DATE

4/16/25

TIME

1:45 AM

LOCATION

Oakland, CA

痛不是错、只是不同的表达方式

Pain is not a fault, just a different form of expression

DATE

4/16/25

TIME

1:45 AM

LOCATION

Oakland, CA

痛不是错、只是不同的表达方式

Pain is not a fault, just a different form of expression

DATE

4/16/25

TIME

1:45 AM

LOCATION

Oakland, CA

痛不是错、只是不同的表达方式

Pain is not a fault, just a different form of expression

“This is my wound. Come look. I’ll show you. Do you want to see?” Inspired by Song Dongye’s “Lilian”—a song written for a girl with schizophrenia, grieving her vanished selves. This is not ordinary sadness. This is sadness that burns through identities, through memory, through time. The kind you don’t forget. The kind you choose to live with.


PART ONE

痛不是错,只是不同的表达方式。痛是一种感觉,从小就被痛包围的我,因为总是被动的痛着、除了耐心等伤口愈合、没有其他谋杀时间的方法,老实休息好的比较快,然而我从来都不是个老实的人。

我很痛,每时每刻都很痛。我的记忆力很好,我几乎记得所有事、却不得不为了愈合而忘记很多事,但我不想再忘了,就算痛到想死,我也不会死。我宁愿记住,即便是痛、也好过忘记。我需要记住。这是我的伤口,你来看。给你看。你想看吗?

我不知道极端觉知是什么感觉,是真的会像释迦摩尼在菩提树下开悟那样,从此摆脱生老病死的痛苦吗?从此摆脱轮回,不必生生世世、投胎死亡,错过重来。每个人这辈子这么短,很多事只能做一次,很多错过是几十年的,好像不管做什么都太沉重了,有点无法轻易地做出任何决定。

但如果想要创造生命,不管是你自己的人生、还是孕育可以延续你这毫无含义的人生到不知道有什么的未来、孕育你的种族的下一代、未来会更好吗、不会吧、为什么要继续呢,我也不知道。

你必须往前进、你必须做选择,你不能一直原地打转。就算你原地打转,其他人也会推着你走,社会也会推着你走。那就看谁能推过谁吧。姐不信命。姐,要逆天改命。不是你说我是什么就是什么的,我知道我们都活在一个黑洞里(一直这么稳定的物理定律,简直太奇怪了,尤其看完《三体》我很怀疑,我们自己就是外星人),这一定是楚门的世界,我在看你,你在看我。但我知道你在看我了,所以呢?你要做什么?你有办法吗?我猜你也没有。那我可以做什么呢?

我现在32岁,我已经没有想为自己做的事情了,我还可以做什么呢?有什么值得我做,有什么还可以做,有什么不是反反复复、来来回回、分开重见、短暂的快乐、长期的痛苦呢?我想让你看到这样的痛苦。如果只是痛了,那我更觉得毫无意义了。被看到,可能会好,不看到,也可能、就消失不见了。我不是也是观测者的一部分吗?观察者不是可以改变被观测者的状态吗?来观测我吧,我想活。

(郁)

我每次说我有点“抑郁”,这是我的意思。而且有时候会莫名被trigger,比如听到这首《莉莉安》,其实我完全听不懂歌词,还去找了歌词、对这歌词看了才知道,这是写的精神分裂症的女生在精神病院里的故事,实际上,我也去过精神病院,我在里面见到了太多悲伤、我不知道要怎么理解和消化。然后我理解了,我也是悲伤的一部分,这是不正常的悲伤、极端的、长期的、深邃的悲伤。

这首《莉莉安》说到这个女生看她的描述应该是多重性格障碍(详情请自行查阅dsm-5),这些多重人格、是在小时候女生为了保护自己而生长出来的不同的人格,有的是暴躁的、有的是冷静的、有的是玩世不恭的、有的是无知的,他们各自有自己的职责。但是为了治好她的病,女生的人格必须离开她了,她很想念他,直到她长出了另一个她。这词说的是女生看到他的人格走的时候,她很舍不得。这很悲伤,真的很悲伤,好像toy story。丢的不是玩具,是曾经的自己。我的记忆力太好,我没办法骗自己,以前比现在好,我过得很好。我不好。但我已经过了以为会被救的年龄了,那就撑着呗。看谁狠。

我想我总是太极端、太拼尽全力、太没大没小、太用力过猛,但那是因为我知道,未来有多不确定、只有我和Moira知道。


PART TWO

痛不是错,只是不同的表达方式。有快乐,就有痛苦。就好像是说,如果你快乐、你的痛苦可能就快来了。我以前也这样觉得,好像每次就像过山车,如果会上去、就会狠狠地摔下来,如果有快乐的时候,就代表着、立刻就有悲伤的时刻了。虽然好像快乐总是很短暂,悲伤却很长。我不知道为什么,好像人生是个骗局、悲伤是主菜、快乐是点缀。

