不见，回风送天声”。

 

Xiantong

仙童

Region: Weihai, Shandong
Year Found: 2015 (Disbanded in 2017)
Style: Pure, Unconventional

Guitarist Dong Shu was once asked about his musical aspirations. He answered that he hoped his music could be like a child, able to cast aside worldly cares and exist with a fairy-like sense of wonder. This is how the band name, Xiantong (meaning Fairy Child), came about. The band’s mentality of “ignoring outside influences and going against the mainstream” has attracted them a devout following during their active years. Though the band has since disbanded, their uncompromising approach to music-making is something that can still be appreciated.

地域：山东威海
组建时间：2015 年／2017 年解散，现为单人后摇团
关键词：纯粹、跳脱

遗世独立、一身仙气的孩子——吉他手董恕形容的这个形象，最后就成为乐队的名字：仙童。后摇不破不立的音乐曲式，“既不想受别人影响，也不随大流”，让仙童最开始的几首曲子收获了不少忠实的听众，如今再听，也让人不得不感慨曲中的纯粹。

 

Before the Sunrise

日出之前

Region: Beijing
Year Found: 2015
Style: Soulful, Melodic

Not much information is available online about Before the Sunrise. Even on their official channels, the band’s bio features only two sparse sentences: “Darkness and cold dissipate with the coming dawn. Hope and light are reborn with every rising sun.” Their sound, while classifiable as post-rock, stands out from bands who’ve pigeonholed themselves into the genre—it’s music that has a soul. The band pairs digital sounds with human vocals to create jaunty, hummable tunes. These songs move along at an unhurried pace and often end abruptly, leaving listeners craving for more.

地域：北京
组建时间：约为 2015 年
关键词：灵动、悠扬

这支乐队能在网上找到的资料非常少，官方的介绍页面，也只留着短短的两句话：“所有黑暗与寒冷都将在日出之前湮灭。所有光明与希望都将在日出之后重生。”说是后摇乐队，但和标榜自己是“后摇”的乐队还不太一样，日出之前的曲风轻快，旋律非常灵动，有些曲调结合了电子乐和人声，甚至可以跟着唱和，再悠悠然结尾，让人有种扑了空的怅惘。

From thunderous cacophanies and soothing stillness to optimism and despair, the appeal of post-rock lies in the universality of its sounds and the emotions they convey. The magic of the genre lies in its ability to captivate the imagination and invite listeners to engage with the music on their own terms.

 

Due to copyright issues, more songs can be found on the bands’ official channels.

从温暖到哀愁，再从暴烈到沉寂，后摇的生命力所在，就是在一次次呈现这世界喧扰的同时，迸发出充沛能量和情绪，让人遐想，也让人期待。

 

由于版权受限，更多音乐可自行前往音乐软件收听。

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Contributor: Chen Yuan

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供稿人: Chen Yuan

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Tuzi 不被治愈的童年

October 9, 2019 2019年10月9日

 

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Tuzi is an animated short that’s anything but joyful. Through scathing sarcasm and dark undertones, the seven-minute-long film examines the issue of domestic violence.

The film is a graduation project created by Han Yeming, Tang Ruofan, and Chen Siyue, three students of the China Academy of Art. Their story was originally planned to be a cathartic tale about a child escaping his abusive upbringing. However, as the script developed, the story took a different direction. The completed script still features a child raised in a violent home, but there isn’t exactly a feel-good resolution—the protagonist instead grows up to become someone that’s not unlike the father who he so despised, a person who terrorizes others.

“Not every child who grew up in these types of environments is rescued,” says director Han Yeming. “And not all wounds can be healed.”

这部短片，看起来并不怎么愉快。讽刺、黑暗，豁出命的冲突中，暗藏着背后的“家暴”主题。

《兔子》是一部毕设作品，制作者有三个人，负责剧本美术的韩叶铭，负责表演和动画的唐若凡和陈思月，都是中国美术学院同届同班的同学。原先的剧本是一个在破碎家庭中的孩子得到拯救治愈的故事，但最终呈现的却不是这样。一个在暴力家庭中长大的孩子，没有正确的渠道疏通，他最终也变成了和自己鄙视的父亲一样的人。

“其实我们发现不是所有的孩子都能在这种环境下得到帮助，也不是所有的伤痛都能得到治愈。”主创之一韩叶铭说。

The use of a rabbit as a symbolic device wasn’t originally planned, but once the idea came about, it felt like a perfect embodiment of innocence, and its mutation into a blood-thirsty monster, in turn, depicts the corruption of innocence that can result from growing up in a violent environment.

整部短片的制作周期大约有一年，而“兔子”这个意象则是在偶然中被挖掘出来的，几个团队成员觉得，用变异的兔子怪物来比喻原本纯真、但是在暴力影响下逐渐扭曲的孩子，再好不过。

The short’s ending is purposefully ambiguous. The protagonist, having been subject to abuse for much of his life, seems to want to wreak vengeance on society. But in the final scene, when he sees himself as a monster in the mirror, he seems surprised. The film concludes with the monster alone in frame smashing its reflection in the mirror.

Is he vowing to conquer the monster within? Or does he accept the monster as his true self?

“There isn’t a clear conclusion to Tuzi; you could say it was all a dream, an epilogue, or part of an unending cycle,” says Han. “The true ending of Tuzi is whatever the viewer wants it to be. Our goal is to invite the audience to think, and for their interpretation to contribute to the completion of this work.”

