biebuli

[biebuli]

I think Kung Fu Panda 4 can fully utilize the Chinese story "The Orphan of Zhao" as its prototype.

"The Orphan of Zhao" is a Chinese play from the Yuan Dynasty. It tells the story of a loyal minister, Cheng Ying, who saves the last surviving member of the Zhao family after a corrupt official, Tu'an Gu, massacres the entire clan. To protect the orphan, Cheng Ying sacrifices his own son and raises the orphan as his own. The orphan grows up unaware of his true identity. When he discovers his lineage and the truth behind his family's tragedy, he seeks to avenge them and restore the honor of the Zhao family.

Well, we can create the same story.

The Chameleon and Han were once friends, both living at the bottom of society, having experienced a lot of painful things. One day, The Chameleon decided she wanted to change her circumstances. She believed that learning Kung Fu could protect herself and change others, but she was turned away. So she turned to learning illusions with the aim of taking revenge on those people. Her the best friend Han was always by her side, supporting and helping her. After The Chameleon defeated those who had mocked her, her ambition grew, and she wanted to overthrow the rulers of Junpier City. She believed all her misfortunes were due to the rule of the Fox family, and she wanted to overthrow their regime.

The original rulers of Juniper City were the Fox family. With Han's help, The Chameleon seized power and took over the position of ruler. During the massacre of the Fox family, a baby was left behind—our Zhen. Han couldn't bear to kill the child, so he secretly kept her, but The Chameleon didn't know about this.

Once in power, The Chameleon's mentality changed. She and Han had differences; Han thought everything would get better, but in reality, The Chameleon only treated Cedarburg the same way she had been treated (Who cares about your friendship? I have bigger goals!). Han's public existence was erased, and he went underground, secretly raising Zhen without ever revealing her true identity. During the upbringing, Han would occasionally hint that someone he knew well loved cape gooseberries. Zhen was very curious about what they looked like, but Han only showed her pictures, as the familiar people and things from the past were too far from him now. One day, Zhen saw the cape gooseberries on the golden tree behind The Chameleon.

Thus, Zhen was adopted by The Chameleon. The Chameleon was surprised to find a fox , as she thought the previous batch of foxes had been exterminated. However, she no longer feared the foxes. She adopted Zhen as her foster daughter, partly because she felt Zhen was like her and partly to use her as a symbol of dominance. The events that follow are well known; maybe a change could be made regarding Po passing by the Cliff Tavern. Han discovered Zhen wanted to leave and subtly asked why, deducing the matter concerning Po. His intention was to stop Po, so he established the Cliff Tavern, but unfortunately, he failed.

In the finally, Han decided to tell Zhen her true identity and how she became an orphan. Zhen was shocked and angry but also began to contemplate her complex relationship with The Chameleon. Facing the person who raised her yet was also the enemy of her family, Zhen was filled with mixed emotions. She felt both gratitude and anger, as well as hatred. In the end, Po and Han helped Zhen defeat The Chameleon. Han gathered The Chameleon's cape gooseberries as a memento. This concludes a reasonable Kung Fu Panda 4 that echoes the themes of master-disciple relationships, ethnic massacre, and the breakdown of friendships from the previous three movies.

Why I write this story, because I CAN'T STAND THE LOGIC IN KFP4.

[biebuli]

In the first three "Kung Fu Panda" movies, the antagonists' pasts are always narrated or witnessed by someone whose body remains in the past while their memory moves into the future. Conversely, the antagonists’ memories are stuck in the past while their bodies move forward.

However, Zhen and the Chameleon in "Kung Fu Panda 4" break this pattern. Zhen is a character whose memory and body both move into the future, making her unable and unqualified to narrate the Chameleon’s past. The Chameleon's body and memory are stuck in the past, and her account of the past is one-sided with no one opposing or countering her memories. For instance, Tigress and Tai Lung have opposing memories of the past: Tigress focuses on Shifu's love, while Tai Lung believes Shifu's love came with a cost, breaking his bones. Similarly, Sayergoat and Shen have conflicting views on parental love, and Oogway and Kai have opposing ways of recounting the past.

Memory is shaped by perspective, becoming a pause point in the flowing river of time. Different perspectives create conflict. However, the Chameleon’s memory is unchallenged, making it hard for the audience to believe her story, as her stance lacks credibility.

If the Chameleon had a relational character other than Zhen to narrate the memories, it would improve the situation significantly. Typically, a queen would have a male guardian who holds past memories without sexual involvement, or a male victim figure, but these elements are entirely missing here.

Han could potentially fulfill this role. In the original, Han is a very utilitarian character, which makes him appear one-dimensional. Establishing a past relationship between Han and the Chameleon—where Han was the original master and the Chameleon rose to power using Han's influence before betraying him, or where Han initially aided the Chameleon’s rule but was later oppressed and stripped of everything—could add depth. Zhen, in this context, would symbolize the notion of usurpation.

