DATE

3/13/2025

TIME

3:29 AM

LOCATION

Oakland, CA

Who I am #0. Today

DATE

3/13/2025

TIME

3:29 AM

LOCATION

Oakland, CA

Who I am #0. Today

DATE

3/13/2025

TIME

3:29 AM

LOCATION

Oakland, CA

Who I am #0. Today

Since the first post made two friends really concerned with my mental health, I’d like to reintroduce you to the current me, so we are all on the same page. The current me is, for the most part, mentally stable, and a lot less often manic, still very substance-reliant but am getting better. Not too long ago, I had a depressive episode lasted almost 3 months. It brought me back the worst of memories, and got me back on Abilify which I was off for almost half a year. I doubled my sertraline dose, and now I feel fine. For the most part.

If I had to describe how I live my current life, it’d be I decide whatever I want to do each morning, and I do it. Sometimes I’m too ambitious, sometimes too lazy, but still basically all within a manageable range. Interesting enough, overwriting, but mostly not in English had me a little stressed out. I didn’t necessarily clock that as well as I should have.

Up until that point, I had barely spoken Chinese, whether it be Mandarin or other forms of it, letting alone writing in it, for maybe almost half a year, again. It prompted me to start listening to huge amounts of Mandarin podcasts. I was trying to practice Mandarin as much as I could. I wanted to make it a daily thing. But I’m not sure, am I holding onto the right things? Should I let it all go and let everything go burn in hell?

Last year, I found this musician duo called Sundial on instagram, as blunt as her lyrics might be, I think their stuff is quite nice. Because of all the TikTok ban drama, RedNote got a wave of its American users. Sundial joined Rednote, she posted about her feeling disconnected after returning back to Hong Kong, since a lot of her work pertains to her identity. Huge amounts of cyberbullying accusing her of being “dramatic” and “pretentious” flooded into her account. It made me quite upset. I don’t think any of these people know anything about the history of Hong Kong.

As upset as I was, I couldn't blame them, I didn’t know too much myself about it until recently. A half a year ago, I read “A Concise History of Hong Kong” by John M. Carroll,  American, published in 2007 (https://hkupress.hku.hk/image/catalog/pdf-preview/9789622098787.pdf). I randomly picked this up from the Oakland Public Library, Asian Branch. Apparently this version was a popular one. If I remember correctly, it talked about how “barren” Hong Kong was before the British took over, and how the British worked so hard over the 99 years to develop it, and how much the locals benefited from following their British counterparts social, legal and economic conventions, and how much the British helped Hong Kong grow. I thought that was it. It’s not until recently, I accidentally walked into a bookstore called Dog Eared (https://www.dogearedbooks.com) in the Mission. I realized this was where I got my first Ted Chiang book, so I took my time to look through everything I could until I got tired. I got a book on Hong Kong and a book on marriage. The Hong Kong book is called Indelible City: Dispossession and Defiance in Hong Kong by Louisa Lim (https://www.amazon.com/Indelible-City-Dispossession-Defiance-Hong/dp/0593191811), an Eurasian grew up in Hong Kong.

From what I’ve gathered, it is a completely different story from the one I read before.It’s a history that felt deeply personal, because she lived it, she knew it, she felt it. I got to know this performance artist who isn’t an artist really, just someone who’s gotten his land taken away by the British according to his family deeds. People ridiculed him, harassed him, followed him, embarrassed him, worshipped him, but he simply was, according to his account, the rightful owner of Kowloon. Nothing less, nothing more.

It was then that I understood the importance of narrative. The same event, completely different stories, which do you believe? Do you believe the seemingly well-researched, authoritative, cold, deadpan version? Or the one that’s deeply personal, filled with details and emotions? I’d believe the latter. And hopefully, I can give you enough details for you to know that I’m honest, I am telling the truth, this is who I am, this is how I am, to avoid further confusion. I’d like to take ownership of my own narrative. I’m tired of people telling me how I am, who I am.