但故事怎么说，取决于观众怎么看。有时候，受到伤害的人会把伤害别人当做理所当然，从而陷入被伤害与伤害的恶性循环中去。但影片提供了另一种解读的可能：如果主人公最后发现了自己恐怖的样子，并想要毁坏镜中的自己，那么《兔子》就是一个人想要得到救赎的故事。

他是否要征服内心潜藏的怪物？还是接受怪物就是真实邪恶的自我？

“《兔子》其实没有一个绝对的结局，你可以说它是一场梦，一个终结，也可以是一个周而复始的循环。”韩叶铭说，“你心中的结局就是《兔子》真正的结局，我们的目的是引起观众的思考，和观众一起完成这个作品。”

Han and his team believe that animation shouldn’t only be about presenting beautiful things; it also has a responsibility to present the unpleasant parts of life. “We want to show people the reality of things,” says Han. “And also prove that animation isn’t just for kids. It can be darker fairytales meant for adult audiences.”

Tuzi was selected as a Design Mark winner in this year’s Golden Pin Design Award. Learn more about this year’s winners here.

韩叶铭他们觉得，动画的天马行空，除了能歌颂美好以外，也能扩大社会中黑暗的一面，“我们想要将现实表现给观众看，也想证明动画不只是儿童的娱乐消遣，还能是成人的黑暗童话。”

《兔子》在今年的金点概念设计奖中被选为设计标章得主。点击此处更多有关今年获奖者的信息。

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Contributor: Chen Yuan

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供稿人: Chen Yuan

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Jiangnan 国境以西，边疆以南

September 6, 2019 2019年9月6日

In Xinjiang, the region in Western China whose name means “new frontier,” history seems to be everywhere you look. The landscape is stark and bewitchingly beautiful. Across the southern half of the region runs the Tarim river, whose basin collects waterways of the Taklamakan desert and defines the borders of the area known as Nanjiang.

Nanjiang is the subject of a photography series by Zhang Boyuan called, somewhat confusingly, Jiangnan.

Zhang was born and raised in Xinjiang, and after college he went to study at the University of the Arts, London. And it was there—homesick and far away, having just watched the documentary Tarim River—that he first got the idea to shoot a series in Nanjiang.

新疆，这个坐落在中国西北部边疆的地区，旧称西域，仿佛从古老历史中缓步而来，兼具神秘的美感、荒芜的野性；塔里木河，这条绵延两千公里，贯穿塔克拉马干沙漠的河流，则画出了“疆南”地理上的起止。

张博原的镜头，正是对准了这个“疆南”——生于新疆的他，本科毕业后去伦敦艺术大学读研，去拍南疆的这个决定，则是在他身处异国怀念家乡时，偶然看了《塔里木河》这部纪录片后所做的。

When Zhang first shot the series, one picture in particular stood out to him: an Uyghur child crouching in Unity Square, in the city of Hotan, in front of an enormous statue of Mao Zedong shaking hands with Kurban Tulum. (Kurban Tulum, or “Uncle Kurban,” was an Uyghur farmer glorified by the central government as a symbol of unity). It’s an image rich in detail and suggestion. Zhang has shot all of Jiangnan’s iconic settings, figures, and scenery. He uses that scenery to “construct my own impression, my own fantasy of the land.” It’s an expression of his love for the landscape.

这个系列进行的时候，张博原说有一张照片曾让他印象深刻：一个维吾尔族小巴郎子，蹲在和田的团结广场上，而他背后有着一座巨大的毛主席与库尔班大叔握手的雕像，那张照片拥有着丰富的细节与信息量。南疆令人为之吸引的人物、景色、氛围，张博原都拍。他说，这是在用景观“构建自己对这片土地的印象与幻想”，是“寄情于景”的表达。

Zhang says that the scenes in his photographs are things that were already there, but are also reflections of his own moods, and bearers of stories. “Compared to emotions and connections with people, relationships with the landscape are more internal, and more difficult,” he says. “My series Jiangnan has been going on for a long time now, and it will continue into the future. What I’m trying to do is use the relationships among the landscapes, and to juxtapose them with people and create connections, to tell the stories of this land.”

张博原说，照片里呈现的景观，是这片土地已然存在的物事，其实也是自己内心情绪的映射，是故事的载体。“相比与人产生的联系和情感，与景产生的共鸣更内化，也更不容易。《疆南》系列已经是一个长期项目，会继续做下去。我希望做的，是用景观各自间的关系，以及它们和‘人’并置、产生连接，来讲述这里的故事。”

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Contributor: Chen Yuan

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网站: zhangboyuan.net
微博: ~/张博原

 

供稿人: Chen Yuan

 

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Thrown for a Loop 怪奇空间

September 2, 2019 2019年9月2日

Sushi rolls made of people, human hearts fresh from the factory, eyeballs swimming like sperm: these dark comics, drawn in 3×3 grids, are the work of Chinese artist Mangchangzhi. (The name literally, and appallingly, translates to “cecum juice.”) A self-described washed-up painter, he claims he’s never studied art. But that hasn’t kept his work from attracting a devoted following.

Drawn in black, white, and crimson red, the series is composed of pithy frames that tell a story. Mangchangzhi hasn’t yet chosen a title, but he says he’s considering calling it “Loop,” because the first frame in every grid follows from the last frame in the previous one.