Additionally, Han could perceive similarities between the Chameleon and Zhen from a third-person perspective, differing from the Chameleon’s own belief in their similarity. This contrast in perspectives would elevate the complexity of all three characters.

[biebuli]

李山在我眼里：筷子往嘴里入的这头，也就是“筷头”，它是圆的，在八卦里面算“乾卦”，“乾”即为天，所以说往嘴里放，就是“为天”，这就是咱们俗话说的“民以食为天”。说人活一世什么最重要？也就吃饭是最重要的，民以食为天，打到天边去也有道理，不管是为了吃饭而活着，还是为了活着而吃饭，反正谁也离不开吃饭，我个人对吃饭还是比较感兴趣的。所以儿子，老爹我不是故意要吃你东西的，我是看见了觉得需要有个人吃它才能对得起它的一生。诶不是，不是，儿子你别这个脸啊，那爹和你赔礼道歉，我最近搁屋里找到气功书了，你要不跟我回家先看看……？你说什么呢，什么叫“又”骗你去熊猫村，那是去吗，那是回。你不看我，看看你妈妈吧，她在我心里和我说她想你了

[biebuli]

还好阿宝是男孩，如果是女孩将会是绝佳的地狱笑话：健康的女婴被领养之后功成名就被老家的人找回

[biebuli]

Tailung：我小时候不好好练功，师傅就会拿着竹编抽我。为了抽我他说得还非常有道理“我要把岁寒三友美好的品德抽进你的身体里”，以前我没明白为什么这么说，后来我想问问师傅，你要把什么我的身体里？

[biebuli]

Tailung：

别的小孩如果说自己累了想休息，只需要说“我累了”。但是我累了想休息，要满足这个句式：Master Shifu（敬语），我累了（状态），我想休息（想法），请问您可以让我休息吗？（请求）所以后来我从监狱里出来，找他报复的时候，他露出那种乞求的神色，其实我看到的时候并不是没有触动，我说Shifu你忘了，那个句式。

[biebuli]

The Chameleon x Zhen You and me

Chameleon's monologue to Zhen

Zhen，当我第一次看到你时，我便知晓——你是我渴望的模样。

尽管那时候的你仍然渺小、瘦弱，可是你的生命里有其他人所没有的东西，那就是充满在身躯中的生命力，从底层无尽的黑暗深渊与嘲弄中仍然迸发着的，向上的生命力。不仅仅从你的眼神里我能看到这一点，更从你的灵与肉中…我能感受到。

这座刺柏城里充满着尸位素餐的凡夫俗子，自以为拥有一身蛮力就可以为所欲为，自以为拥有一方势力就可以毫无顾忌，实际上那腐朽身躯里充满了傲慢、自负、无礼，一无是处。你可以看见，当他们不得已对我低头，心中的敬畏如同哈巴狗一样趴下的时候，是多么地屈辱又无可奈何。他们自认为就连口中的“忠诚”，是权宜之计也好，是忍辱负重也罢，实际上于我而言都不是最真实的。对我而言，最真实的存在，只有你，唯独只有你。你的生命内核是如此的与我相近，许多人面对压倒性的力量时，他们会选择放弃的路，或者是抗争至死的路。而你不一样，你选择了我所走的路。我才会想亲手培育你，你不用再像我一样竭尽全力去燃烧自己的生命，把自己逼到极致，经历千疮百��的人情冷暖。

你只需要成为我的养女，对我献身就好。

我可爱的小姑娘，你值得。我会教会你比以前地下阴沟里更要厉害的武功，那会是这座城里的人都无法到达的高度，最完美的继承人。所以我才会说先把背挺直。这是第一步。

可是Zhen，你又对我做了什么呢？ 你的行动，对我的身体刻下了背叛的意义。在你眼里，我是独裁、蛮横、强硬、甚至于不近人情。你可知道我是如何凭借一己之力统治这座城，走到今天这步？是的，仁慈在这座城根本没有任何作用，小打小闹是不能成就理想的，只有血与恶才可以，只有残忍才可以。

这座城里，恶行比你想象得还要司空见惯。只是因为我，才迫使他们暂时压抑了本性。一旦我松动他们脖颈上的枷锁，凶恶的本性便会再次涌现，那时情况将远比现在更加危险。你觉得凭借你的水平，还能像现在一样安然无恙吗？为何你无法理解：残忍与仁慈同时存在于这个世界，可是如果你要抵御恶行对命运和生活的破坏和毁灭，你只有变得更加残忍。

我本以为你有着那样来自生命内部的，强烈的生命力，是能够理解我的。在遇到你之前，我原以为我的一切会如我计划的统治的那样按部就班，可是你的出现让我看到另一种可能���——我的生命可以拥有延续的可能性，我才将我自己投诸于你的身上，我期待着的是第二个、更加优秀的我，也是第一个受到关爱的你。

我把最后的仁慈都给予你了。

Zhen, I didn't hurt him, I killed him.

