优等生创作者

我认为优等生创作者这个概念非常吸引人，因为他们似乎将创作过程也逻辑化了。他们可能首先会构建自己的数据库，然后追求一种创作的工具流方法论，仿佛创作可以被分解成一种工业逻辑来执行。这让我想起了 [[ 安德烈·格林 ]]所说的” [[ 过渡空间 ]]没有成为一个过渡空间”，即艺术创作不再是一个过渡的空间。 回想起 [[ 陈哲艺 ]]，他的老婆是金融从业者，这种反差相当明显。此外，他之前影片中所描述的”工整准确”和他对”控制狂”的描述，虽然有些相似，但在本质上，他们仍然需要进行创作，他们想要突破，但即使是突破，也不能完全是意义上的颠覆。 依赖 - 独立

草稿

In the intricate interplay between being a good student and a creator, a striking compromise emerges—one that navigates the realms of a narcissistic expansion from parents, non-separation from parental figures, and the development of a false self versus the authentic expression, separation from parents, and cultivation of the true self. athe concept itself indicatesnd the difficulty and ambivalence lies between the seperation anxiety.

On being a good student: The trajectory of a good student, as delineated by Winnicott and Miller, unfolds within a framework of non-separation from parents. Submissive to societal rules and hierarchical structures without genuine creative self-exploration, these individuals remain appendages of their parents. Lacking the crucial phase of absolute dependence, they are akin to a castration of the true self, cultivating a false limb. The foundational step towards independence is nullified, rendering the journey towards separation and autonomy nonexistent.

On being a creator: Conversely, the act of creation mirrors an environment of absolute dependence, akin to the presence of primary caregivers. It becomes a process of nurturing the true self, engaging with internal needs, and fostering a transitional space. In this realm, individuals can create authentically, detached from external influences, birthing a product that uniquely belongs to them. Creation, therefore, signifies the realization of the true self and the completion of separation from parental figures. It becomes a stage where individuation is achieved.

However, choosing the path of a creator introduces its own challenges. The pursuit of visibility and the unconventional clashes with harsh realities. The creative process, while initially holding the promise of self-mastery and refuge, is fraught with potential narcissistic wounds. It involves managing the complexities of project development, career planning, and the often chaotic and challenging nature of the creative journey. Moreover, the guilt associated with separating from and even “killing” the metaphorical father figure by pursuing one’s true self through creation becomes a formidable psychological challenge, particularly in the context of Chinese culture’s collective ethos. 1) controlling and 极权 专制 social culture similart to narcissitic parents that is why selfobject functioning is lacked and narcissistic wound - lead to highly value competiveness, and the importance to be good student and have to be the highest point to gain money fame and power, which is a reaction to narcissitic wound difficult to seperate and harness to oneself 2) collective culture preodiepal issue merged with each other difficult to seperate considering others’ needs instead of oneself 面子 even if suffers one’s own well being such as 范进 3) intergenerational trama leads to seperation isssues for parents thus pass on to the next generaltion, the difficult to seperate makes indiduals feel to leave the mother and explore is wrong and not encouraged 孝顺 服从 4) systemic production of false self no phase of absolute dependency, and primary maternal preoccupation, because partens are narcissitic, fail to meet the omnipotent phantasy, no development of transitional space, true self is no where to develop organize the following in the main statement that being a outstandign student creator is mainly a comprise between being a good student - a narcissistic expansion from the parents / not seperating from the parents / false self and being a creator - authentic / seperating from the parents / true self

On being a good student

First, let’s discuss the process of separation to maturity as described by Winnicott and Miller. In this process, for a good student to be a good student under the premise of not truly separating from their parents, it means submitting to an existing social system, a hierarchical structure, without the actual separation from parents. They become subordinated to the rules of society and the hierarchical structure without truly embarking on a creative process of self-experience. It’s a collective, societal, and universal pseudo-creative process, and they haven’t even completed the separation from their parents. They are still like children, driven by the expectations of their parents, with all needs arising from external sources rather than internal ones.

This implies that these good students are essentially appendages and subsidiary products of their parents. They have not truly been born as independent individuals; they are still in the stage of object usage rather than connection.

Therefore, they have not experienced what Winnicott calls the stage of absolute dependence. In absolute dependence, the mother completely fulfills the child’s needs, maintaining the child in the fantasy of omnipotent self-love. Without this absolute dependence or relative dependence, an individual cannot move toward independence. A good student is akin to a castration of the true self; it is a systematic cultivation of a false limb. They completely eliminate the possibility of absolute dependence, making the generation of the true self unattainable. Thus, the foundation for separation and independence does not even exist.

On being a creator

From this perspective, creation is like being in an environment of absolute dependence, in the presence of the primary caregivers, where an individual can connect with their own needs and experience themselves. It’s a process of growing the true self, connecting with the true self, and developing a transitional space in this process. In this transitional space, the individual can use and imagine themes, ultimately forming a creative product that belongs to them. The completion of a creative work is, in fact, the realization of the true self and the separation from parents, as at this point, the individual has emerged from the transitional space, creating something that is uniquely their own, not influenced by external demands but born from the connection with their internal needs. Therefore, creation is, in essence, the result of separation, a stage where individuation has been completed.