被吃掉的人型寿司卷、批量生产的新鲜心脏、蝌蚪一样游动的眼珠……这一张张暗黑系九宫格漫画，出自盲肠汁之手，自称“画渣”的他据说从没学过画画，但毫不妨碍这个相册收获大众的喜爱。

这个系列以黑白红三色为主，画面简洁、故事性却很强。虽然暂时还没有一个确定的名字，但盲肠汁说，等全部画完后可能会以《Loop》（循环）命名，因为系列里每张画的第一格都承接着上一幅画。

According to the artist, this interlinked style is less of an attempt to get people to think than an exercise in exploring and expanding his imagination. The idea for the first comic came to him on Valentine’s Day: two people meet, embrace, become entwined, and finally find themselves rolled together into a sushi maki, at which point they’re placed on a cutting board . . . It may be gruesome, but it’s not unoriginal.

“Drawing allows for more ambiguity, compared to speaking,” the artist says. “Even the viewers’ misunderstandings are interesting. You put what you want to convey into the picture, and people who understand you get it, while people who don’t get it also have their fun. And that’s fine.”

盲肠汁说，这种首尾连接的创作方式，与其说想引起人们思考，更像是在自我探索想象力扩展的训练。他的第一幅作品就是在情人节时想到的：两个人相见、相拥、相互缠绕，最后滚成一团，变成了寿司卷，然后再被人放上砧板……虽然可怕，却也相当有趣。

“绘画相对于说话更具多义性，一张画无论观者是正解还是无解都挺有意思，把想表达的东西塞进画里，懂你的人看出门道倍感亲切，不懂的人自有他的热闹也挺好。”盲肠汁说。

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Douban: ~/Cecumjuice

 

Contributor: Chen Yuan

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豆瓣: ~/盲肠汁

 

供稿人: Chen Yuan

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Freezing Land 一座空城记

August 14, 2019 2019年8月14日

“I’m the quintessential Chinese small-town boy, someone who went to college in a big city—Shanghai—and ended up staying,” says Chen Ronghui. Though he started out as a photojournalist, he now works in the realm of fine-art photography, and is about to embark on an MFA at Yale. This transition into art has allowed him to dig into more conceptual narratives, which, he discovered, are often inadvertently related to his own identity. “I’ve reflected on my works of from recent years and realized they’re closely linked to my personal experiences,” he says, “On one hand, I can’t return to my hometown, but on the other, I don’t have a Shanghai hukou. So in this regard, I’m living as an inbetweener.”

These themes of displacement and searching for belonging are the core stories he tells: in a rapidly urbanizing China, how do the youth find belonging? What are the insecurities and anxieties they collectively share?

“我是一个典型的中国小镇青年，去大城市上大学，然后留在上海这样的特大城市。”陈荣辉说道。曾经身为报道记者的他，现在是一名摄影艺术家，并将赴美就读耶鲁大学的 MFA。但身份的转变却并没有带来“身份”的落定，“我自己思考这几年的创作，其实和我的个人经历是紧密结合的。一方面，我没有办法回到故乡，另一方面，我在上海也没有户口。从社会层面来说，我居住在一个中间地带。”

而这就是他要讲述的故事——在全世界最大规模城市化的中国，普通的青年如何找到自己的归属，他们又面临着怎样的不确定性和不安。

The portraits in his series Freezing Land feature people he discovered on Kuaishou, a popular Chinese video app with millions of users mostly in third and fourth-tier cities. The videos showcased on the app present ordinary people doing everything from eating dinner to performing in drag to doing the latest viral dance. For this series, whenever he came upon someone interesting, he’d contact them through the app to meet up and take photos.

“The most memorable person I shot during the series is the boy who does drag,” Chen recalls. “His videos were were intense, with views in the millions.”

The boy was only 14 years old at the time Chen took his photo. Both of his parents had abandoned him, and as a foster kid, he relied on these internet performances to make money. Chen says that despite the boy’s online popularity, when they met up to shoot, all he saw was his loneliness.

The backstories of these participating models are an important part of Chen’s photo essay, but the project is a macro look at a much larger topic.

在《空城计》这个系列中，有大量的年轻人肖像，很多都是他选择通过“快手”找到的。这个短视频 APP 上聚集了千万用户，大部分都是来自中国内地三四线城市的年轻人，吃播、反串、社会摇，这些夺人眼球的视频以惊人的点赞量出现在首页。陈荣辉找到其中让自己印象深刻的播主，然后去联系拍摄。

“这个表演反串的小男生或许是最吸引我的，他在网上的表演非常劲爆，点击率过百万。”陈荣辉说，拍摄这张照片的时候，男生才 14 岁，因为生父生母已经离开了他，寄人篱下的他在互联网上表演反串节目来养活自己。虽然获赞无数，“在现实生活，拍摄这张肖像的时候，我看到的是一种孤独感。”陈荣辉如是说。

The 14-year-old boy he photographed is from Fularji, a once-booming industrial hub that—like many small cities in northeaster China—has fallen into decline. “This series is the finale of my probe into the relationship between man and city,” he says. In his project Petrochemical China he looks at the country’s industrialized cities, while in the more recent Runaway World he points his lens at cities desperate to turn a buck through gimmicky tourist attractions. The final installment is Freezing Land, which Chen says is an examination of cities on the verge of vanishing.

这个男生所在的城市是富拉尔基，一个曾经非常裕富、有很多大型重工业的城市，但这几年经历了全方面的衰败，这也是中国北方许多城镇的缩影。“这个系列其实是我在探讨人与城市关系的最后一个篇章，此前两个系列分别为《石化中国》和《脱缰的世界》——从工业化到娱乐化，最后就是消亡的城市。”

Visiting these withering cities, he sought to learn more about the younger generation who still live in them, and through their stories, shed light on their plight and anxieties. “It’s an exploration of youth and the uncertainty of their future,” he explains.