为何，为何那个PANDA的出现，在你的眼里将我生命的意义变得如此自私自利，也将我们生命的关系变得如此狭隘与一文不值。我的舌与尾勒住了你的脖颈与身体，但我无法控制你的思想，就像所有人都认为我不适合练功夫一样，没有人能束缚我的意志。因此，你选择背叛我，背叛我的意志，背叛我们的关系，连我的整个生命都被你背叛了。

背叛之下的代价——我的肉体死了，形式的生命在所有人眼中彻底结束，但这不意味着我此生的终结。我的威名仍然在刺柏城的砖缝片瓦里，这座城市里的阴霾永远是属于我的，每个人的心中早就布满了属于我的畏惧之所。

平庸的家伙才会觉得我失去了你那宝贵又自主的忠诚，实际上却是你永远地失去了我的爱护与教导。你会觉得松了一口气吗？一切回到了他们所认为的，命运的正轨吗？实际上那不过是世俗对你性命和意志的玷污，更是对我尊严和命运的侮辱。他们永远不会理解的，我失败了、消失了又如何呢？即使我去了灵界，你终究会真正明白我对你的意义，以及我们之间的关系。你无法逃离我的影响，无法对我完全麻木无情。我知道你仍然在你的灵与肉里对我保留着一丝接受力。尽管你已经不听命于我，但你无法否认我们曾经达到的一致。你曾经是如此忠心于我，我才会教你挺起胸膛，以自信地态度示人。

我的肉体的死亡并不代表我的生命的终结。我的灵魂依旧在你的心里，影响着你的每一刻生命。所以，即使我被带去灵界，彻底远离了这个实在的世界，也无法抹去我们之间的联系。你终究是出自我的手中。

永远地，你是我的。

没有人可以夺走你，也没有人能真正地与我匹敌。

那是你我第一次见面时就注定的命运。

[biebuli]

kfp父亲溺爱，没在意过儿子的心理健康，关押儿子放逐儿子，儿子回来复仇，虐待父亲还能得到父亲的一句我爱你，所有人都给父子两站台，这是天地间最真诚的父子。

我们妖后和小真母女呢，亲力亲为，言传身教，就是故事的结局也还是不忘母女之情，得到的却是女儿的反目和没有人在意你怎么想！

太典啦，沉默的父亲得到了殊荣，关爱的母亲得到了背叛，这不就是最现实的观念吗，我输得兜比脸还干净！

是啦，我们kfp就是这样，儿子永远是希望，是父亲值得自豪的存在，是父亲理想的继承人。儿子出走半生，伤害父亲，还是父亲最喜欢的儿子！女儿？什么女儿？女儿这种东西是不可能的！只有儿子才可以！

[biebuli]

SOME IDEA TO MASTER SHIFU AND TAI LUNG

ENGLISH VERSION AND CHINESE VERSION

maybe english is not very well, IF YOU DONT MIND, OK READ IT

Master Shifu's relationship pattern largely mirrors his childhood relationship pattern. Because he himself was abandoned in a known state, he doesn't want another child to experience the same abandonment, hence he goes to great lengths to compensate for the lack of paternal love—sometimes to the point of overindulgence. However, overindulgence is essentially lazy and irresponsible love.

In nurturing Tai Lung, Master Shifu faces significant issues: he fails to recognize Tai Lung as an independent individual, rather than just an extension of his own ideals. His excessive love combines both control and indulgence, denying Tai Lung the opportunity for self-exploration and failing to acknowledge his true feelings. This leads to Tai Lung's inability to introspect and reliance on external validation. Despite being a kung fu prodigy, Tai Lung cannot develop his own unique skills, constantly seeking the external validation of becoming the Dragon Warrior. While Master Shifu provides Tai Lung with positive feedback and reinforcement throughout his upbringing, this unwavering overindulgence sets the stage for future resentment between father and son. By ignoring Tai Lung's psychological growth and projecting his own childhood experiences onto him, Master Shifu fails to provide Tai Lung with the necessary limits and guidance.

This dynamic results in Tai Lung's dependence and resentment towards Master Shifu. His inability to achieve the status of Dragon Warrior becomes a major setback in his life, leading to profound disappointment and eventual societal retaliation, followed by retaliation against Master Shifu. These actions reflect Tai Lung's long-standing resentment towards Master Shifu, as he suppresses his true emotions to meet the latter's expectations, only to explode when he fails to meet them. While Master Shifu may have helped Tai Lung navigate setbacks during his upbringing, Tai Lung now seeks his assistance in return.

However, this relationship's destructive outcome is Tai Lung's transformation into a brutal tyrant. His extreme self-centeredness and failure to recognize external realities make him a nightmare for others. His obsession with immediately attaining the title of Dragon Warrior blinds him to the fact that being the Dragon Warrior requires more than just martial prowess.