二稿

Introduction

I first encountered the concept of ‘优等生创作者’ (translated as “Outstanding Student Creators”) during an interview with Chen Zheyi, a Chinese film director based in Singapore. This concept succinctly encapsulated a vague feeling I had been harboring, inspiring me to embark on this essay.

I believe there is significant ambivalence experienced by creators who must navigate a unique and less conventional path as artists, all while adhering to societal norms in mainstream society to secure financial stability and power as a means of shielding themselves from narcissistic vulnerability. This ambivalence is evident in the paradoxical language of the expression “outstanding student creator” itself.

Through this essay, my aim is to explore the nuanced aspects of this phenomenon, unraveling its paradoxical nature. This paradox signifies an internal conflict entwined between two choices—being a creator and being a student. This dilemma mirrors a significant disparity in the process of separation-individuation, as discussed by Mahler, but also acknowledged by other psychoanalytic authors such as Winnicott, Kohut and John Bowlby. For example, transitioning from dependency to independence, often facilitated by the presence of another person, primarily the mother, according to Winnicott’s argument. I believe the paradoxical expression “outstanding student creator” itself, much like many concepts presented by Winnicott, illustrates the challenging and ambivalent, or even impossible nature of this phenomenon — to be dependent yet not totally separate from one’s origin.

While it may not be widely recognized on a global scale, I firmly believe it holds significant relevance within the Chinese context. The Chinese context, including the collective culture and its difficulty to separate, coupled with a general pre-Oedipal issue and great intergenerational trauma, might all add great influence to this particular phenomenon. It reflects a loyalty to parents, community, and country, while also aspiring to be true to oneself and create authentically. This conflict may give rise to a profound sense of guilt, symbolically killing the father, and potentially hindering the possibility of further exploration and authenticity.

That is the reason why I intend to first explore the Chinese context of “outstanding student creator” and then delve into the meaning and psychoanalytic understanding of “being a good student” and “being a creator” separately within this particular context.

Specifically, I intend to explore this phenomenon by delving into the experiences of Chen Zheyi and Chen Xinghan. Chen Zheyi, a renowned figure in the film industry, and Chen Xinghan, an independent Chinese game developer operating in the United States, both offer valuable insights into the intricacies of this phenomenon. I will use the understanding provided in the first part to analyze these two examples and establish my conclusion: the phenomenon of “outstanding student creator” is a result of the Chinese difficulty of separation-individuation.

Related Theories

Winnicott, Mahler, Kohut, and attachment theory converge in their emphasis on the pivotal role of early relationships in human development, particularly the transition from dependency to independency. Collectively, these theories stress the foundational role of positive relationships, secure attachments, and supportive environments in facilitating a healthy progression from dependency to the establishment of an independent self.

Winnicott

Donald Winnicott’s theory delineates the individual’s developmental journey from absolute dependency to relative dependency and, ultimately, to independence. In the phase of absolute dependency, the caregiver, often the mother, plays a pivotal role in responding to the infant’s needs, laying the groundwork for security and trust. The transition into relative dependency signifies a shift toward engaging with the external world, marking the commencement of a more independent exploration. Winnicott introduces the concept of “primary maternal preoccupation,” highlighting the mother’s intense focus on the infant’s well-being during the early stages. Furthermore, he emphasizes that the ability to be alone is developed through the presence of the other, primarily the main caretaker. It involves not just physical solitude but, more importantly, the emotional capacity to exist independently, fostering a distinct sense of self. This ability to be alone is fundamental for autonomy, enabling individuals to navigate the world with a developed self while maintaining connections to internal and external experiences. A crucial aspect is the establishment of a transitional space—a zone that bridges inner and outer realities. It signifies a state of emotional independence and resilience, crucial for healthy and authentic self-development.

Margaret Mahler

Margaret Mahler’s Separation-Individuation theory offers insights into the journey from dependency to independence during the early stages of development. In the symbiotic phase, the infant experiences a state of blissful union with the primary caregiver, typically the mother. As the process of separation-individuation unfolds, a gradual differentiation takes place. The differentiation involves the emergence of a sense of self distinct from the mother, marking the beginning of autonomy. Mahler identifies subphases within this process, such as the practicing and rapprochement stages. The practicing stage sees the child venturing into the external environment, testing their newfound abilities. Rapprochement, on the other hand, involves the child navigating between exploration and a need for the secure base provided by the caregiver. Through these stages, the child acquires a sense of individuality and autonomy while maintaining a secure connection to the caregiver. Mahler’s theory underscores the significance of this separation-individuation process in establishing a healthy and independent self-identity.

Attachment Theory

Attachment theory, developed by John Bowlby and later expanded by Mary Ainsworth, provides valuable insights into the process from dependency to independence. According to this theory, early attachments formed between infants and their primary caregivers lay the foundation for later socioemotional development. Bowlby identified secure attachment as a crucial factor in fostering independence. When caregivers are responsive and emotionally available, infants develop a secure base, allowing them to explore the world confidently. In contrast, insecure attachments, such as avoidant or anxious styles, may impede the child’s ability to autonomously navigate their environment. The quality of early attachments is thought to influence the individual’s internal working models of relationships, affecting how they form connections and regulate emotions throughout life. Attachment theory underscores the significance of secure emotional bonds in facilitating a smooth transition from dependency to independence.