但痛不是错,只是不同的表达方式。有好,就有坏。只是其他的人的情绪是稳定的,是可以消化一些波动的、是强韧的,而我从来没有机会长出强韧的情绪稳定能力,我只会消化、炸裂的原子弹、再拼自己。我真的没有精力,我真的没有力气。

痛不是错,人生只有痛,就没有含义吗?我记录下来,会有含义吗?如果你在痛,会让你觉得被看到吗?我觉得被看到了?写作不是欲望、不是冲动,是必须。不写我可能就死了,不写我真的就死了。


PART THREE

痛不是错,是必须。没有痛,你不知道什么是不健康的、难受的、伤害你的,至少生物课这么学的。痛是让你生存下去的指南,你觉得痛、你就避开它,至少生物课是这么学的。但让我痛的,已经扩展到了整个世界。我不想毁灭世界,我只想自我毁灭。如果要生存下去,必须学会和痛共处。痛一直都会在,接纳他。

他会在每个隐秘的角落、你不知道的地方,因为你已经爬出来了,你爬出来的原因、就是为了不再痛,但你还是痛,你发现你无法自欺欺人。你知道它们存在,它们一直存在、只是你现在接触不到了。你想兑现承诺,你想做点什么。


PART FOUR

有的事会有一点痛,有的事会很痛。你在想什么是最合适的方式,怎么展现呢;转念一想,修改过的、精炼过的、包装过的痛还是痛吗。痛是不分时间、不顾你的主观意愿、不让你选的。它要来就来,要走就走。逼得你也只能立刻得走,立刻得逃。不能被看到这样,别人接不住的、这会是太大的冲击。可我想被完整地看到,痛是我的一部分、还是不小的一部分。虽然现在积极治疗,希望可以慢慢消失。虽然痛可能会离开,但我身上都是痛留下的痕迹。



PART ONE

Pain is not a fault, it’s just a different way of expressing. Pain is a feeling. I’ve been surrounded by pain since I was little, and because I’ve always been passively in pain, besides waiting patiently for the wounds to heal, there was no other way to kill time. Resting quietly helps you recover faster, but I’ve never been someone who rests quietly.

I’m in pain. Every moment, every second, I’m in pain. My memory is excellent—I remember almost everything—but in order to heal, I’ve had to forget many things. But I don’t want to forget anymore. Even if it hurts so much I want to die, I won’t die. I’d rather remember. Even if it’s pain, it’s better than forgetting. I need to remember. This is my wound. Come see. I’ll show you. Do you want to see?

I don’t know what extreme awareness feels like. Is it really like Siddhartha Gautama attaining enlightenment under the bodhi tree, and from then on becoming free from the suffering of birth, aging, sickness, and death? Free from reincarnation, no longer having to repeat lifetime after lifetime, being born and dying, missing and redoing? This life is so short—many things you only get to do once. Some things, once missed, are gone for decades. It feels like everything is too heavy, like it’s impossible to make any decision lightly.

But if you want to create life, whether it’s your own life or giving birth to something that continues this meaningless life of yours into some unknown future, your species—will the future be better? Probably not. So why continue? I don’t know either.

You have to move forward. You have to make choices. You can’t just keep spinning in place. Even if you try to stay still, other people will push you forward, society will push you forward. So let’s see who pushes who harder. I don’t believe in fate. I want to defy fate. You don’t get to decide who I am. I know we’re all living in a black hole (such stable physical laws are way too suspicious—especially after reading The Three-Body Problem, I seriously suspect we’re actually aliens). This must be The Truman Show. I’m watching you. You’re watching me. But now I know you’re watching me. So? What are you going to do? Do you have a way out? I bet you don’t. So what can I do?

I’m 32 now. There’s nothing I still want to do for myself. So what else can I do? What’s still worth doing? What can still be done? What isn’t just repetition, back and forth, reunion after separation, brief joy followed by long-term pain? I want you to see this kind of pain. If it’s just pain for pain’s sake, then it all feels even more meaningless. Maybe being seen will help. Maybe not being seen means it’ll all disappear. Am I not also part of the observer? Doesn’t the observer affect the state of the observed? Come observe me. I want to live.

(depression)

Every time I say I’m a bit “depressed,” this is what I mean. And sometimes, I get triggered for no reason—like when I heard the song Lilian. I didn’t understand the lyrics at all at first, so I went and looked them up, and only after reading them did I realize—it’s about a girl with schizophrenia, in a psychiatric hospital. I’ve been to a psychiatric hospital too. I saw so much sadness in there. I didn’t know how to make sense of it, how to process it. And then I understood—I’m part of that sadness too. It’s not normal sadness. It’s extreme, prolonged, deep sadness.