陈荣辉造访这些收缩的城市，并希望能以此了解当地和他年龄差不多的年轻人，并通过他们的故事，揭示他们的困境和焦虑。“我探索的是年轻人的不确定性。”他说。

The third and fourth-tier city residents he met through Kuaishou often relied on donations through the app to make a living, but many their accounts have ended up banned. Some have tried their hand at starting restaurants or clothing stores with the money they made on the platform, but these businesses usually failed, Chen says. “Some also end up in gangs, but most often, they choose to leave in search of opportunity.”

在这个系列进行过程中，陈荣辉拍摄的许多三四线城市居民最初都依靠通过短视频打赏谋生，但后来好几个他认识的都停更或被销号了。有些人试图在当地尝试开饭店或者开卖衣服的店铺，但是现在也并没有很成功。“也有的在混社会。更多的，还是继续出去寻找机会了。”

The images from the series without human context paint an equally bleak picture. Chen’s cityscapes evoke imagery of the dystopian future that’s commonly depicted in cinema: cities turned ghost town, barren stretches of land dotted with crumbling infrastructure. While these works of sci-fi remain in the realm of fantasy for now, Freezing Land seems to tease that in the future, these scenes may very well become reality.

而通过陈荣辉这个系列的探索，在思考城市社会结构变化的过程中，也不禁让人想起许多科幻电影中的开篇场景：昔日的摩天大楼悉数被废弃，偌大的钢筋水泥之城变为了空城……虽然现实并不像电影那么夸张，但未来我们是否会面临一样的境遇呢？

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Website: www.ronghuichen.com
Instagram: @ronghuichenphotography

 

Contributor: Chen Yuan

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网站: www.ronghuichen.com
Instagram: @ronghuichenphotography

 

供稿人: Chen Yuan

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100 Years of Manhua 总有一部国漫牵动着你的心

July 31, 2019 2019年7月31日

In China, manhua, the word for comics or manga, means different things to different people. For some it calls to mind a recent spate of movies based on illustrated characters; for others it means the online comics that have flooded the internet; for still others, it conjures childhood memories of stories like Journey to the West or Black Cat Detective.

But there’s no denying that over the last century, from its origins, to its golden age, to its latest innovations, Chinese manhua has developed a distinctive style—even if the Japanese and US influences are evident. A new exhibit organized by Design Society titled “Y-COMIC-X? One Hundred Years of Chinese Manhua,” held at Shenzhen’s Sea World Culture and Arts Center, traces the art form’s evolution in China. Neocha visited the show recently and selected our favorite highlights—and each one is a reason for comics fans to make a trip to Shenzhen.

说起“国漫”，你会想到什么呢？是近年大热的漫画改编电影？充斥网络的各种连载漫画？还是小时候伴随成长的孙悟空和黑猫警长？

但无论是哪一种，无可否认的是，中国漫画经由近一个世纪的诞生、成长、巅峰时期和现代演变，也经历了日漫、美漫的冲击和影响，逐渐形成了国漫独特的风格。最近，由设计互联团队策划的“百年国漫大展Y-COMIC-X?”正在深圳展出，我们精选了几个最值得想让你观展的理由，也希望能以此献给漫画迷们一份国漫观展集锦。

The Cinematic

最电影范

The Legend of Luo Xiaohei

 

This black kitten, ubiquitous not long ago on WeChat and QQ stickers, is the creation of independent Chinese cartoonist MTJJ. The simple, bubbly style and adorable expressions later appeared in a comic book, which proved a hit with readers.

In 2011, the kitten got its own show, The Legend of Luo Xiaohei, an animated web series created by MTJJ and his studio. It had heavy, colorful lines and an entertaining storyline about a demon cat stealing a magic pearl. With its slow updates, though, people on the internet began to joke that new episodes were a once-in-a-year occurrence. The opening of the exhibition coincided with a trailer and a release date for the long-awaited feature-length film. Fans eager for the adventure to continue can finally take heart.

《罗小黑战记》

 

这只曾广泛出现在微信和 QQ 中表情包里的小黑猫，由中国大陆独立动画制作人 MTJJ 创造，起初的动漫画风很简单，圆润可爱的造型配上软萌的表情，收获了大批用户的喜欢。

2011 年，罗小黑也成为《罗小黑战记》里的主角——这部由 MTJJ 及其工作室制作的一部动漫片，仍是以彩色粗线条的简笔画为主，加上了“猫妖盗取天明珠”的剧情，故事情节搞笑，但由于更新速度非常缓慢，被一众网友称为元老级“年番”国漫。就在“百年国漫大展Y-COMIC-X?”开幕前后，《罗小黑战记》终于发布了大电影的先导预告和定档时间，或许终于可以告慰一下等待数年的观众了。

The Minimal

最极简范

Wo Shi Bai

 

Born in 1988, Wo Shi Bai (whom Neocha has previously written about) was a video game designer until 2017, when he began working full-time as an illustrator. His comics feature a little character with a blank face and a generic outline. Simple as the art is, the stories have a dramatic depth that will give you pause.