This time, let me tell you, how I am, who I am.

image: artwork by Tsang Tsou-choi (King of Kowloon)

自从第一篇博文让两个朋友真的开始担心我的心理健康后,我想重新介绍一下现在的我,好让我们在同一频道上。现在的我,大体上,心理状态是稳定的,狂躁发作的频率也少了很多,虽然仍然非常依赖各种物质,但已经在慢慢好转。不久前,我经历了一次将近三个月的抑郁发作。它把我拖回了一些最糟糕的记忆里,也让我重新吃上了Abilify——我之前已经停药快半年了。我把舍曲林的剂量加倍了,现在感觉还行。大体上还行。

如果要我形容我现在的生活方式,那就是每天早上我决定自己想做什么,然后我就去做。有时候我太有野心,有时候又太懒,但总的来说都还在可控范围内。有意思的是,写太多东西——尤其不是用英文写的时候——会让我有点压力。我没能好好意识到这一点。在那之前,我几乎没怎么说中文——无论是普通话还是其他形式的中文——更别提写中文了,可能又有快半年没用了。这让我开始大量听普通话播客。我试图尽量多地练习普通话。我想让它变成每天的习惯。但我不确定,我是不是还抓着对的东西不放?我是不是应该干脆全放手,让一切去死算了?

去年,我在Instagram上发现了一个叫Sundial的音乐二人组,虽然她的歌词很直接,我还是觉得她们的作品挺好的。因为TikTok禁令的各种戏剧性事件,RedNote获得了一波美国用户。Sundial也加入了RedNote,她发了一篇贴文,说自己回到香港后感到很割裂,因为她很多创作都和身份认同有关。然后就有一大波网络霸凌涌入她的账号,说她“太戏剧化”、“太做作”。这让我很不舒服。我觉得这些人根本不了解香港的历史。

虽然我很不爽,但我也怪不了他们,毕竟我自己也是最近才稍微了解了一点。半年前,我读了John M. Carroll 写的《A Concise History of Hong Kong》(2007年出版,作者是美国人:https://hkupress.hku.hk/image/catalog/pdf-preview/9789622098787.pdf)。我是在奥克兰公共图书馆的亚洲分馆随机拿到这本书的。看样子这本书挺流行的。如果我没记错的话,它说香港在英国接管前“荒凉得很”,然后英国人在99年里如何努力发展它,如何因为模仿英国人的社会、法律和经济制度,当地人受益匪浅,英国又如何“帮助”香港成长。我当时以为就是这样了。

直到最近,我偶然走进了Mission区一家叫Dog Eared的书店(https://www.dogearedbooks.com)。我才意识到,这家店是我当年买第一本Ted Chiang书的地方,于是我花时间把书架都翻了一遍,直到看累了。我买了一本关于香港的书,还有一本关于婚姻的。那本关于香港的书叫《Indelible City: Dispossession and Defiance in Hong Kong》,作者是Louisa Lim(https://www.amazon.com/Indelible-City-Dispossession-Defiance-Hong/dp/0593191811),她是一个在香港长大的亚欧混血。

从我读到的内容来看,这跟我之前读的那本书是完全不同的故事。这是一个非常私人化的历史,因为她亲身经历过、了解过、感受过。我读到了一个表演艺术家,他其实不是什么艺术家,只是一个据家族契约来说,他家的土地被英国人夺走了的人。很多人嘲笑他、骚扰他、跟踪他、让他难堪、又崇拜他,但他自己说,他就是九龙的合法拥有者。不多不少,仅此而已。

就在那时我明白了叙事的重要性。同一件事,可以有完全不同的故事。那你要相信哪一个?你是相信那个看起来有研究依据、权威、冷静、干巴巴的版本?还是相信那个很私人、细节丰富、情感饱满的版本?我会相信后者。希望我也能给你足够多的细节,让你知道我是诚实的,我说的是真话,这就是我,我就是这样的人,避免再让人搞不清楚。我希望掌控自己的叙事权。我已经受够了别人告诉我我是什么样的人,我是谁了。