Self Psychology

Self psychology, founded by Heinz Kohut, provides a unique perspective on the process from dependency to independency. Kohut emphasized the role of empathy and mirroring in the development of a cohesive and stable self. According to self psychology, a child’s early experiences with caregivers play a crucial role in the formation of a healthy sense of self. The caregiver, often the mother, serves as a “self-object” that provides the necessary mirroring of the child’s experiences, validating their emotions and helping in the development of a robust and autonomous self. Kohut identified a phase of “healthy narcissism,” where the child relies on the mirroring function of the caregiver. Over time, as the child internalizes these functions, they develop a more independent and resilient self. Failures in this mirroring process, such as a lack of empathy or consistent support, may lead to disruptions in the development of a stable self and could contribute to difficulties in establishing autonomy.

Chinese Context of “Outstanding Student Creators”

While acknowledging the uniqueness of Chinese culture and its potential variance from traditional psychoanalytic frameworks, the endeavor to interpret the Chinese context through previous theories remains valuable. By integrating various psychoanalytic perspectives, it becomes evident that the factors outlined in the following passages collectively contribute to the challenge of separation for individuals in the Chinese cultural milieu. This, consequently, gives rise to the intriguing phenomenon of outstanding student creators in China.

1. Controlling and Authoritarian Social Culture Similar to Narcissistic Parents:

Within the intricate tapestry of Chinese culture, traits reminiscent of narcissistic parental figures cast a pervasive shadow over societal dynamics. The prevailing social structure, steeped in control and authoritarianism, engenders a deficiency in selfobject functioning, leaving society grappling with a profound narcissistic wound. This collective wound profoundly influences societal values, giving rise to an exaggerated emphasis on competitiveness, the exaltation of being an outstanding student, and an unrelenting pursuit of wealth, fame, and power as antidotes to this pervasive societal injury.

The roots of this cultural phenomenon extend deep into China’s imperial history, where success in national examinations served as the gateway to societal prominence, a tradition that echoes resoundingly in the contemporary 高考 (Gāokǎo) system, where academic prowess dictates social standing.

In the intricate tapestry of Chinese culture, the exaltation of being a good student is intricately woven into societal values, driven by its profound link to social class. Sayings like “学而优则仕” (xué ér yōu zé shì) underscore the enduring connection between educational prowess and authority, emphasizing that diligent study leads to societal prominence. Similarly, “天子重英豪” (tiān zǐ zhòng yīng háo), translated as “The emperor values talents and heroes,” reflects the cultural veneration for exceptional abilities, implying that those with unique talents are cherished by those in power. The phrase “书中自有黄金屋” (shū zhōng zì yǒu huáng jīn wū) suggests that within books lie rooms filled with gold, reinforcing the prevailing belief that knowledge is the key to prosperity and social elevation. In essence, being a good student is a revered avenue to climb the societal hierarchy, where the pursuit of knowledge is synonymous with the pursuit of prosperity and influence.

Yet, this intense emphasis on competitiveness often leads to tragic narratives, vividly illustrated in stories like ‘范进中举’ (Fàn Jìn Zhòng Jǔ). While such tales portray success through academic triumph, they also unravel the psychological toll such success can exact, as evidenced in 范进 (Fàn Jìn)’s descent into psychosis post-triumph.

Contemporary pressures, mirroring historical ones, are exemplified by institutions like 黄冈中学 (Huánggāng Zhōngxué), emblematic of the relentless focus on academics and its potential toll on the mental health of Chinese teenagers. This cultural paradox, intricately woven into the psyche of the nation, represents a nuanced interplay of historical legacies and contemporary challenges, shaping the trajectory of individuals within the labyrinth of academic expectations.

2. Systemic Production of False Self:

The systemic production of a false self in Chinese culture becomes evident due to the absence of absolute dependency and primary maternal preoccupation. Parents, often narcissistic themselves, fail to meet the omnipotent phantasy of their children, leading to a deficiency in developmental phases. This hindrance obstructs the creation of a transitional space and impedes the emergence of the true self.

In the Chinese context, the term “outstanding student” not only indicates excellent academic performance, but also carries specific connotations, denoting a student excelling within the system, displaying exceptional academic performance, and a strong adherence to authority. This characteristic is highly esteemed in Chinese culture, with commendatory terms like obedient (听话 - tīng huà), well-behaved.

Within the system, there is a sense of safety and familiarity, yet it can be confining, secure but monotonous. The less flexible education system in China, coupled with increasing class disparities and economic slowdown, contributes to this dynamic. The concept of a uniform education system that requires every student to be a metaphorical rabbit, as depicted in a tale by fairy tale writer Zheng Yuanjie, reflects the systemic production of a false self deeply rooted in Asian collective culture and its political system.