The lyrics of Lilian—based on her description, the girl seems to have Dissociative Identity Disorder (refer to DSM-5 if you want to look it up). These multiple personalities are different selves that grew out of her childhood as a way to protect herself. Some are angry, some are calm, some are cynical, some are ignorant—they each have their own roles. But in order to heal, those personalities have to leave her. She misses them deeply, until one day she grows a new “her.” The lyrics describe her watching that personality leave, and how reluctant she is to let go. It’s heartbreaking. Truly heartbreaking. It’s like Toy Story. What’s lost isn’t a toy—it’s a version of yourself.

My memory is too good. I can’t fool myself into thinking the past was better than the present. I can’t tell myself I’m doing well—because I’m not. But I’ve passed the age where I thought someone might come save me. So I hold on. Let’s see who breaks first.

I think I’ve always been too extreme, too all-out, too irreverent, too intense—but that’s because I know how uncertain the future is. Only Moira and I know.


PART TWO

Pain is not a fault, it’s just a different way of expressing. Where there is joy, there will be pain. It’s like saying, if you’re happy, your pain might be on its way. I used to think like that too, like every time it’s a roller coaster—if you go up, you’ll come crashing down, and if there’s a moment of happiness, it means that a moment of sorrow is coming right after. Although happiness always seems so short, and sadness feels so long. I don’t know why, it’s like life is a scam—sadness is the main course, and joy is just a garnish.

But pain is not a fault, it’s just a different way of expressing. Where there is good, there is bad. It’s just that other people’s emotions are stable, they can absorb some fluctuations, they are resilient, whereas I never had the chance to grow emotional resilience, I only know how to digest atomic bombs, how to explode, and then piece myself back together. I really have no energy, I really have no strength.

Pain is not a fault, if life is only pain, does that mean it has no meaning? If I write it down, will it gain meaning? If you are in pain, does it make you feel seen? Do I feel seen? Writing is not desire, not impulse, it’s necessity. If I don’t write, I might die. If I don’t write, I really might die.


PART THREE

Pain is not a fault. It is a necessity. Without pain, you wouldn’t know what is unhealthy, what is uncomfortable, what is hurting you—at least that’s what we learned in biology class. Pain is a guide to survival. When you feel pain, you avoid it—at least that’s what biology taught us. But the things that cause me pain have already expanded to include the entire world. I don’t want to destroy the world. I just want to destroy myself. If I want to survive, I must learn to coexist with pain. Pain will always be there. Accept it.

It will be in every hidden corner, in places you don’t even know—because you’ve already crawled your way out. The reason you crawled out was to not feel pain anymore, but you still feel pain. You find that you can’t lie to yourself. You know they exist. They’ve always existed. It’s just that now you no longer have access to them. You want to keep your promise. You want to do something.


PART FOUR

Some things hurt a little. Some things hurt a lot. You’re wondering what’s the most appropriate way to show it; then it occurs to you—once it’s been edited, refined, and repackaged, is it still pain? Pain doesn’t follow time, doesn’t care about your will, doesn’t give you a choice. It comes when it wants. It leaves when it wants. It forces you to leave immediately, to escape instantly. You can’t be seen like this. Others can’t catch it—this would be too much of a shock. But I want to be seen, completely. Pain is a part of me—and not a small part. Even though I’m actively in treatment now, hoping it’ll slowly fade. Even if the pain eventually leaves, what’s left all over me are the marks it gave.

PART ONE

Pain is not a fault, it’s just a different way of expressing. Pain is a feeling. I’ve been surrounded by pain since I was little, and because I’ve always been passively in pain, besides waiting patiently for the wounds to heal, there was no other way to kill time. Resting quietly helps you recover faster, but I’ve never been someone who rests quietly.

I’m in pain. Every moment, every second, I’m in pain. My memory is excellent—I remember almost everything—but in order to heal, I’ve had to forget many things. But I don’t want to forget anymore. Even if it hurts so much I want to die, I won’t die. I’d rather remember. Even if it’s pain, it’s better than forgetting. I need to remember. This is my wound. Come see. I’ll show you. Do you want to see?

I don’t know what extreme awareness feels like. Is it really like Siddhartha Gautama attaining enlightenment under the bodhi tree, and from then on becoming free from the suffering of birth, aging, sickness, and death? Free from reincarnation, no longer having to repeat lifetime after lifetime, being born and dying, missing and redoing? This life is so short—many things you only get to do once. Some things, once missed, are gone for decades. It feels like everything is too heavy, like it’s impossible to make any decision lightly.

But if you want to create life, whether it’s your own life or giving birth to something that continues this meaningless life of yours into some unknown future, your species—will the future be better? Probably not. So why continue? I don’t know either.

