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墨書 Inktalez
The submission day for the design competition was bustling, with a crowd gathered around the announcement board. Lin Weiwei and I had posted our works almost simultaneously. As expected, her design draft, especially the core creative elements, bore a striking resemblance to the discarded Draft Paper that she had stolen from me. Of course, she had made some clumsy modifications and so-called "enhancements" in an attempt to cover up the plagiarism.
Whispers immediately erupted around us.
"Hey, Ye Zi and Lin Weiwei's designs look similar..."
"Yeah, especially that streamlined treatment; it's almost identical."
"Could it be that one copied the other?"
"Looking at the completion level, it seems like Lin Weiwei's is a bit more polished? Ye Zi's feels a little... simple?"
Lin Weiwei stood among the crowd, seemingly shy as she lowered her head, nervously twisting her clothes. Her eyes were slightly red, portraying an image of someone wronged and unable to defend herself.
Chen Mu Yang quickly moved to her side, frowning and casting a hostile glance in my direction, clearly protective: "Wei Wei, don't mind what others are saying."
Then he turned to me, his tone accusatory: "Ye Zi, what’s going on? How could your work be so similar to Wei Wei's?"
Here it came—the inquiry full of blame.
Before I could respond, Lin Weiwei's follower, Zhang Li, jumped in, pointing at me and shouting: "What else could it be? She must have copied Wei Wei! I told you she was acting suspiciously the other day; she definitely has bad intentions!"
"Exactly! Wei Wei stayed up several nights for this design; we all saw it! How could Ye Zi just come in with such a mature piece?"
"She must have seen Wei Wei's initial draft and stolen the idea!"
A chorus of voices rose against me. Lin Weiwei took this opportunity to lift her head, tears welling in her eyes as she looked at me with a choked voice: "Ye Zi... we are friends... why would you do this to me..."
What a delicate and innocent white lotus. Her acting was truly top-notch.
Chen Mu Yang gazed at Lin Weiwei’s tearful expression with concern; his eyes turned even colder as he looked at me: "Ye Zi, you'd better explain yourself!"
"Explain? Sure." I crossed my arms and calmly walked over to the two design drafts. "Everyone, take a good look."
I pointed at Lin Weiwei's design draft: "At first glance, this piece seems quite complete with many details. However," I shifted my focus to one of the critical structural connections, "the treatment here looks complex but is actually unnecessary and even violates basic mechanical principles. If this were made into a physical object, this would be the first point of failure."
I pointed to another area: "And here, this decorative pattern looks exquisite but completely contradicts my work's core concept of 'Minimalist Rebirth.' It's purely decorative for decoration's sake and appears out of place."
Next, I indicated my own design draft: "As you can see here, my lines are simple and fluid; every structure has its purpose. For instance, this connection point," I highlighted a corresponding area on Lin Weiwei’s draft but with a distinctly different approach, "utilizes a biomimetic mortise-and-tenon structure that ensures stability while reflecting the beauty of nature in harmony with the theme of 'rebirth.'"
"And this seemingly simple curve," I pointed to another section, "is not arbitrary; it's calculated using the golden ratio to achieve the most comfortable visual effect."
As I explained further, I outlined the significant differences between our works in terms of detail handling, design philosophy, and structural rationality. My explanation was clear, professional, and well-founded, while Lin Weiwei’s so-called "more complete" design draft appeared riddled with flaws and evident signs of imitation and superficial embellishment when compared side by side.
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