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Is NeZha 2 any good ?
NeZha2 is China's first big blockbuster. It's being heralded as a 'Deepseek moment' for Chinese cinema and I'm confused.
I saw NeZha 1 with my Chinese roommates and I didn't like it. The animation was expensive, but had a stock footage-ness to all of it. The jokes were Minions-esque slapstick and the core story was straight out a children's book. The movie felt miles behind nuanced works like InsideOut or Up. Ghibli is on a whole another planet. Minions is probably the analogy I would go for. Note - I saw it in Mandarin with subtitles, with a PRC Chinese person explaining any nuance I might've lost.
Now, the Minions movies made a ton of money and the west's block busters have been especially bad post-covid. I get it, it's kettle calling the pot black. Normies have terrible taste, so I'm going to avoid equating commercial success with quality. My comment is from the perspective of taste.
And I am a China optimist. My best friends are PRC Chinese and they're smart. I don't doubt that Chinese companies can compete in global entertainment or automobile markets. But why is everything that comes out of PRC China so tasteless ? There is clear absence of nuance, craft and love in every industrialized piece of crap that comes out of there. Deepseek is special because it feels inspired. DJI & Nothing also have a spark within them. But elsewhere it feels competently executed but empty. Nezha is no different. Great execution, no soul.
Is this hype organic ? Am I just a hater ?
Every country's entertainment sub-industries will naturally have variations. Most Japanese live-action acting performances are unwatchable to me. I find the Korean music scene (and I'm not just talking about K-pop here) to be a barren wasteland ranging from awful to uninspired. On the other hand, Japanese rock is my favorite genre of music right now and Korean movies are frequently among my favorites.
I would also just add a possible contributing factor from my experience studying multiple languages: I find that Mandarin translates particularly poorly to other languages. None of the East Asian languages translate well to European ones, but works translated from Chinese feel especially uncanny valley to the point I can sometimes recognize them as such just by reading them in English. It feels like a language where a comparatively smaller proportion of meaning is expressed literally, such that connotations don't carry over properly. The structure of the language also means that these things get packed quite densely, so you can either try to awkwardly unpack them and become overly verbose or stay succinct and lose the meaning.
It’s hard (for me, in my limited experience) to imagine a language that translates worse to European languages than Japanese. Similar to what you said about Chinese, it’s heavily context-dependent and relies on a dense web of Japanese cultural associations to express meaning. And yet Japanese media is enthusiastically enjoyed in translation by westerners and people around the world (sometimes with appreciable liberties taken by translators; although I do think it’s basically always possible to find an acceptable translation that respects the original intent of the work).
I know almost nothing about Chinese, so if you’ve studied both Chinese and Japanese and you think Chinese translates even worse to English, I’d be very interested in hearing your perspective.
My hot take is that the Japanese language is not quite as exotic as English-speaking Japanese learners make it out to be. It's still >4x as much work as picking up a Germanic or Romance language, but a lot of that additional work is front-loaded (hence an overwhelming number of people who never made it past the beginner stage and can only talk about how hard it is).
Yes, there is a lot of culturally-determined social subtext, but most of it is just using set phrases to express something you're already conveying with rather universal body, vocal tone, or facial expression cues. Also, a lot of this exists to an extent in English as well. "How are you?" is usually not an invitation to give a detailed update. "Next time, for sure" more often than not precedes a ghosting. We're plenty equipped to pick up on the analogous cues for Japanese with a little exposure or the right finessing of the translation wording.
The honorifics seem exotic and they give indications of the social dynamics in a conversation, but they are definitionally quite regular and rigid. Translations inevitably lose a lot of this, but you're just losing that particular feature uniformly across every text. If I were to hypothesize about why this isn't a huge impediment to foreign enjoyment, I'd posit that it has minimal role in the types of Japanese stories that foreigners find engaging, with most involving interactions between characters of shared social status. Japanese workplace dramas where these things may be more important have nearly zero attention from Western audiences. Shonen anime, one of the larger cultural exports, essentially throws honorifics out of the window. You don't need the specific Japanese first person pronoun used by an anime character to know if that person is fussy or tomboyish or rash or timid. 99/100 you'd guess correctly from their character design alone.
Regardless, a decent chunk of the features that make a given piece of Japanese prose "punchy" still seem to carry over into English. This seems less true for Mandarin. If I were to vaguely gesture at why, it would involve the idea that a larger percentage of Chinese speech feels idiomatic. After all, idioms are the extreme of densely-packed connotation. To explain the ways that hearing a character say "He kicked the bucket." differs from just "He died." would take an essay. To me, Chinese seems to use a greater variety and frequency of such idiomatic phrases in way that affects the visceral impact of more of its sentences, which cumulatively impacts the perception of a given work as a whole.
Right, a lot of people latch onto pronouns, honorifics, politeness levels, etc when talking about how exotic the language is. And those are legitimate differences that are prone to getting lost in translation. But I don't think those things are what makes Japanese difficult to translate.
It has a lot of grammatical constructions (topic/subject markers, verb forms to indicate oddly specific things like an action being done as a favor for someone else, an action being done in preparation for something else, etc) that simply don't exist in English, and thus get flattened out in any translation (this goes both ways of course -- Japanese lacks a future tense, and it lacks articles as well).
It's elliptical to the point that the translator often has to add multiple new words just to get a grammatically correct English sentence, and different translators won't always agree on these hidden context-dependent words.
It's funny that you mention the "punchiness" of Japanese prose, because I think it's actually a rather un-punchy language. The number of words and phrases that Japanese speakers use on a regular basis is simply more restricted than what we have in English, and a perfectly literal translation of Japanese text can come off as subdued, repetitive, and stilted to English ears; translators often feel it necessary to "spice up" the text a bit in order to reach the level of variety that's culturally expected in English writing.
None of this is to say that Japanese is "hard" per se, only that it is legitimately quite different from European languages and the text requires some massaging before you get something that reads naturally in English.
I'd overall agree with you here. I mainly meant that, when it is punchy (by which I meant vaguely emotionally resonant), the way it does so is more often translatable to English in a way that I don't find to be the case for many Chinese texts.
It might be my love/hate relationship with purple prose, but I think the Chinese language excels at flowery descriptions.
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