我是白

 

1988 年生于上海的插画漫画作者“我是白”（点击可查看往期报道《我是白》）曾是一名游戏设计师，于 2017 年开始全职漫画创作。他的画里只有简单轮廓的小白人，简单的线条世界中，故事却很有戏剧性，让人回味无穷。

The Witty

最佳脑洞

Tango

 

Tango’s various identities are hard to reconcile: he has a day job in advertising, a master’s degree in industrial design from Tsinghua Academy of Art, and over a million followers on Weibo. His comics almost always involve just a few black lines: a person, a cat, or a painting are enough to fill a sketch, and more often than not they’re all it takes to make you laugh.

Tango

 

清华美院工业设计硕士、职业广告人、微博百万粉插画大 V，这三个很难关联的标签，都代表了 Tango 的某种身份。他的作品基本都由寥寥几笔黑色线条勾勒出来，很多时候一个人、一只猫、一幅画便是一个段子，常常让看画的人忍俊不禁。

The In-Demand

最具人气

Zao Dao

 

Zao Dao, an artist in her 20s, grew up amid mountains and hills, and her comics are propelled by a wild spirit. Her trademark brushwork and her unruly, unconstrained style have a distinctly Chinese touch. Zao Dao already has two manhua books to her name, and she’s designed posters for such movies as The Mermaid and Monkey King: Hero is Back.

早稻

 

90 后漫画家早稻，从小在山野间长大，因而作品里也处处充斥着野性的灵气。她自成一派的水墨手法和洒脱不羁的态度，将中国元素表现得淋漓尽致。如今，早稻已经出版了两本画集，还一手包揽了《美人鱼》《大圣归来》等许多影视作品的海报。

The Feel-Good

最治愈风

Zhu Letiao

 

China’s “little goddess” of illustration, Zhu Letiao is the author of Diary of High School Class no. 5, the first comic in China to have its film rights bought by a production company. Zhu has also won more prizes than just about any other comic artist in the country.

猪乐桃

 

身为国内“绘本小天后”的猪乐桃，曾发表过的作品《高中 5 班日记》，是中国内地第一个被电影公司购买电影改编权的漫画，也是内地获奖最多的漫画家之一。

The Zany

最无厘头

Dick Ng

 

Born in Shenzhen and based in Hangzhou, Dick Ng draws a funny, absurd, thoroughly wacky style of manhua. His comics blend scenes from everyday life with a dry sense of humor.

Dick Ng

 

来自深圳的漫画家、插画师 Dick Ng，现居于杭州。他惯于将日常生活的元素融入到漫画中，并以冷笑话形式表现出来，风格荒诞、搞笑，非常无厘头。

The Classic

最经典范

The Adventures of Sanmao

Not the first Chinese manhua character, but certainly the most famous, Sanmao was created by Zhang Leping in 1935. A street urchin who works as a paperboy, a shoeshine, and an apprentice, Sanmao had a vivid personality and a fresh style, and his adventures have a special place in readers’ hearts.

《三毛流浪记》

这不是中国最早的漫画，却是最为知名的漫画人物。张乐平笔下的三毛，诞生于 1935 年。这个无依无靠的流浪孤儿，小小年纪就体验过卖小报、擦皮鞋、当学徒……漫画中的三毛形象和性格鲜明，他的一切经历也都牢牢牵挂着每一个读者的心。

The Editors’ Pick

编辑最爱

Manhua’s golden age has its own section at the exhibit, featuring ink sketches by Feng Zikai, the father of Chinese comics; early comics of the Monkey King; illustrated versions of The Romance of the Three Kingdoms; and the revolutionary-era picture-books known as lianhuanhua. Visitors can revisit their childhood memories of curling up with comics as kids.

从“中国漫画之父”丰子恺的简笔水墨画开始，到《三毛流浪记》、孙悟空漫画形象的诞生，再到《三国演义》、《智取威虎山》……连环画迎来了它的“黄金时代”。这一部分也让所有观众仿佛脱离展览现场，一下回到看“小人书”连环画的童年时代。

The Experience

最佳体验

At X-COMIC-Y?, the gallery space is not what it seems. The design team has brought comics’ 2-D visuals into a 3-D space, and as you step into the gallery, you feel as though you’ve walked into an oversized comic book. As you move about the space, the dimensions of your perspective seem to shift, and you find yourself inside a comic frame, interacting with—almost becoming part of—the art.

本次“百年国漫大展Y-COMIC-X?”的展览空间设计别有用心，展厅设计团队将漫画的平面视觉创作形式，搬到了三维空间中，步入展馆，就仿佛走进了一本巨大的立体漫画书中，视角会随着位移而实现不同维度的转换。来展厅的人在看漫画，殊不知自己也成为了漫画的一景，人与画也就形成了极强的互动。

 

Looking back to the classics while encapsulating the spirit of today, this exhibition of a century of Chinese comics gives a boost of inspiration to the manhua artists of tomorrow.

Y-COMIC-X? is now at the Sea World Culture and Arts Center in Shenzhen. Check it out! To purchase tickets, click here.

在再现经典的同时，展览也囊入了当代精神生活的描述，为后续创作的国漫作品注入了灵魂。

目前“百年国漫大展Y-COMIC-X?”正在深圳海上世界文化中心展出，欢迎前往观瞻。线上购票，点击此处。

 

Event: Y-COMIC-X?

Address:

Sea World Culture and Arts Center, Main Ballroom
Wanghai Rd. no. 1187
Nanshan District
Shenzhen, China

Dates:

July 20 to September 30, 2019
Monday to Friday 10:00 to 19:00
Saturday and Sunday 10:00 to 21:00

 

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Contributor: Chen Yuan
English Translation: Allen Young
Images Courtesy of Design Society

展览名称: “百年国漫大展Y-COMIC-X?”