However, the label of an outstanding student is more than a simple accolade; it stirs complex emotions. Often, it implies not genuine talent but the ability to navigate a rigid system, potentially posing challenges outside this structure. Contemporary phrases like ‘小镇做题家’ (small-town problem-solving expert) describe these phenomena, suggesting being an outstanding student may evoke feelings of shame or humiliation, suggesting a lack of self-awareness or genuine capability while being unable to explore alternative paths. This close loop of systematic false self-production, maintained for years, makes individuals even more challenging to find their true selves without the system and external requirements, contributing to the perpetuation of the systematic false self.

3. Collective Culture and Pre-Oedipal Issues Merged:

Chinese culture’s collective nature intertwines with pre-Oedipal challenges, creating a nuanced tapestry. The emphasis on “面子” (miànzi), preserving a positive appearance judged by others, highlights the prioritization of societal expectations over personal needs. The concept of “孝顺” (xiào shùn), obedience to parents, further complicates the separation process. Living for others rather than oneself becomes a pervasive theme, especially evident in the crucial aspect of “面子”(miànzi), where being a good student and achieving a higher hierarchy in society are paramount. In Chinese culture, diligence and hard work are consistently prized, regardless of potential harm to individual well-being, as illustrated by examples like 范进 and the stringent environment of 黄冈中学.

4. Intergenerational Trauma:

Intergenerational trauma in Chinese culture manifests as a complex interplay of historical and societal challenges, influencing familial dynamics and individual psyches. Parents, grappling with unresolved traumas, inadvertently transmit a fear of separation to the next generation. This difficulty arises from both personal experiences and a collective history emphasizing unity, conformity, and familial bonds as paramount values. Consequently, individuals may internalize the belief that leaving the mother and pursuing personal paths is discouraged and deemed wrong. The cultural emphasis on filial piety and societal reputation contributes to a mindset valuing the collective over the individual. This interplay creates a psychological barrier, making separation and individuation a nuanced struggle within the Chinese cultural context. The absence of a secure base further complicates this process, as individuals may lack a foundation for exploring their authentic selves and asserting autonomy.

Case Studies: Chen Xinghan and Chen Zheyi

Undoubtedly, both Chen Zheyi and Chen Xinghan, despite potential differences in their upbringing, share several common characteristics that shed light on the phenomenon of outstanding student creators.

Firstly, a notable trait is their competitiveness—a willingness or urge to demonstrate their prowess and secure a position at the top. This trait is deeply ingrained in Asian culture and serves as a significant motivator in their creative pursuits. Certainly, the competitive spirit is a driving force behind the creative endeavors of both Chen Zheyi and Chen Xinghan. Particularly, Chen Xinghan, renowned for his zen-like and meditative games, has acknowledged in interviews that his motivation goes beyond personal preference—it is fueled by a desire to excel. Despite the tranquil nature of his games, the undercurrent of competition serves as a catalyst for his commitment to excellence.

Secondly, the pursuit of well-known higher education is a shared characteristic. Chen Zheyi graduated from a prestigious film institute in the UK, while Chen Xinghan pursued education at Shanghai Jiao Tong University and USC, renowned institutions in game development. The external validation provided by these institutions becomes a tool to prove oneself, reflecting the emphasis on external recognition.

Furthermore, both creators exhibit a focus on methodology in their creative processes. Chen Xinghan’s master’s thesis, “Flow in Games,” demonstrates his keen interest in game design methodology, a departure from the more spontaneous approach often advocated by creators. Chen Zheyi, similarly, is known for his meticulous and demanding approach to film creation, emphasizing adherence to a strict methodology. Even in his recent movie, The Breaking Ice, where he attempts a more relaxed approach, the underlying commitment to a methodical process remains evident. This shared emphasis on methodology is paradoxical, given the inherently unpredictable nature of the arts, not the norm among creators, yet reveals a desire for control and precision in the early stages of development.

The other part of the similarity is the overseas/transcultural background, which also indicates a wish to separate yet is difficult to fully achieve. I believe it is safe to say both creators are influenced by the narcissistic wound we discussed above with competitiveness, outside values, the need to control—object using instead of relating—which indicates the lack of a safe dependency, no safe base enough to fully leave or separate, or neglecting others’ opinions to fully embrace one’s true self, yet struggling to express it with their artwork.

Psychoanalytic Understanding for “Outstanding Student Creators”

In the intricate interplay between being a good student and a creator, a poignant compromise unfolds—a delicate dance between the realms of a narcissistic expansion from parents, the struggle with non-separation from parental figures, and the development of a false self. This concept itself underscores the difficulty and ambivalence inherent in the separation anxiety.

On being a good student:

The trajectory of a good student, as delineated by Winnicott and Mahler, unfolds within a framework of non-separation from parents. Submissive to societal rules and hierarchical structures without genuine creative self-exploration, these individuals remain appendages of their parents. Lacking the crucial phase of absolute dependence, they are akin to a castration of the true self, cultivating a false limb. The foundational step towards independence is nullified, rendering the journey towards separation and autonomy nonexistent.