True responsible love involves respecting a child's independence at different stages of development, guiding them while also allowing for their self-discovery and growth. (Indeed, Mr. Ping and Mr. Li embody this ideal father figure, even if they're idealized versions.)

Despite apologizing to Tai Lung, Master Shifu would never apologize to Tigress. He could never comprehend the emotional violence he inflicted upon her. While Tai Lung received physical violence from Master Shifu, he was emotionally attended to and cherished. Tigress, on the other hand, desires Master Shifu's approval not because he hinted she could become the Dragon Warrior, but because she seeks his validation. For many children, a lifetime is spent chasing this validation.

However, this desire for approval isn't entirely without merit. Tigress's excellence partly stems from this influence. Following the Tai Lung incident, Master Shifu toned down his affection (previously lavished on Tai Lung) realizing that excessive love is pathological. This moderation allowed him to respect objective facts, albeit expressed through subtle emotional coercion. He might express dissatisfaction with Tigress's actions, reminding her of the shadow of her senior, making her aware of her limitations. This prevents Tigress from developing an inflated ego. Personal growth requires acknowledging one's limitations and avoiding undue pressure, leading to a simpler life.

当一个成年人的关系模式很大程度上是他童年关系模式的再现。

师傅因为自己是在已知状态下被抛弃的，他不希望有第二个自己那样被抛弃的孩子，所以竭尽全力去弥补父爱——甚至到了溺爱的程度。然而，溺爱实际上是一种懒惰和不负责任的爱。

师傅在培养大龙时存在着很大的问题：他没有意识到大龙是一个独立的个体，而不仅仅是他理想中的附属品。他的过度关爱是包办和纵容并存的，他没有给大龙自我探索的机会，也没有及时关注大龙的真实感受（比如当大龙的骨头断了或被否定为神龙大侠时），习惯性地把自己的感受投射到大龙身上，错误地认为大龙的感受就是他的感受。这导致了大龙无法从自身内省中认识自己，而是通过他人的话语来寻找自我。尽管大龙是一位功夫天才，掌握了众多武学技能，却无法创造出自己的独特技艺。与此同时，他一直追求着神龙大侠这个外在头衔，他的自我永远无法满足，导致他迷失了自我。大家都知道大龙是什么样的，唯独大龙自己不清楚自己是谁。

在成长过程中，师傅一直给予大龙正面和积极的反馈，进一步强化了父子间的潜意识互动：师傅给予爱，大龙自愿成为师傅理想的儿子并从中获益。然而，师傅这种不变的过度关爱为日后父子之间的仇恨埋下了伏笔。他忽视了大龙的成长心理，把大龙当作另一个自己，满足了自己童年体验的记忆和理想。师傅给予大龙的无限制支持实际上也是在无限制地满足自己。即使在大龙暴力对待师傅之后，他的行为依然是一种过度溺爱——牺牲自己满足孩子。

这使得大龙既依赖又憎恨师傅。不能成为神龙大侠对大龙来说是人生的挫折，他感到巨大的失落，于是他报复了社会，随后又转而报复师傅。这两个行为背后有深层的含义，一般来说，面对挫折时，应该相信还有其他实现目标的途径，但大龙的行为表明，在他成长过程中，早已对师傅产生了怨恨，并为了不断满足师傅的期待，压抑了自己真实的情感，在无法达到目标时彻底爆发出来。与此同时，师傅在大龙成长过程中可能会帮助他度过挫折，所以现在大龙当然也希望师傅能够帮助他。

然而，这种关系的毁灭性结果是，大龙变得残暴无道。他自我中心，自我膨胀，内心只有自己，成为他人的噩梦。他对和平谷的行为表明了极端的自我中心，无法认识外部现实的本质，把自己的期望强加于他人。大龙执着于立刻获得神龙大侠的身份，却忽略了神龙大侠需要的不仅是武学，还有其他的东西。

真正负责任的爱是尊重孩子的独立的爱，在不同的成长阶段直到如何引导以及满足孩子的需求，这样的父母他们知道什么时候该放手，并且乐于接受孩子的自我独立和自我成长。（是的，平先生和李先生都做到了这一点，尽管是一种理想型的父亲）

师傅虽然对大龙道歉了，但永远不会对虎��道歉。他永远无法意识到自己对虎妞无形中的情绪暴力。尽管大龙曾受到师傅的身体暴力，但在精神上他是被关注和宠爱的。而虎妞则相反，她渴望师傅的肯定，并不是因为师傅透露出她也可以成为神龙大侠，而是因为她想要得到师傅的认可。对于许多孩子来说，一生都在追求这种认可。

这种期待认可也并非毫无好处，虎妞之所以能够如此优秀，部分原因就是这种期待的影响。在大龙事件之后，师傅收敛了自己的爱（之前他将这种爱毫无保留地投射给了大龙），意识到爱的过度是病态的。���种爱的收敛使得师傅开始尊重客观事实，尽管他用隐形的情绪暴力表达。他可能不满意虎妞的行为，告诉她在她之上有一个师兄的阴影，让虎妞意识到自己的局限性。这样也使得虎妞自己没有发展成过度膨胀的状态。人的成长需要意识到自己的局限性，不要对自己施加过多压力，这样才能过上更简单的生活。

[biebuli]

虽然我一直为Kfp4的cammy女士正名，但是这改不了我给这部电影的行为是屎盆子镶金边

[biebuli]

The Chameleon in Chinese Culture

The Chameleon actually resonates with Chinese people.