地址:

中国，深圳市
南山区
望海路 1187 号
海上世界文化中心一楼主展馆

展览时间:

2019 年 7 月 20 日 －2019 年 9 月 30 日
周一至周五 10:00 – 19:00
周六周日 10:00 – 21:00

 

喜欢我们的故事？欢迎关注我们的微博与微信。

 

供稿人: Chen Yuan
中译英: Allen Young
图片由设计互联提供

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Experiment with High Saturation 来一场高饱和度的视觉盛宴

July 17, 2019 2019年7月17日
Image by bellkitsos 图片来自 bellkitsos
AU5

This story is part of a content partnership and media exchange between Neocha and VSCO. VSCO’s membership program is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.

With high saturation, you can transform ordinary surroundings into mosaics of color and contrast. Rich, tonal hues define this look and color takes the center stage. Achieving this look yourself can be done with a few simple tricks. Check out these approaches you can use to experiment with high saturation.

本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费试用，获取完整的预设滤镜，以及新的编辑工具、视频编辑和教程内容。

用高饱和度设置，你可以把普通的环境变成富含色彩和对比度的照片。丰富的色调定义了这种效果，而色彩则占据了图片的重心。你只需通过一些简单的技巧来达到这种效果。看看这些可以用来试验高饱和度的方法吧。

High Saturation Presets

高饱和滤镜

Image by thesolipsist 图片来自 thesolipsist
AU5
Image by greatsabri 图片来自 greatsabri
AU5
AU5

Agfa Ultra 50 is definitively known for its intense color saturation. AU5 is perfect for experimenting with rich colors and warm tones, especially when reds and yellows are part of the composition. Though traditionally used with landscapes, this preset can help push the boundaries of other genres as well.

AU5

Agfa Ultra 50 是公认的、强烈的彩色饱和度的滤镜。AU5 非常适合色彩丰富、色调温暖的照片，尤其是红黄两色为组成调的时候。虽然通常这个滤镜会与风景照一起使用，但这个预设也可以用作其他更多用处。

Image by amjordan 图片来自 amjordan
KE1
KE1

Kodak Ektar 100 is a favorite for creating saturated, color-filled images. It was designed to hold up in a variety of lighting conditions, even afternoon sun, but like most Kodak films, it has a warming effect perfect for evening and morning light. Its high saturation and bold contrast sets it apart and has helped it become one of our most popular Film X presets.

KE1

柯达 Ektar 100 是最受欢迎的饱和、彩色填效果之一。它原先是为各种照明条件设计的，甚至午后的阳光直射也可以。但就像大多数柯达胶卷一样，它色调温暖，对晨暮的阳光展现尤其完美。其高饱和度和强烈的对比，使其与众不同，并已帮助它成为我们最受欢迎的胶片滤镜之一。

Image by daviddahlia 图片来自 daviddahlia
FR4
FR4

Fujifilm Provia 400X is great for high saturation without overwhelming warmth. Fujifilm is known for cooler tones, and FR4 is no exception. If you’re looking deepen colors while maintaining a more natural look, try slightly underexposing with FR4 and you’ll notice how blues and greens are especially targeted with this preset.

FR4

富士胶片 Provia 400X 可以创建高饱和度、没有温暖主调的照片。富士胶片以冷色调著称，FR4 也不例外。如果你正在寻找暗沉颜色的滤镜，同时又要保持自然的外观，可尝试在一张低曝光的照片上使用 FR4，你会发现它是如何通过蓝绿两色来实现这个滤镜效果的。

Tools for High Saturation

高饱和工具

Saturation

Use this tool to quickly boost all of the colors in your image. Increasing the slider will enhance and deepen hues, especially in areas where color plays a dominant role.

HSL

The HSL tool gives you full control over individual colors in your image. This enables you to increase the saturation of specific areas, like a blue sky or a yellow car.

Contrast

Though not directly shifting color, increased contrast can help emphasize and intensify the colors by brightening mid-tones and darkening shadows. This can help areas of color pop out from their surroundings.

饱和度

使用此工具可以快速加强图像中的所有颜色。增加滑动条将增强和加深色调，特别是在色彩占主导地位的地区。

HSL

HSL 工具可以使你可以完全控制照片中的个别颜色。这可以让你增加特定区域的饱和度，比如蓝色的天空或者一辆黄色的汽车。

对比度

虽然不是直接变换颜色，但增加对比可以通过明亮的中间色调和暗影，来帮助强调和加强颜色。这个功能可以帮助颜色区域从周围背景中分离出来。

Capturing High Saturation

捕获高饱和度的瞬间

Image by jeffmercado 图片来自 jeffmercado
AU5

High saturation images can start before you even hit the shutter. Always look out for bold colors that can enliven a composition—neons and bright reds are especially good at this. Finding the right light also helps—afternoon sun is often harsh and washes out color, instead, try shooting in the morning or evening when the sun is lower in the sky. Heading outside after some rain is also a great way to catch colors at their peak.

高饱和度图像的拍摄，甚至可以在你按下快门之前就开始。记得保持寻找大胆的、可以点亮照片颜色的元素——比如霓虹灯和明亮的红色在这方面就特别合适。寻找合适的光线也有帮助——下午的太阳通常会很刺眼，会冲淡颜色本身，你反而可以尝试在早晨或傍晚太阳落山的时候拍摄。当然，在雨后外出也是在捕捉颜色的好时机。

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How to Take Low-Key Shots 如何拍摄一张低调但奢华的照片

July 9, 2019 2019年7月9日

This story is part of a content partnership and media exchange between Neocha and VSCO. VSCO’s membership program is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.