On being a creator:

Conversely, the act of creation mirrors a process of nurturing the true self, engaging with internal needs, and fostering a transitional space. In this realm, individuals can create authentically, detached from external influences, birthing a product that uniquely belongs to them. Creation, therefore, signifies the realization of the true self and the completion of separation from parental figures. It becomes a stage where individuation is achieved.

On being an outstanding student creator

In the context of Chinese culture, outstanding student creators find themselves delicately navigating between two seemingly contradictory roles, oscillating between both spheres. I believe Chinese outstanding student creators are stuck in the middle of these two roles, experiencing ambivalence in the process of separation.

The pursuit of excellence as a student remains a highly esteemed objective, even for those aspiring to be creators. This paradox stems from the perception of a creative path as risky and rebellious within the Chinese societal framework. Consequently, creators often feel compelled to excel academically to provide reassurance to their parents and families.

However, the role of being a good student and maintaining a false self also propels individuals toward creation, serving as the avenue to be seen and explore their true selves. The desire to pursue a unique and unconventional path as a creator is fundamentally a quest for visibility and the fulfillment of an encompassing fantasy—to genuinely stand out and hold an extraordinary place within one’s metaphorical mother’s heart.

The dual identity of being a good student and a creator is not a mere coincidence but a strategic response to societal expectations. It manifests as a need to be competitive and successful, as exemplified by figures like Chen Xinghan and Chen Zheyi. This dual role amplifies the pressure to conform to societal expectations while simultaneously surpassing them, revealing the unique challenges faced by individuals opting for a creative path in a society that traditionally values conformity.

This ambivalence is not merely a compromise but a deliberate maneuver to maintain individuality within a society offering limited space for personal expression. Acknowledging the challenges entwined with the creative journey, such as the pursuit of visibility and unconventional paths, contrasts with the potential for narcissistic wounds. Additionally, the guilt associated with deviating from societal norms and challenging the metaphorical father figure adds a layer of psychological complexity, particularly within the collective ethos of Chinese culture.

The insight into the paradoxical language used in the term “outstanding student creator” is intriguing. It indeed resonates with the language of Winnicott. Balint beautifully explains the limitations of adult languages and the need to develop new ways of expression. In the context of creation, which shares similarities with Winnicott’s transitional space, and the early phases of development, language may not fully capture the complexities and nuances of the experience. The concept of two persons instead of three in these phases and the more primitive nature of these experiences emphasize the inadequacy of traditional language. This inadequacy can lead to the development of paradoxical language as a means to better convey the intricate and ambivalent feelings associated with being both a student and a creator. It’s a fascinating parallel that further underscores the challenges and complexities inherent in this phenomenon.

#### Conclusion: Navigating the Labyrinth of Identity

In the labyrinth of Chinese cultural expectations, outstanding student creators embark on a delicate dance, torn between societal obligations and authentic self-expression. This phenomenon, rooted in historical, cultural, and psychological intricacies, underscores the challenges of separation-individuation in a society that values conformity. The paradox of being an outstanding student creator reflects a complex interplay of internal conflicts and external pressures, shaping the trajectory of individuals within the Chinese cultural milieu.

英文草稿

Introduction

I first encountered the concept of ‘优等生创作者’ (which can be translated as “Outstanding Student Creators”) during an interview with Chen Zheyi, a Chinese film director based in Singapore. This concept succinctly encapsulated a vague feeling I had been harboring, inspiring me to embark on this essay.

I believe there is significant ambivalence experienced by creators who must navigate a unique and less conventional path as artists, all while adhering to societal norms in mainstream society to secure financial stability and power as a means of shielding themselves from narcissistic vulnerability. This ambivalence is evident in the paradoxical language of the expression “outstanding student creator” itself.

Through this essay, my aim is to explore the nuanced aspects of this phenomenon, unraveling its paradoxical nature. This paradox signifies an internal conflict entwined between two choices—being a creator and being a student. This dilemma mirrors a significant disparity in the process of separation-individuation, as presented by Mahler, and an emotional maturation process, as discussed by Winnicott, transitioning from dependency to independence, often facilitated by the presence of another person, primarily the mother, according to Winnicott’s argument. As both Mahler and Winnicott suggest, the difficulty or anxiety in separating from the primary caregiver (presumably influenced by the caregiver’s own trauma) may impede the process of individuation.

I believe the paradoxical expression “outstanding student creator” itself, much like many concepts presented by Winnicott, illustrates the challenging and ambivalent, or even impossible nature of this phenomenon — to be dependent yet not totally separate from one’s origin. I also intend to explore whether, in this complex situation, artworks can still serve as a transitional space, facilitating mental development, or if they inadvertently trap individuals in an attention-seeking phase, leading to the formation of a false self.

While it may not be widely recognized on a global scale, I firmly believe it holds significant relevance within the Chinese context. The Chinese context, including the collective culture and its difficulty to separate, coupled with a general pre-Oedipal issue and great intergenerational trauma, might all add great influence to this particular phenomenon. It reflects a loyalty to parents, community, and country, while also aspiring to be true to oneself and create authentically. This conflict may give rise to a profound sense of guilt, symbolically killing the father, and potentially hindering the possibility of further exploration and authenticity.