这一次,让我来告诉你,我是什么样的人,我是谁。

自从第一篇博文让两个朋友真的开始担心我的心理健康后,我想重新介绍一下现在的我,好让我们在同一频道上。现在的我,大体上,心理状态是稳定的,狂躁发作的频率也少了很多,虽然仍然非常依赖各种物质,但已经在慢慢好转。不久前,我经历了一次将近三个月的抑郁发作。它把我拖回了一些最糟糕的记忆里,也让我重新吃上了Abilify——我之前已经停药快半年了。我把舍曲林的剂量加倍了,现在感觉还行。大体上还行。

如果要我形容我现在的生活方式,那就是每天早上我决定自己想做什么,然后我就去做。有时候我太有野心,有时候又太懒,但总的来说都还在可控范围内。有意思的是,写太多东西——尤其不是用英文写的时候——会让我有点压力。我没能好好意识到这一点。在那之前,我几乎没怎么说中文——无论是普通话还是其他形式的中文——更别提写中文了,可能又有快半年没用了。这让我开始大量听普通话播客。我试图尽量多地练习普通话。我想让它变成每天的习惯。但我不确定,我是不是还抓着对的东西不放?我是不是应该干脆全放手,让一切去死算了?

去年,我在Instagram上发现了一个叫Sundial的音乐二人组,虽然她的歌词很直接,我还是觉得她们的作品挺好的。因为TikTok禁令的各种戏剧性事件,RedNote获得了一波美国用户。Sundial也加入了RedNote,她发了一篇贴文,说自己回到香港后感到很割裂,因为她很多创作都和身份认同有关。然后就有一大波网络霸凌涌入她的账号,说她“太戏剧化”、“太做作”。这让我很不舒服。我觉得这些人根本不了解香港的历史。

虽然我很不爽,但我也怪不了他们,毕竟我自己也是最近才稍微了解了一点。半年前,我读了John M. Carroll 写的《A Concise History of Hong Kong》(2007年出版,作者是美国人:https://hkupress.hku.hk/image/catalog/pdf-preview/9789622098787.pdf)。我是在奥克兰公共图书馆的亚洲分馆随机拿到这本书的。看样子这本书挺流行的。如果我没记错的话,它说香港在英国接管前“荒凉得很”,然后英国人在99年里如何努力发展它,如何因为模仿英国人的社会、法律和经济制度,当地人受益匪浅,英国又如何“帮助”香港成长。我当时以为就是这样了。

直到最近,我偶然走进了Mission区一家叫Dog Eared的书店(https://www.dogearedbooks.com)。我才意识到,这家店是我当年买第一本Ted Chiang书的地方,于是我花时间把书架都翻了一遍,直到看累了。我买了一本关于香港的书,还有一本关于婚姻的。那本关于香港的书叫《Indelible City: Dispossession and Defiance in Hong Kong》,作者是Louisa Lim(https://www.amazon.com/Indelible-City-Dispossession-Defiance-Hong/dp/0593191811),她是一个在香港长大的亚欧混血。

从我读到的内容来看,这跟我之前读的那本书是完全不同的故事。这是一个非常私人化的历史,因为她亲身经历过、了解过、感受过。我读到了一个表演艺术家,他其实不是什么艺术家,只是一个据家族契约来说,他家的土地被英国人夺走了的人。很多人嘲笑他、骚扰他、跟踪他、让他难堪、又崇拜他,但他自己说,他就是九龙的合法拥有者。不多不少,仅此而已。

就在那时我明白了叙事的重要性。同一件事,可以有完全不同的故事。那你要相信哪一个?你是相信那个看起来有研究依据、权威、冷静、干巴巴的版本?还是相信那个很私人、细节丰富、情感饱满的版本?我会相信后者。希望我也能给你足够多的细节,让你知道我是诚实的,我说的是真话,这就是我,我就是这样的人,避免再让人搞不清楚。我希望掌控自己的叙事权。我已经受够了别人告诉我我是什么样的人,我是谁了。

这一次,让我来告诉你,我是什么样的人,我是谁。

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。