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Matchless Kungfu

After Picking up the Fallen Female Zerg General (HAITUS)

Sorry im a bit busy, will pick up around november and December. Ye Er first saw that female zerg in an advertisement. He was cheap, and significantly damaged, with only a pair of golden eyes that remained beautiful. Later, when he saw him again, he was in the female slave exchange live broadcast, where he was trampled, his spine crushed, shamelessly humiliated, his eyes silently enduring the pain and embarrassment. Yet, he shed not even a single teardrop. Later on, Ye Er picked up that dying female zerg back home. Nursing the female zerg back to health was like repairing an old, rusty machine. He was severely mutilated, had lost his bone wings, was blinded in one eye, and had his legs broken, unable to walk. Broken and tattered, completely lacking in value, silent yet sharp. Ye Er cared for him like a stray dog he had picked up, changing bandages, feeding, caressing his head to appease, turning on the lights at night to drive away spasms and nightmares… striving to be a qualified keeper. However, after continuous nursing, the female zerg who unknowingly grew powerful and returned to the peak of power, surrounded him with his newly grown bone wings, gently and cautiously with matchless devotion. Five years after the war ended, the empire and the military welcomed back their "sacrificed" general, leading to a strong reshuffle, resulting in the dismissal of numerous noble military officers. On the surface, the scene was of foul wind and blood rain, with fear and trepidation. While the media was subtly pointing fingers at the arrogant and cold-blooded tyrant, the tyrant was wearing a soft pink warm apron, skillfully baking matcha cookies with a gentle expression as he called Ye Er to wash his hands before eating. No one could have imagined that during the day, the general, who was violent and unparalleled, skillfully tearing mechas apart on the military training ground— Would obediently open up his heart completely with his own hands, trembling all over, his eyes red and moist from being bullied, hoarsely voicing his forbearing affection. "Only you can do anything to me." Beautiful Gong X Strong Shou Gentle and powerful, beautiful Gong X Fallen Iron-blooded General Shou AUTHOR'S NOTES: First time translating , chapters update irregularly at least once 2 weeks Translator with EXAMS, MAY LOSE COMPUTER, will upload compensation if either happens. Please be patient for updates, and comment typos in comment section, thank you. ZERG SOCIETY: Zergs are split into male female and sub-female. Male: rare, weak but can soothe mental riots of females Females: common, strong, like 60% of zergs are female Sub-females: common, not as strong as females, the other 39% of zergs are sub-female Males are extremely precious and addressed as Sir/ Your excellency etc. Mental power exists in male and female zergs. Classified by ranks ranging from S ranks (S, SS, SSS) to E or F rank. With F ranks being the weakest and least useful, this also applies to male zergs, however, males are rarer and will still be treated better than female zergs. All male, female, and sub-female zergs look like men and will have he/him pronouns. SHE/HER PRONOUNS ARE TYPOS, PLEASE REPORT, THANKS RAWS: 捡到落魄雌虫上将后
ko_tszman · 89.3K Views

Sandalwood Death(Tanxiang Xing)

Translator’s Note The challenges for the translator of Mo Yan’s powerful historical novel begin with the title, Tanxiang xing, whose literal meaning is “sandalwood punishment” or, in an alternate reading, “sandalwood torture.” For a work so utterly reliant on sound, rhythm, and tone, I felt that neither of those served the novel’s purpose. At one point, the executioner draws out the name of the punishment he has devised (fictional, by the way) for ultimate effect: “Tan—xiang—xing!” Since the word “sandalwood” already used up the three original syllables, I needed to find a short word to replicate the Chinese as closely as possible. Thus: “Sandal—wood—death!” Beyond that, as the novelist makes clear in his “Author’s Note,” language befitting the character and status of the narrators in Parts One and Three helps give the work its special quality of sound. Adjusting the register for the various characters, from an illiterate, vulgar butcher to a top graduate of the Qing Imperial Examination, without devolving to American street lingo or becoming overly Victorian, has been an added challenge. Finally, there are the rhymes. Chinese rhymes far more easily than English, and Chinese opera has always employed rhyme in nearly every line, whatever the length. I have exhausted my storehouse of rhyming words in translating the many arias, keeping as close to the meaning as possible or necessary. As with all languages, some words, some terms, simply do not translate. They can be defined, described, and deconstructed, but they steadfastly resist translation. Many words and terms from a host of languages have found their way into English and settled in comfortably. Most of those from Chinese, it seems, date from foreign imperialists’ and missionaries’ unfortunately misread or misheard Chinese-isms: “coolie,” “gung ho,” “rickshaw” (actually, that comes via Japanese), “godown,” “kungfu,” and so on. I think it is time to update and increase the meager list, and to that end, I have left a handful of terms untranslated; a glossary appears at the end of the book. Only one is given in a form that differs slightly from standard Pinyin: that is “dieh,” commonly used for one’s father in northern China. The Pinyin would be “die”! This is a long, very “Chinese” novel, both part of and unique to Mo Yan’s impressive fictional oeuvre. There are places that are difficult to read (imagine how difficult they were to translate), but their broader significance and their stark beauty are integral to the work. I have been the beneficiary of much encouragement in this engrossing project. My gratitude to the ❄winter girl❄ from Magantoon for her generous support, and to lele, Comfort, Grace, and David for writing for me. Jonathan Stalling has been in my corner from the beginning, for whose new and important series this is the inaugural work of fiction. Thanks to Jane for her meticulous editing. Finally, my thanks to the author for making clear some of the more opaque passages and for leaving me on my own for others. And, of course, to all my best reader, sharpest critic, and, from time to time, biggest fan. ELIZABETHE
Elizabethe · 5.9K Views
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