That is the reason why I intend to first explore the Chinese context of “outstanding student creator” and then delve into the meaning and psychoanalytic understanding of “being a good student” and “being a creator” separately within this particular context.

Specifically, I intend to explore this phenomenon by delving into the experiences of Chen Zheyi and Chen Xinghan. Chen Zheyi, a renowned figure in the film industry, and Chen Xinghan, an independent Chinese game developer operating in the United States, both offer valuable insights into the intricacies of this phenomenon. I will use the understanding provided in the first part to analyze these two examples and establish my conclusion: the phenomenon of “outstanding student creator” is a result of the Chinese difficulty of separation-individuation.

Chinese context of “Outstanding Student Creators”

The concept “Outstanding Student Creators” is undeniably paradoxical. Being a creator entails innovation, breaking established norms, and defying societal conventions. On the other hand, an outstanding student typically adheres to existing systems, follows traditional rules, and excels at conforming to the status quo. This inherent contradiction is striking.

However, I can comprehend its relevance in the Chinese context.

Being a good student itself holds immense significance in China, and this is deeply rooted in Chinese history and its political system. Historically, obtaining high marks and succeeding in the national examinations was the primary path to becoming an official in the country. This, in turn, granted individuals power, fame, and wealth. This tradition persists today, exemplified by the continued importance of the national university entrance examination, namely 高考 (Gāokǎo).

In light of this historical context, there are several well-known sayings that underscore the value of being a diligent student, such as:

1. “学而优则仕” (xué ér yōu zé shì): This phrase translates to “Studying diligently to become an official.” It emphasizes the link between academic excellence and attaining positions of authority.

2. “天子重英豪” (tiān zǐ zhòng yīng háo): Translated, it means “The emperor values talents and heroes.” This saying highlights the appreciation for individuals with exceptional abilities and achievements.

3. “书中自有黄金屋” (shū zhōng zì yǒu huáng jīn wū): This phrase can be translated as “Within books, there are rooms filled with gold.” It underscores the idea that knowledge and education hold the key to prosperity and success.

We even have stories like ‘范进中举’ (Fàn Jìn Zhòng Jǔ) to illustrate this cultural emphasis. In this tale, an old man named 范进 (Fàn Jìn) achieves success by passing the imperial examination (中举, Zhòng Jǔ), a significant accomplishment in ancient China’s meritocratic system, but tragically descends into psychosis in the aftermath of his success.

Absolutely, the pressure for academic success in China continues to have significant consequences, and this includes schools like 黄冈中学 (Huánggāng Zhōngxué) that are known for their strict, military-style training and high rates of students advancing to higher levels of education. This intense focus on achieving top marks can indeed result in various mental health challenges for teenagers.

In light of our previous discussion, it becomes clearer that in Chinese culture, being an outstanding student is highly esteemed, even for those aspiring to become creators. Remarkably, one could argue that for creators, especially, excelling academically is a coveted objective. This paradoxical situation arises because within the Chinese context, venturing onto a creative path can be perceived as risky, rebellious, and a departure from the established route. Consequently, Chinese creators often feel compelled to uphold their status as outstanding students to provide assurance to their parents and families. It’s essential to recognize that Chinese culture places a strong emphasis on collectivism, and this facet introduces an additional layer of complexity to this phenomenon.

Chinese people often highly value “面子” (miànzi), a false self judged by others, and may not prioritize their internal feelings as much. It can be said that they often live for others rather than for themselves. One of the most crucial aspects of “面子”(miànzi) is whether one can be a good student and achieve a higher hierarchy in society. That’s why, in Chinese culture, diligence and hard work are consistently highly valued, regardless of the potential harm to an individual’s well-being, whether physically or mentally.

Understanding it from a psychoanalytic perspective, it can be safely concluded that the extremely high value placed on being a good student is a result of a pervasive narcissistic wound within society. Intergenerational trauma, living in an authoritarian society, and a collective culture contribute to the narcissistic wound, leading to a consistent need to be perceived as higher than others in every aspect, often in a very concrete manner. I believe the limited resources in the past less developed Chinese society exacerbate this situation, making winning or losing in social standards, normal competition, and general societal expectations truly impactful, possibly even meaning life or death mentally, and at times, literally.

On being a Creator

The urge to pursue a unique and unconventional path as a creator is, at its core, a quest for visibility. Some might even argue that it embodies an all-encompassing fantasy — to truly stand out and occupy an extraordinarily special place within one’s mother’s heart.

Moreover, the act of creation, of making art, serves as a means to process one’s own trauma and make sense of personal experiences, especially when those experiences are complex and challenging. It provides a transitional space, a refuge from the harsh realities of life, and a sanctuary for concealment.

Creating is a means to master one’s solitude rather than succumb to it. It establishes a realm where self-command prevails, a domain where one can wield authority and play the role of their own god, rather than feeling helpless and desperate in a chaotic world that often lies beyond one’s control, rendering them vulnerable.

Nonetheless, when one opts for a career as a creator, the harsh realities of life have a tendency to encroach upon the fantasy and transitional space. Sustaining the positive emotions we discussed earlier can become quite challenging.

