Among Hualian writers, Wang Chengho is known for his exploration of heteroglossia in novels as well as his observation of the local life: on the one hand he represents his homeland in a realist style, on the other, he belittles it. As critics have argued, the heteroglossia in his works reveals the process of Taiwanese history, reflecting the intersection, contradiction, and hybridization of multiple cultures during its course. His works thus function as a translation of ‘the local,’ based on his expectation of the liberating energy of the vulgar. Writing in a similar style, Lin Yiyun, grown up in Hualian, emerged as Wang’s follower at 90s. Compared with his predecessor, Lin’s ‘wildness’ shown in his works goes even further. The comparative relationship between Wang and Lin does not only root in their imaginative writings wandering between the virtual and the real and their skills as story tellers, skipping between multiple perspectives, but also in their characteristic carnivalesque language style. This paper argues that Lin’s other language strength lies in his creative appropriation of terms in vogue and employment of ‘Ding-Zhen metonymy’, which contributes to his playful observation and ironical representation of the society at a particular era. In comparison, Wang tends to employ metaphors. Based on this argument, this paper aims at a comparison of Wang and Lin’s language styles, probing into the possible relationship between the meaning productions of their works.