Firstly, China has a very famous empress named 武则天（Wu Zetian）The chameleon appearance is very similar to this empress in Chinese TV dramas. (Interested parties can search for it.)

Wu zetian in the history image

Secondly, the patterns on her body. Her patterns are derived from Chinese bronzes. Bronzes are the representatives of Chinese culture and technology in the Xia, Shang, and Zhou dynasties, with a special social status, and are the products of a strict hierarchical system. Chinese bronzes first appeared around 5000 BC and spanned a history of about 3,000 years. The first empress and the earliest dynasties, these two ideas have a strong impact on Chinese people. But her clothing is in a male style rather than female.

I'm not sure if it's intentional by the production team or if they've researched to that extent. This might be related to another thought of mine, that as a woman, she still identified with the male perspective.

Thirdly, her patterns are similar to "taotie patterns"饕餮纹.

Taotie饕餮 is a mythical creature in China. Also is a fierce and voracious beast, one of the four evil creatures. It symbolizes greed and is often used to describe gluttonous or greedy individuals.

However, the taotie patterns are slightly different. They feature a frontal animal head with symmetrically arranged pairs of horns, brows, ears, as well as a nose, mouth, and jaw. Some have elongated trunks, limbs, claws, and tails on both sides. The taotie features horns resembling those of a water buffalo, a nose reminiscent of a tiger's, and feathers akin to those of a bird. The layout typically follows a symmetrical arrangement along the central axis of the nose bridge, forming a beast-like visage with large eyes, a nose, and paired horns, often lacking a lower lip. So, The Chameleon's transformation into such a figure is consistent with the setting.

taotie pattern

Scholars believe that taotie patterns help shamans communicate between heaven, earth, and humans, serving as assistants to the shamans. Some scholars also argue that these mythical beasts are the natural gods or ancestral gods worshipped by clans, tasked by the gods to bring rain and ensure bountiful harvests. Others advocate that these mythical creatures are the gods themselves, and taotie patterns represent the faces of the gods. Regardless of which interpretation, it actually implies that The Chameleon is designed to be someone who uses spells, summons spirits from the spirit world, which is all reasonable.

The significance of being the first empress, the representation of the first dynasty, the fierce mythical beast, and the pattern symbolizing communication with the gods are all profound. It's unfortunate that in such a story.

Even though Kung Fu Panda 4's plot may not have been satisfactory, I still really like the character of the Chameleon.

[biebuli]

I'm so surprised that the chameleon is called Cammy. The pronounce like a Japanese word 神（kami）means god. I like this name.

In Chinese version, she is called 魅影妖后. I'm not sure if I can explain it accurately in English, but this name also fully embodies her characteristics.

Just use the word in dictionary: 魅 in English means "charm"、"fascination"or"allure"; 影 means shadow or reflection (I think this word corresponds to her ability to change）; 妖后 means demon queen（more in Chinese style）, also have feelings：She is a wicked empress.

A charming, beautiful, shape-shifting, wicked empress. Her name alone speaks volumes about her noble identity. But this is just a title, not her real name, similar to the titles of emperors in East Asia.

I like cammy！

The chameleon is a goddess/queen of course.😌

[biebuli]

CHINESE VERSION AND ENGLISH VERSION

残豹和沈王爷给我的感觉就是非常典型的东亚教育受害者。

长辈们打着“为了你好”的名义伤害孩子，却没有教会孩子如何放平心态面对挫折，反正自己的权威还是没有受损，孩子心态不好是孩子的事情，长歪了是自己的问题，和他们没关系。不管是师傅还是沈王爷的父母都是这样，师傅从来没有告诉过残豹人生有另一条路可以走，沈王爷的父母也没有引导沈王爷的成长心理，导致两个人走极端我完全能理解……本人就是一种残豹和沈王爷心态的结合体，看到阿宝的时候真的又羡慕又嫉妒了。

阿宝真的是非常标准的“健康成长”，一方面是他心大，另一方面是鸭老爹在他成长期间给了他足够的爱。是的，武侠片里难得的没有执念的角色，还是那种没有经历大起大落，感悟超脱就没有剧烈执念的角色。

鸭老爹对他的要求很简单：你以后继承我的面馆就行。阿宝已经学会做面了，和平谷的顾客都是常客，阿宝不当神龙大侠也能过得很好。阿宝想当神龙大侠时候，鸭老爹没有非常支持的态度，但也没有反对打压他。在阿宝灰溜溜回来的时候，他也是关心阿宝开不开心，而不是那些名誉的问题。阿宝在成为神龙大侠之后，鸭老爹很骄傲，但也没有特别自负自满，他担心的还是那个被他养大的阿宝，而不是大家尊敬的神龙大侠……这样的父母放在现实都是凤毛麟角，有几个会觉得孩子的心情比外界更重要呢？所以阿宝虽然是武侠题材的角色，却没有任何爹味，也没有任何扭曲的执念。他成长的环境充满着爱。

Tai Lung and the Lord Shen are very typical victims of East Asian education.

