#idk how literal to take the descriptions from the novel but im going to interpret her as a little fluffball | Explore Tumblr Posts and Blogs

rigelmejo · 4 years

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im thinking about how i heard avenuex once say that mxtx writes a bit simpler than priest... like they said mo dao zu shi is like... easier to read (although not as ‘literary’ whether i guess that’s good or bad depends on tastes?)...

and i’m at a midpoint with this opinion cause on the one hand: i do think maybe the descriptions in modaozushi are a bit more straightforward. However, everything is xianxia genre (is that the right genre for mdzs? i get confused between xianxia and wuxia). And although I know some key noun words, the way people TALK in this genre is a different style... like the MDZS opening alone is like ‘people rejoice the evil is dead’ and ‘for a generation he’s presumed dead’ and ‘the jiang clan, lan clan, jin clan, wen clan, the sect leaders, the yiling patriarch’ and... so many of those words like sect and clan and the society type words are all really genre specific. So like yes, the descriptions are clear... but how people talk? Sort of??? Until I get used to the genre.

Whereas... like Guardian is an example. It has a few god-past scenes like the one with Shennong and Kunlun that I’ve read without help. The ‘fantasy’ and ‘past’ elements in Guardian are like... idk they feel almost like they create themselves, like their in-story contained mythology to some degree (even if some parts are taken or inspired from broader genre and mythology ideas). So its simple to follow: Kunlun is god of mountains, Shennong is dying, Shen Wei is a ghost king, Shen Wei loves Kunlun, Kunlun knows he’s going to die, Kunlun talks with Shennong about how everything eventually has to die including Kunlun, the world is old and this is the early days and its just gods and the world and the ghost monsters at first. It’s hard to explain but... in some ways I feel like a bit of the old-fantasy scenes in Guardian read like a creation story, so they introduce themselves more based on ‘assume reader doesn’t know what is what or how it works yet.’ And the words they use in the old-fantasy scenes are generally dialogues I find easily comprehensible. However... a lot of my comfort with Priest’s version of the genre, is I have a lot of familiarity with the story-specific vocab for Guardian, whereas in MDZS I have more general xianxia vocab and proper nouns vocab, but not necessarily familiarity with the speaking styles.

Also... some of Priest’s novels, like Silent Reading, are modern. That story’s setting is just easier in general to follow with less context, since its all real life applicable words. Guardian, while fantasy, often has mundane real life applicable settings and words, which also helps with figuring out words and context - in a way mdzs has less of.

However... I definitely think Priest’s writing is... complex. While there’s some context that gets easier... well...

The sheer number of adjectives I don’t know? The amount of descriptive lines? Some are chengyu, some are likely self created metaphors by the author, some are clearly lines that have like 3-5 layers of meaning and imply extra meaning from their extended context (like if I knew who Shennong was in actual mythology? If I had more background on the Kunlun mountains? I imagine the scenes I read would mean a LOT more in terms of depth of implications). Beyond simply comprehending the actual actions taking place in the story, and the barest guess at how characters are physically showing emotion - Priest is doing a hell of a lot more with the writing.

I read the intro to Silent Reading yesterday. The first paragraph is literally just about the city - about how its split in half, east and west, and its like a beautiful picture masking a monster like a woman concealing with makeup. How the old part of the city is poorer, the newer part is the shopping district and is flourishing, and how developers are buying up the poorer parts and raising the value of the whole city but putting more pressure on the poor. And then it goes MORE in depth - this is just the parts I could comprehend. It took 2 readings of the paragraph for me to catch the second half - how the wealth is affecting the city and how business interests are affecting it. And you know damn well the societal implications of this unequally effected society are going to come up again and again in the novel, since hey it was mentioned LITERALLY IN THE FIRST PARAGRAPH. How is that for establishing a theme? Along with the intro paragraph establishing that this city has HISTORY, that its CHANGING, and that it contains monstrosities - precluding the buildup of the eventual murder cases that will make up the bulk of the future plot. On the surface, its just a physical description of location - and that physical description was the easiest part for me to catch. But if its read more in depth, its saying a ton of stuff with just a few physical description sentences. And this was just... stuff I could pick up on... I’m sure there’s more.

Priest’s novels are so chock full of this stuff its a bit daunting. Nevermind the fact that since EVERYTHING is interwoven into main details, its more of a struggle to comprehend the main gist of the plot since deeper more meaningful descriptors and metaphors and stylistic choices are intrinsic pieces of each sentence.

I tried reading Tian Ya Ke the other day, and I only got through a few paragraphs. One of the hardest parts was just following who is who, since Priest likes not always giving names at first, so its a mystery of who someone is at first and you have to get to know them as mysterious people based on what they do. At least, sometimes. Random unnamed coffee buyer turns out to be main character in Silent Reading - and the deliveryman an important secondary. In Tian Ya Ke unnamed man who visits a secret prison has some ties to spy organizations and is presumably a main character. So I can’t just speed through an ‘unknown’ persons details - I might need to hold onto them later in case they turn out to be a named character later, where I need to remember what they did before they were named. Also on these unnamed - there’s galore descriptions of how they smile, their noses, their eyes, their hair lengths, their glasses, their style of clothes - get comfortable sifting through gratuitious physical descriptions which will ALSO be full of things with deeper meanings if you can catch them!

I’m not sure how much MDZS does this too, because I imagine it does all of this to some degree. And my impression is skewed, since I have a traditional copy of the first mdzs novel - so I’m mostly lost because of traditional characters, before I even get caught on the genre words. But I do think it... ramps up the plot a bit faster than Priest’s? If that makes sense. Like, plots in Priest are fast, but I feel like there’s also a lot of ‘what’s in this character’s head or perspective’ moments (which is a lot like I write so I love seeing it). And idk it can be harder to interpret that sometimes, since all narratives are biased and you get heavy details in one perspective narrative then fall into another one with new biases and details.

Tamendegushi, meanwhile? By far the easiest writing style wise. I think that also makes the ‘depth’ of the writing easier to notice - you have to do less comprehension of the basics, so it takes less time to notice what the basics might be conveying beyond their exact details. Very beginner friendly... I recommend this baby FIRST if you’re a beginner like me. ToT

I do wonder if mdzs would be easier for me to read rn...

#rant #i love priests writing and it gets better the more i can read it #but its also #involved...

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