[Wang Zhaojun Cosplay] The Day White Plum Blossoms Fall, the Time of Returning Home

This set of white plum-themed photos is finally officially released. When mentioning Wang Zhaojun, people's deepest impression is often ice, snow, and cold winds. For this shoot, we deliberately integrated elements of traditional Chinese white plum blossoms, flying cranes, and courtyards into the scene to echo the Eastern artistic concept of "The Day White Plum Blossoms Fall, the Time of Returning Home," which carries a touch of subtle melancholy and resoluteness. When discussing with the producer and photographer, we hoped to break away from the game's original formula of pure, cold magic and convey the character's distant homesickness through a concrete scene setting.

I put a lot of thought into the tailoring and pattern of the costume this time. The main color palette consists of pure white and ice blue, and we added richer layering on top of the original game design. The white fluffy scarf around the collar not only visually softens the character but also gives the ice-blue long hair and the hollowed-out halter neck design more breathing room. The translucent sleeves on the arms connect seamlessly with the gloves, avoiding the jarring feel brought by large areas of exposed skin. The ice crystal ornaments at the waist and the silver thread embroidery on the waist sash reflect beautifully under the photographer's intense lighting, making the entire outfit truly look as though it were condensed from ice and snow.

For the wig, I chose a very fresh ice-blue color this time. The strands are smooth and quite easy to manage. The hairstyle wasn't made overly voluminous; instead, it retained a moderate, natural curve to easily present that flowing elegance in front of the camera when the wind blows. The ice and snow makeup and styling beautifully complemented the tone of the wig with an identical color scheme, with the eyeliner slightly winged upward to keep a touch of cold elegance alongside the gentleness in her gaze. For the lips, I selected a mauve-toned dried rose color, which maintains the character's signature cool temperament without distracting from the overall blue-and-white palette.

The staff prop is very solid; the giant ice crystal at the top is made of resin with a high-gloss lacquer finish, producing a remarkably bright refraction effect under the lights. When shooting the first sitting pose picture, I tried my best to keep my movements gentle and slow—left hand holding it naturally, right hand slightly open, and gaze cast downward—combining with the white artificial fallen flowers scattered all over the floor to recreate a silent, wordless sense of sorrow. The second standing picture, however, possesses a completely different sense of power; holding the staff high above my head required keeping my body's center of gravity stable at that exact split second, while managing the dynamic movement of the hair and hem blown by the fan. It was quite a challenge, but fortunately, we successfully captured a highly satisfying frame.

The set decoration is also worth mentioning. The traditional Chinese moon gate and artificial rocks behind me look incredibly layered against the black backdrop. Together with the pre-arranged white faux flower branches and the models of cranes spreading their wings, the atmosphere of the entire frame was instantly elevated. To match the ice and snow theme, a great deal of cool-toned rim lighting was used on-site, creating beautiful icy effects along the edges of the staff and wig, which gave the final image quality an exceptionally translucent look.

Although keeping the character's posture in the studio while making sure the props and hair didn't get tangled was a bit tiring, seeing the final outcome present such an image possessing both ethereality and resilience made all the effort worthwhile. This kind of Wang Zhaojun look with a rich Chinese charm is indeed much more enduring and touching than a cold feeling built purely out of special effects.