Experimentation can help keep your photography practice fresh and lead to unexpected outcomes. In this tutorial, we explain a few ways you can make low-key images with subdued light and nuanced detail. Share what you create on VSCO.

本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费试用，获取完整的预设滤镜，以及新的编辑工具、视频编辑和教程内容。

实验可以帮助你保持你的摄影练习新鲜感，并导致意想不到的结果。在本教程中，我们将说明一些方法，你可以让柔和的光线和微妙的细节使照片显得更低调。在 VSCO 分享你创造的作品吧。

Capturing low-key images

捕捉低调光影

Image by dogsbff 图片来自 dogsbff

A low-key image can be achieved in most lighting conditions with the right methods. Seek out isolated subjects and any small glimpses of highlights. Emphasize any surrounding shadows for a quiet and intimate feel.

大多数情况下，一张低调的照片，只要用对方法，一般光照条件就能实现：找出单一的拍摄对象和任何微小的亮点。强调周围的任何阴影，以营造一种安静亲密的感觉。

Set the exposure based on the brightest areas in the scene. When framing your photo, tap and drag downwards to set the focus and to control the amount of underexposure for that particular shot.

根据场景中最亮的区域设置曝光。在拍摄照片的时候，点击并向下拖拽来设置焦距，且需控制拍摄时低曝光的幅度。

Editing for low-key shots


Exposure — One of the most common ways to make an image darker is done by reducing the exposure. If you shoot in RAW, you can manipulate an even greater deal of detail in your editing process.

Contrast — Depending on the desired outcome, adjust your contrast up or down incrementally. Lowering contrast evens out tones, while increasing contrast makes the difference in values greater, so dark tones get even darker.

Shadows — Try raising your shadows to bring some light back into the darker parts of the image, but not too much.

编辑让作品更低调


曝光——最常见的使图像变暗的方法之一就是减少曝光。如果你用 RAW 拍摄，就可以在你的编辑过程操纵更多的细节。

对比——根据所需的效果，调整你的对比，向上或向下增量。降低对比度甚至会降低色调，同时增加对比度会使数值差异变大，所以暗色调会变得更暗。

阴影——尝试加大阴影，以带来一些光回到较黑暗的部分的形象，但不要太多。

Image by katyshayne 图片来自 katyshayne
Image by topasamper 图片来自 topasamper

Image recipes

照片编辑设置

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I Don’t Want You to Know 女孩子的“树洞”

July 8, 2019 2019年7月8日

At first glance, the simple lines and shading of Fang Xiaonao‘s comics make them look like any classic Japanese manga. Only a few pages in does it become apparent that they’re all about young women’s experiences, and that they have an exceptionally light and delicate touch. Many of the stories are lifted straight from real life and set down in manga form.

After graduating from the Beijing Film Academy with a degree in animation, Fang went on to Kyoto Seika University to continue studying manga, and today she’s a full-time comic artist in Tianjin, with three published books to her name.

一眼看方小孬的漫画，用色和线条都很简单，像极了从小看的日漫，但几页翻过去，才惊觉这其中塞进了许多女生的小心思，非常细腻温馨。这些场景，很多都是从生活里撷取而来，方小孬用漫画的形式记录着。

毕业于北京电影学院动画艺术专业的她，又赴京都精华大学继续研究漫画绘本，如今已是一个出了三本书的专职漫画家，定居天津。

“I’m a pretty emotional person, and I’ll often be moved by some little thing I notice in my daily life,” Fang says. “For example, when taking the subway to see a friend off at the train station, my imagination will start going into overdrive at the idea of ‘seeing off someone close to me.'” Some of the stories in the comics are directly modeled on these experiences, and looking back over them brings a smile of recognition to her lips. “Putting them on paper, to a certain extent, means storing up the memories.”

“我是个比较多愁善感的人，经常会被生活上观察到的一些细微的小细节触动。”小孬说，“比如坐地铁送闺蜜去火车站，就会因为‘送重要的人去火车站’这个事件而脑洞大开，展开想象。”而有些直接以生活为原型的故事创作的漫画，每每回看，就一定是会心一笑的。“幸好画下来，算是某种程度上的记忆储存了吧。”她说。

Fang’s recent manga series I Don’t Want You to Know is full of young women’s experiences of yearning and unspoken love. “This one is different from my previous books, which were sort of bland,” she says when asked about her intentions. “It’s more a book for helping readers think about love’s different forms.”

As she candidly admits, she’s gone through a lot in the past three years. “I reached the biggest crossroads I’ve ever encountered on my journey,” she says. Her previous works, such as Apartment for Three, had sweet, feel-good subject matter. “Back then my life was very innocent, or very simplistic, and every day I was showered in love. That book doesn’t have an edge. It’s bland—it can’t be considered my best work,” she says.

小孬最近新出版的漫画系列叫《才不要让你知道》，充满着女生关于心动、暗恋和爱情的种种小情绪。问及这本书的创作初衷，小孬说：“这是一本区别于前面温吞的作品，更多是去帮助读者思考爱的形式的作品。”

过去的三年里，她坦言经历了很多事情，“在人生道路上来了个前所未有的大劈叉。”之前的作品，比如《三味合租屋》，是很温柔很温馨的题材。“那时的自己生活也是很单纯，或者说很单一，每天都被满满的爱包裹着。作品没有锋芒，很温吞。所以不能称得上是‘代表作’。”她说。

“Then two years ago, I went through some emotional distress. As a form of therapy, and to console myself, I drew some comics and published them in a magazine geared toward girls,” Fang says. Out of the blue, she received messages from women saying that her comics helped them finally get over their heartbreak. “I was really moved, and I thought, if my comics can offer love and hope to more women, then my work will have meaning.”