You have to move forward. You have to make choices. You can’t just keep spinning in place. Even if you try to stay still, other people will push you forward, society will push you forward. So let’s see who pushes who harder. I don’t believe in fate. I want to defy fate. You don’t get to decide who I am. I know we’re all living in a black hole (such stable physical laws are way too suspicious—especially after reading The Three-Body Problem, I seriously suspect we’re actually aliens). This must be The Truman Show. I’m watching you. You’re watching me. But now I know you’re watching me. So? What are you going to do? Do you have a way out? I bet you don’t. So what can I do?

I’m 32 now. There’s nothing I still want to do for myself. So what else can I do? What’s still worth doing? What can still be done? What isn’t just repetition, back and forth, reunion after separation, brief joy followed by long-term pain? I want you to see this kind of pain. If it’s just pain for pain’s sake, then it all feels even more meaningless. Maybe being seen will help. Maybe not being seen means it’ll all disappear. Am I not also part of the observer? Doesn’t the observer affect the state of the observed? Come observe me. I want to live.

(depression)

Every time I say I’m a bit “depressed,” this is what I mean. And sometimes, I get triggered for no reason—like when I heard the song Lilian. I didn’t understand the lyrics at all at first, so I went and looked them up, and only after reading them did I realize—it’s about a girl with schizophrenia, in a psychiatric hospital. I’ve been to a psychiatric hospital too. I saw so much sadness in there. I didn’t know how to make sense of it, how to process it. And then I understood—I’m part of that sadness too. It’s not normal sadness. It’s extreme, prolonged, deep sadness.

The lyrics of Lilian—based on her description, the girl seems to have Dissociative Identity Disorder (refer to DSM-5 if you want to look it up). These multiple personalities are different selves that grew out of her childhood as a way to protect herself. Some are angry, some are calm, some are cynical, some are ignorant—they each have their own roles. But in order to heal, those personalities have to leave her. She misses them deeply, until one day she grows a new “her.” The lyrics describe her watching that personality leave, and how reluctant she is to let go. It’s heartbreaking. Truly heartbreaking. It’s like Toy Story. What’s lost isn’t a toy—it’s a version of yourself.

My memory is too good. I can’t fool myself into thinking the past was better than the present. I can’t tell myself I’m doing well—because I’m not. But I’ve passed the age where I thought someone might come save me. So I hold on. Let’s see who breaks first.

I think I’ve always been too extreme, too all-out, too irreverent, too intense—but that’s because I know how uncertain the future is. Only Moira and I know.


PART TWO

Pain is not a fault, it’s just a different way of expressing. Where there is joy, there will be pain. It’s like saying, if you’re happy, your pain might be on its way. I used to think like that too, like every time it’s a roller coaster—if you go up, you’ll come crashing down, and if there’s a moment of happiness, it means that a moment of sorrow is coming right after. Although happiness always seems so short, and sadness feels so long. I don’t know why, it’s like life is a scam—sadness is the main course, and joy is just a garnish.

But pain is not a fault, it’s just a different way of expressing. Where there is good, there is bad. It’s just that other people’s emotions are stable, they can absorb some fluctuations, they are resilient, whereas I never had the chance to grow emotional resilience, I only know how to digest atomic bombs, how to explode, and then piece myself back together. I really have no energy, I really have no strength.

Pain is not a fault, if life is only pain, does that mean it has no meaning? If I write it down, will it gain meaning? If you are in pain, does it make you feel seen? Do I feel seen? Writing is not desire, not impulse, it’s necessity. If I don’t write, I might die. If I don’t write, I really might die.


PART THREE

Pain is not a fault. It is a necessity. Without pain, you wouldn’t know what is unhealthy, what is uncomfortable, what is hurting you—at least that’s what we learned in biology class. Pain is a guide to survival. When you feel pain, you avoid it—at least that’s what biology taught us. But the things that cause me pain have already expanded to include the entire world. I don’t want to destroy the world. I just want to destroy myself. If I want to survive, I must learn to coexist with pain. Pain will always be there. Accept it.

It will be in every hidden corner, in places you don’t even know—because you’ve already crawled your way out. The reason you crawled out was to not feel pain anymore, but you still feel pain. You find that you can’t lie to yourself. You know they exist. They’ve always existed. It’s just that now you no longer have access to them. You want to keep your promise. You want to do something.


PART FOUR

Some things hurt a little. Some things hurt a lot. You’re wondering what’s the most appropriate way to show it; then it occurs to you—once it’s been edited, refined, and repackaged, is it still pain? Pain doesn’t follow time, doesn’t care about your will, doesn’t give you a choice. It comes when it wants. It leaves when it wants. It forces you to leave immediately, to escape instantly. You can’t be seen like this. Others can’t catch it—this would be too much of a shock. But I want to be seen, completely. Pain is a part of me—and not a small part. Even though I’m actively in treatment now, hoping it’ll slowly fade. Even if the pain eventually leaves, what’s left all over me are the marks it gave.

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。