The elders hurt children in the name of "it's for your own good", but they don't teach the children how to face setbacks with a calm mindset. After all, their authority remains intact, so if the child's mindset isn't good, it's the child's problem; if they turn out crooked, it's their own issue, nothing to do with them. Whether it's the Master or the Prince of Shen's parents, they're all like this. The Master shifu never told tai lung that there was another path in life, and the lord Shen's parents didn't guide his psychological growth, leading to both of them going to extremes.

Po really is a very standard example of "healthy growth". On the one hand, he has a big heart, and on the other hand, PING Dad gave him enough love during his growth. Yes, in martial arts films, it's rare to have a character without obsession, someone who hasn't experienced great ups and downs, whose insights transcend without intense obsession.

Dad Ping's requirements for him are very simple: just inherit my noodle restaurant in the future. Po has already learned how to make noodles, and the customers in Ping Valley are all regulars. Po can live well even if he doesn't become the Dragon Warrior. When Po wanted to be the Dragon Warrior, Dad Ping didn't have a particularly supportive attitude, but he also didn't oppose or suppress him. When Po came back feeling dejected, Dad Ping cared about whether Po was happy or not, not about those matters of reputation. After Po became the Dragon Warrior, Dad Ping was proud, but he wasn't particularly complacent. He was still worried about the Po he had raised, not the respected Dragon Warrior... Parents like this are rare in reality. How many people would think their child's feelings are more important than the outside world? So, although Po is a character in the martial arts genre, there's no very obvious preaching or any twisted obsessions. The environment he grew up in was full of love.

[biebuli]

MY first version is CHINESE so I share my opinion by CHINESE. Also have ENGLISH version, BUT might not express myself well, English isn't my native language. IF you like this opinion, you can consider both the Chinese and English versions together.

the chameleon-魅影妖后

Po-阿宝

妖后是一个励志的角色，在身份、天赋、性别都不够，被人嘲笑的时候，没有在功夫这条路上走死胡同，相反她选择了其他的方式去达到自己的目的。（很多人其实光是给自己的人生换一条路这件事都做不到的）

而后面模仿的行为，在阿宝的立场来说“这都是你偷来的”，但实际上这样的法术能力可是也要锻炼的喔，就算是stole也是要技术的，妖后在法术这件事上的研习和努力绝对不比其他学功夫的要差。况且这些人都是恶人，按照传统思维来说妖后的行为是落井下石，以她的观念可能是给恶人在刺柏城一次再教育。

阿宝能一直坚信自己的行为是“正确”的原因，不是基于他的生活经验，而是基于战斗经验——“胜利”。是的，这导致他只有叙述权力，没有多少教导能力/哲思能力。历史掌握在胜利者���里，本质上还是比拳头大小。 因此他的那句偷来的就显得十分单薄了，那只是在他的叙述立场上这么认为。以妖后的立场而言，不过是正常的世界运转模式：力量至上。后文他心灵鸡汤妖后会失败也是正常的——这个世界不是围着神龙大侠转的。

Kfp有一个很有意思的地方，就是所有人都是围着“神龙大侠阿宝”转的，在他及其翡翠宫的阵营下的人民是生活美好的，其他世界都是水深火热的，不利于神龙大侠的。大家只要信仰神龙大侠就好了喔，神龙大侠会带领大家走向一个美好的世界，要遵守神龙大侠的idea/秩序。非常的American呢www

阿宝自己亲自打开了潘多拉的魔盒，无形中破坏了秩序呢，你知道吗？zhen是妖后的养女、破坏了翡翠宫、偷盗了天慧法杖——而你却选择放过她蹲大牢、让她帮助你打败妖后、收养为弟子。 这一切都是你的意志，没有任何一个人对此质疑，真是可怕呀。

就像妖后说的：我们本质上都是一样的人，经由百倍的历练，才达到这样的顶峰。更重要的是我们践行着一样的信条：别人不能相信、血让别人流、没有人在乎你怎么想——强者为尊w

阿宝说妖后需要change的不是外表而是内心，这句话也很有意思的。如果从角色立场来说确实如此，妖后需要change的是心态，统一天下的心态，报复的心态，变成一个inner peace的人，和平生活。可是同意了这个change的话，深层含义就意味着妖后要认可阿宝的秩序了，放弃自己赖以为生的手段。