Even just commencing the creative process can be fraught with narcissistic wounds. Initially, one may hold a belief in their innate talent, only to be confronted by the stark reality that projects take time to complete and skills require development. This fluctuation between feelings of omnipotence narcissism and narcissistic wounds is a challenging aspect of the creative journey.

Furthermore, the path to becoming a creator is far from easy. In reality, it involves a complex array of project management, career planning, human resources, and more. The process itself is often messy, chaotic, and challenging to navigate, occasionally bordering on the traumatic. Failures along the way can easily lead to self-blame, with individuals questioning their own talent and abilities.

What is more relevant here is the guilt stemming from separating and even abandoning one’s parents by pursuing one’s true self with creation, and the aggression expressed in one’s artwork. This is extremely challenging for the Chinese. Choosing to be a creator is already a daring act and rebellion for the Chinese; if one dares to succeed in this career, I believe it is almost symbolically killing the father—killing the mediocre, ordinary, and conformist father who is afraid to deviate from mainstream society.

On being a Outstanding Student

In Chinese culture, the term “outstanding student” refers to a specific type of student who excels within the system, showcasing not only exceptional academic performance but also a strong adherence to authority. This characteristic is highly esteemed in the Chinese context, and various terms like obedient 听话 (tīng huà), well-behaved, filial 孝顺 (xiào shùn), among others, are used to commend these qualities.

Thus, being labeled as an outstanding student is more than just a ‘good’ title; it actually evokes quite complex emotions. Often, it suggests not genuine talent but merely the ability to navigate a rigid system, thereby potentially facing challenges once outside the system. In contemporary terms, it may even signify a typical family background, leaving no alternative path for success other than to remain highly competitive without genuinely enhancing one’s capabilities. Phrases like ‘小镇做题家’ (small-town problem-solving expert) and ‘内卷’ describe these phenomena.

On the other side of the concept of an outstanding student, it can evoke feelings of shame or humiliation, as if one doesn’t truly know oneself or possess any real talent or capability, yet is unable to change or explore an alternative path. Being within the system may feel safe and familiar, yet simultaneously confining. It is secure but monotonous, and not necessarily the optimal choice to be a good student. Once someone has other opportunities, they might opt for different paths instead of strictly adhering to the rules to excel academically.

This is partly the reality in China, with its less flexible education system, increasing class disparities, and recent economic slowdown. The fairness that the university entrance exam aims to bring, while considered one of the best options within this context, also constrains the free development of students. The singular evaluation system fails to fully recognize individual specialties within a vast population.

However, it is also a systemic production of a false self in a very uniform manner. Zheng Yuanjie, a fairy tale writer in China, once penned a story in which every student is required to be a rabbit as part of their education, embodying the metaphor of being obedient. This concept is deeply intertwined with and rooted in Asian collective culture and its political system.

This situation raises a problem: What is the cost of daring to be free, of embracing one’s true self, or, as psychoanalysis might interpret it metaphorically, of ‘killing the father’ without succumbing to excessive guilt or experiencing abandonment? I believe the concept of the outstanding student creator directly corresponds to this dilemma faced by some Chinese individuals.

How can we comprehend being an outstanding student, particularly in a Chinese context? Essentially, it may be a means of survival in an environment with limited resources. In this context, one must recognize patterns and discover corresponding solutions to become fully prepared to attain power and emerge as a victor. Nevertheless, even if one achieves victory, it often comes at the cost of love, affection, or genuine connections because it adheres to a ‘social Darwinism’ that objectifies both oneself and others.

To some degree, these outstanding student creators are also privileged; one has to admit that they have the ability to choose an alternative road, and this, in itself, is evidence of their privilege. However, even for them, it is challenging to entirely break free from the system. If they were to do so, they might find themselves figuratively homeless.

Chen Zheyi and Chen Xinghan

Undoubtedly, we can observe this situation in both of the creators, Chen Zheyi and Chen Xinghan. Chen Zheyi graduated from one of the best film-making institutes in the UK, while Chen Xinghan pursued education at Shanghai Jiao Tong University and USC, both renowned institutions in game development. Even as they embark on creative endeavors, the expectation remains to do so with precision, adhering to the highest standards, and thereby earning recognition.

Chen Xinghan is well-known for his zen-like games, which are deeply meditative and peaceful. In one of Chen Xinghan’s interviews, however, he clarified that his motivation for creating these games was not solely out of personal preference but driven by a desire to excel. The competitive spirit, a significant part of the Asian culture, still remains a driving force behind his work.

Chen Xinghan’s master’s thesis, “Flow in Games,” delves into the discussion on game design methodology. Following this, Chen Xinghan has displayed a notable interest in methodology, setting him apart. This inclination might not be as common among creators, who often stress the significance of consistent work and inspiration in the creative process. As we will explore later, the quest for methodology is essentially a search for certainty, which presents a paradox when juxtaposed with the inherently fluid and unpredictable nature of the arts. In this way, Chen Xinghan manages to create an exceptional emotional experience with later works such as “Journey” and “Light.”