And that’s how I Don’t Want You to Know was born.

“直到前年，我经历了感情上的挫折。那段时间为了自愈，画了一些鼓励自己的漫画作品发表在面向青少年女生的杂志上。”没想到的是，小孬竟然收到了一些女孩子的私信，表示这些漫画治愈了在失恋中踌躇不前的她们。“我很受感动。想到如果自己的漫画能带给更多女孩子爱与希望，那我的创作就是有意义的。”

所以《才不要让你知道》诞生了。

Now that she’s completed this book, she can look back on her previous self and appreciate that, even though she never planned on exploring these topics, she’s grown in the process.  “I hope that this book can give girls a sense of how beautiful love is, as well as how fickle. If they’re aware of the fickleness, they can protect themselves while giving themselves over to love,” she says.

Now Fang knows what direction she wants to take her art in: serious manga for women. Far from the popular “harem” genre, with its clichéd stories of women vying with one another for a man’s attention, Fang wants to create thoughtful works that address contemporary gender relations and explore how women can find emotional fulfillment in a male-dominated society.

I Don’t Want You to Know is now available on JD.com and in select bookstores across China.

等创作告一段落，再回过头看看之前一段时间的自己，方小孬觉得虽然姿态很被动，但换个角度来看，亦是一种成长。“我希望能通过这本书，让女孩子们体会到爱情的美好以及无常，在知道“无常”的前提下，保护好自己，再去投入爱情。”

现在的小孬，已然明确了想创作的方向：比较严肃的成年女性漫画。区别于内地网路上的“后宫漫画”，小孬更想认真地去讨论现在生活中的两性关系，以及女性处在这个男权社会体系下，怎样去成全自己的情感。

《才不要你知道》现已于京东和其他渠道发售。

Like our stories? Follow us on Facebook and Instagram.

 

Weibo: ~/fangxiaonao
Douban: ~/fangxiaonao

 

Contributor: Chen Yuan
English Translation: Allen Young

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

 

微博: ~/fangxiaonao
豆瓣: ~/fangxiaonao

 

供稿人: Chen Yuan
中译英: Allen Young

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Drawing Out the Hurt 魑魅魍魉的小清新

July 3, 2019 2019年7月3日

“When people talk about my illustrations, they often say they’re frightening or gruesome,” says Piru, a Korean illustrator in Seoul. “Maybe that’s because the characters have blank expressions, and parts of the bodies are drawn as bones.”

A ribcage over a multicolored heart, a torso half-hidden in ghostly trees: despite her gruesome subjects, she uses a soft palette, often creating a strong visual dissonance.

“当人们谈论我的插画，会说它们是可怕的、令人毛骨悚然的。这么说的理由可能是画中的人物都没有表情，而且部分躯体被画成了骨头。”来自韩国首尔的插画师 PIRU，这样说起人们对她插画的评价。

悬挂在多彩心脏上的胸廓、鬼魅树影里隐约的胴体——PIRU 的画虽然风格诡谲，用色却很清新，时常给人以一种强烈的视觉反差。

Piru has been drawing since she was a child, but she didn’t formally launch her career as an illustrator until 2016. In the past she disliked expressing negative feelings, but in illustration she eventually found an outlet for her emotions. “I used to think showing my negative side was shameful,” she says. “But now I’ve learned that if your negative feelings don’t get an external release, things usually get much worse.”

The characters in her illustrations seem to wear deadened expressions, as though they’ve experienced some unimaginable grief. But Piru says they’re overcoming sorrow in their own way. She depicts their process of silently bearing pain and waiting for it to pass. “In life, people feel different feelings differently,” she explains. Her pictures show her fragile, struggling inner world, but they also provide a refuge, a place for healing. “I look forward to finding calm, with the passage of time, even though I also know that new sorrows might arrive. If you let time settle things and patiently endure, the clouds will part once more.”

虽然从小喜欢画画，但 PIRU 正式开始插画生涯是 2016 年。以前不喜欢暴露负面情绪的她，在工作后慢慢找到了通过插画来宣泄感情的方法，“以前我觉得展现负能量的一面很羞耻，但之后我发现如果内心的负面情绪没有向外得到释放，事情往往会变得更糟。”

乍一看，插画中的人物表情像是心如死灰，经历着难以想象的铭心痛苦，但 PIRU 说，他们是在以自己的方式去克服战胜这种苦难，她是在描绘这种静静忍受并等待痛苦过去的过程。“人们各自感受着不一样的感受在生活。 ” 她说，画面表现出她脆弱挣扎的内心世界，却也像提供了一处避难所，能让人从中得到治愈。“虽然期待随着时间的流逝之后可以得到平静，但我也知道还会有其他痛苦到来。只是一切都需要时间的沉淀，慢慢熬过去，一定会有云开雾散的那一刻吧。”

Like our stories? Follow us on Facebook and Instagram.

Behance: ~/PIRU So
Instagram: @ssopiru


Contributor: Chen Yuan
English Translation: Allen Young

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

Behance: ~/PIRU So
Instagram: @ssopiru


供稿人: Chen Yuan
中译英: Allen Young

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