阿宝这种行为实际上是天真的残忍。他似乎还不能完全理解，不是谁都能释然看透了自己受到的伤害与苦难。反派们的行为原因都是基于无法释然，过去的经历一直残害着原本鲜活的生命，以至于这个世界都不会给一丝发泄的机会，连最为基本的安慰都得不到。对他来说是一句好像能改变人生的change鸡汤，对他人来说却是一种傲慢。放弃长期以来的执念，意味着变成一个普通人，或许是对反派的人生/神龙大侠的秩序最好的选择，却对反派来说这是舍弃了尊严、过去，变成了另外一个人，用着另外的一个名字活着，那一刻反派的生命才是真正的停滞。

The chameleon is an inspiring character. Despite lacking in identity, talent, and being ridiculed by others, she didn't end up in a dead end on the path of martial arts. Instead, she chose alternative ways to achieve her goals. (Many people can't even change their life paths.)

Regarding the later imitative behaviors, from Po's perspective, "You stole all this," but in reality, mastering such spellcasting abilities also requires training. Even if it's considered stealing, it still requires skill. The chameleon's study and effort in magic are definitely not inferior to those learning martial arts. Moreover, these individuals are villains, so from traditional thinking, the chameleon's actions might seem like adding insult to injury, but from her perspective, it could be seen as giving the villains another lesson in Junpier City. Po's continued belief in the "rightness" of his actions is not based on his life experience but on his combat experience - "victory." Yes, this results in him having the narrative power but not much teaching or philosophical ability. History is in the hands of the victors, essentially bigger than just fists.

Therefore, his accusation of stealing appears quite shallow, just a reflection of his narrative stance. From the chameleon's perspective, it's just the normal mode of operation of the world: might makes right. Later, his "chicken soup for the soul" remark about the chameleon's failure is also normal - this world doesn't revolve around the Dragon Warrior.

KFP has an interesting aspect - everyone revolves around "the Dragon Warrior, Po," and the people under his and Jade Palace's camp live happily, while other worlds are harsh, not conducive to the Dragon Warrior. Everyone just needs to believe in the Dragon Warrior; he will lead everyone to a better world, and they must follow the Dragon Warrior's ideas/order. Very American lol

Po opened Pandora's Box, inadvertently disrupting the order, did you know? Zhen is the foster daughter of the chameleon, she destroyed the Jade Palace, stole the Staff with wisdom - yet you chose to spare her, letting her rot in jail, and then helping you defeat the chameleon, and finally adopting her as your disciple.

All of this is your will, and no one questions it. It's frightening. Just like the chameleon said: fundamentally, we are all the same, having gone through countless trials to reach such a peak. More importantly, we adhere to the same creed: others can't be trusted, blood lets others flow, and no one cares about what you think - might makes right.(sorry I don't know the word in movies)

Po says what the chameleon needs to change isn't her appearance but her heart, which is quite interesting. From a character standpoint, it's true; the chameleon needs to change her mindset, the mindset of seeking to unify the world, the mindset of revenge, and become someone with inner peace, living in peace. However, agreeing to this change means the chameleon must accept Po's order, abandoning the means she has relied on for survival.

Po's behavior is actually naively cruel. He seems unable to fully understand that not everyone can come to terms with the harm and suffering they've endured. The reasons for the villains' actions are based on their inability to come to terms with their past experiences, which continue to haunt their once vibrant lives, to the point where this world doesn't even give them a chance to vent, not even basic comfort. For him, it's a change of soup that seems to change one's life; for others, it's arrogance. Giving up long-held beliefs means becoming an ordinary person, which may be the best choice for the lives/order of the antagonists/Dragon Warrior, but for the villains, it means abandoning dignity and the past, becoming someone else, living under a different name. That moment is when the villains' lives truly stagnate.

[biebuli]

MY opinion to The Chameleon

MY first version is CHINESE so I share my opinion by CHINESE. Also have ENGLISH version, BUT might not express myself well, English isn't my native language. IF you like this opinion, you can consider both the Chinese and English versions together.

the chameleon-魅影妖后

zhen-小真

其实我还蛮欣赏妖后的，除了畸形母女情戳中我的点还有一个原因是，她和其他三位的反派立意感不太一样，她面对的困境与片子里同样的学武的女性角色也不一样。

虎妞和小蛇尽管都是女性，但是一个有师傅和种族力量，一个有种族敏捷和武侠家庭背景，她们在武学这条路上社会身份（师门）和自身素质（天赋/能力）足以忽略性别（社会主流男性视角）带来的不平等，因此不会太难。从设定上来说妖后是一个没有背景、瘦弱的女性不被主流武学承认学习武术的能力和天份，所以另辟蹊径自学变形、幻术（法术？魔法？总之是魔法攻击）。三无身份不被主流接受，所以用其他方式做大做强，蜥妃回宫。如果她不是一个反派，一定会拿励志剧本的，一个从底层爬起来的女性！（这告诉我们不要在一件事上死磕，通过别的方式也能达到想要的目的，虽然我们在功夫的世界，但是我们也可以追求其他东西）