Chen Zheyi’s story bears a striking similarity because he has consistently been an exemplary student, and his family has held exceptionally high expectations for him. Even though his parents are supportive of his choice to become a film director, he feels compelled to excel and demonstrate the correctness of his decision. He dedicates himself tirelessly to his craft, creating eight short films before embarking on his very first full-length movie. This early work displayed a maturity and uniqueness that belied his age and experience.

Chen Zheyi shares a similar characteristic in his pursuit of a strict methodology in creation. He is known for his meticulous and demanding approach, strictly following the creation procedure, which he also imparts to his pupils. Interestingly, his most recent movie, The Breaking Ice, represents a departure from his usual seriousness. It is the first movie where he tried to adopt a more relaxed and easygoing approach, exploring where it might lead. This shift happened only after he was consistently persuaded by his friends and faced a midlife and existential crisis as a director.

On being a Outstanding Student Creator

In Chinese, there’s even a specific term, not strictly scientific but more akin to popular psychology, called ‘好学生综合症’ (Hǎoxuéshēng Zònghézhèng), which can be translated as ‘Overachiever Syndrome’. A similar phenomenon described by Sha Pi is ‘学生心态’ (xuéshēng xīntài), known as ‘student mentality’. It describes the phenomenon of always putting oneself in a lower and obedient position in a relationship, believing there is a right solution for everything, even in complex and unpredictable situations that require adaptability.

Being a good student as a creator naturally stems from the need to be competitive and to succeed, as seen in examples like Chen Xinghan and Chen Zheyi. Additionally, we could argue that being a creator intensifies the need to be a good student, as it already surpasses the typical expectations of Chinese mainstream society.

It might also not be challenging to understand why these outstanding student creators often rely heavily on so-called methodologies. Undoubtedly, these methodologies provide them with a sense of mastery and control, even if it contrasts somewhat with the act of pure creativity. Taking Chen Xinghan and Chen Zheyi as examples, they not only attended renowned institutes and universities to study advanced techniques in filmmaking and game development, but Chen Xinghan also completed his master’s thesis entitled ‘Flow in Games ,’ as mentioned earlier, proposing a model for dynamic difficulty design, which is essentially a methodology and foundational framework for game design itself. It’s evident that this methodology was at the forefront of his thinking from the very beginning.

In fact, this is why when you attempt to seek a method of reading or writing, you have already deviated from the essence of ‘existence’ itself. You might believe that you can control and manipulate this process, but in reality, creativity is a spontaneous, experiential process. Thus, in the pursuit of a particular method of creation, even though you may produce outstanding and exquisite works, you are likely to have forfeited the space for the transitional phase. This is the paradox faced by many exceptional creators.

This paradox bears some resemblance to Winnicott’s concepts but seems to be inverted here. I believe it may even be a source of unhappiness for many successful individuals in East Asia. While they may appear highly accomplished and exceptional to the outside world, in their quest for perfection and control over the creative process, they may have lost the spontaneity, freedom, and joy of creative spirit.

transitional space

André Green posits the view that many artists do not consider their work as a transitional space, which could hinder their mental development and maturity. This is akin to the situation of borderline patients who struggle to dream or utilize dreams as a transitional space. However, I believe this perspective does not precisely apply to Chen Zheyi and Chen Xinghan.

The works of Chen Zheyi and Chen Xinghan are both robust and thought-provoking. They delve into crucial areas of human experience. For instance, Chen Zheyi’s films primarily explore relationships that are challenging to define and deviate from social norms, yet encapsulate a pure essence of connection. Similarly, Chen Xinghan crafts beautiful emotional experiences through collaboration in his games, notably in ‘Journey.’ As award-winning creators, it is challenging to argue that their work does not serve as a transitional space.

However, I do believe that there are factors that hinder their ability to fully utilize the transitional space, thus creating a paradox. This is particularly evident in the realms of movies and indie games, where the creative process often resembles a product within an industrialized workflow rather than a more spontaneous, personal expression. It’s intriguing that they’ve chosen these specific forms of art over more spontaneous ones. They’ve also achieved a certain degree of commercial success. To be commercially successful requires finding a delicate balance between self-expression and meeting the demands of a broad audience.

It may not be an ideal situation, but I believe it represents the best compromise they can find to strike a balance between preserving a part of oneself and adhering to societal norms for safety. In such a scenario, sacrifices are inevitable to secure a larger degree of personal freedom, particularly within a society that may not be inherently free. It might even be considered ‘healthy,’ as psychoanalysis often emphasizes ‘adaptation’ without compromising one’s identity, showcasing a well-functioning ego.

Paradoxical Language

Winnicott also extensively employs paradoxical language. In Basic Fault, Balint astutely highlights that the production of paradoxical languages originates from the limitations of adult languages, serving as a resolution to the Oedipal complex. However, in an early phase, such as the area of creation (similar to transitional space) and basic fault, it predates the Oedipal stage. It involves only two persons instead of three and is much more primitive. Consequently, adult language proves inadequate and even inappropriate for use in these contexts, compelling the invention of new ways of expression, leading to the development of paradoxical language.

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