I imagine you inspecting “vintage” erotica for any hints of the modern world — or even anything post-World War I — that, if found, instantly kill the fantasy.
我可以想象你检视“古”春宫的场景，要避免任何现代社会的痕迹——或者甚至是一战前的——如果一出现这类痕迹，马上扼杀了兴致。
A twin of Del Toro's beautiful Civil War picture, the Devil's Backbone, Pan's Labyrinth gives us tragedy through the filter of fantasy, going deep into a well of suffering and magic.
德尔托罗关于内战的瑰丽景象中，《鬼童院》和《潘神的迷宫》就像是一对双胞胎，后者透过梦幻的滤镜给我们讲了一个悲剧，潜入至一口充斥痛苦与魔法的深井。
Snoopy, with his vivid fantasy life as a World War I pilot, didn't resonate in the way that MetLife would hope: In other words, Snoopy apparently didn't chase consumers into insurance offices.
史努比和它在第一次世界大战王牌飞行员生动的奇幻生活，无法与大都会人寿所期望的形象产生共鸣：换句话说，史努比显然没有驱使消费者参与到保险业务中去。
Snoopy, with his vivid fantasy life as a World War I pilot, didn't resonate in the way that MetLife would hope: In other words, Snoopy apparently didn't chase consumers into insurance offices.
史努比和它在第一次世界大战王牌飞行员生动的奇幻生活，无法与大都会人寿所期望的形象产生共鸣：换句话说，史努比显然没有驱使消费者参与到保险业务中去。
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