与其他三位反派相比较，妖后的设定上就会发现她其实站在一个男性（包括传统武侠）视角的对立面，她的地位在男性视角下是不受尊重的，她的身形在男性视角下是弱小的，她的性别在男性视角下是客体。一个不能被男性社会接纳、认可的女性，要么顺从社会运转的思维，甘愿成为一个客体，要么就是反抗，把自己变成主体——这样就会有��条路，要么打出专属女性的道路，要么就是变成一个拥有女性身体的男人。（我认为妖后这两条路在剧情塑造下算是融合在一块了）她攻击了每一个反派，一方面是剧情需要，另一方面算是对男性主体的世界外表层面反驳。之所以说是外表层面，因为她的变形借用其实也说明她还是认可男性主体这件事的，她没有完成真正意义上的反驳。 但这不意味着妖后这个角色很���笔，她还是展现出了其他反派相对稀缺的独立性。大龙、沈王爷、天煞将军他们其实都在复仇-获取认可，经历了他人对自己带来了巨大创伤之后做出回击，他们在情感上都有非常强烈的对具体他者的执念性。

妖后其实没有这种对具体他者的执念性，她在情感上独立，她要做的事情是来源于自我意志的，她没有上者（大龙与师傅、沈王爷与父母/羊仙姑）和同辈（天煞与乌龟）的情感纠葛，唯一有情感关系性的下者小真，也是她的自我的投射。她对小真的愤怒表层是背叛，深层是来源于自我投射的偏离。因为社会主流男性视角，习惯将女性作为客体，现代社会女性拥有了主体的权力，但客体的身份属性仍然在身上，使得女性在这样的情况下拥有主体和客体的双重视角。对妖后来说，小真作为客体是养女，作为主体是曾经的她。所以说妖后是自恋的，不允许自我意志受到外界的倾轧，她所欣赏的自始自终都是她自己。

尽管KFP4的故事不尽如人意，可是一个独立的、拥有自我意志的、自恋的底层爬起来的女性，怎么让人不心动呢？

Actually, I quite admire the the chameleon. Besides resonating with the theme of the twisted mother-daughter relationship, there's another reason: her characterization differs from the other three villains. The challenges she faces and her response to them diverge from those of other female martial artists depicted in the film.

While Tigress and Viper are both female characters, one possesses a master and racial abilities, and the other has racial agility and comes from a martial arts family background. Their social status (martial arts sect) and personal qualities (talent/abilities) are sufficient to overlook the gender-based inequalities (from the mainstream male perspective) on the path of martial arts. Hence, their journey isn't too difficult. In terms of setup, the chameleon is portrayed as a backgroundless, frail woman whose ability and talent in martial arts are not recognized by the mainstream martial arts community. Therefore, she takes a different path, self-studying shapeshifting and magic( magical attacks). With no recognized status, she seeks other means to gain power and influence, eventually returning to the palace as the Lizard Consort. If she weren't a villain, her story would likely be an inspirational script about a woman rising from the bottom! (This teaches us not to be fixated on one thing; we can achieve our goals through other means. Even in the world of martial arts, we can pursue other things.)

Compared to the other three antagonists, the chameleon characterization reveals that she actually stands in opposition to a male (including traditional arts) perspective. Her status is not respected, her physique is seen as weak, and her gender is objectified from the male perspective. A woman who isn't accepted or acknowledged by male society must either conform to societal norms and become an object or rebel and assert herself as a subject. This presents two paths: either carving out a path exclusive to women or becoming a man with a female body. (I believe the chameleon embodies both paths in the narrative.) Her attack for each villain is partly due to the plot's needs and partly a rebuttal to the male-dominated world on the surface. This rebuttal is superficial because her use of shapeshifting implies her acceptance of the male-dominated society; she hasn't truly opposed it.

However, this doesn't mean the chameleon is a failure as a character; she still exhibits independence, which is relatively rare among the other antagonists. Tai Lung, Lord Shen, and General Kai are all driven by revenge - seeking acknowledgment and retaliating after suffering immense trauma caused by others. They all have strong emotional attachments to specific individuals. The chameleon, on the other hand, lacks this attachment to specific individuals; her actions stem from her own will. She doesn't have emotional entanglements with superiors (Tai Lung with his master, Lord Shen with his parents/Sheep Elder) or peers (General Kai with Master Oogway), and her only emotional connection is with zhen, who is a projection of herself. Her anger towards zhen is superficially about betrayal but fundamentally stems from her deviation from her self-projection. Due to the male-dominated perspective, which habitually objectifies women, modern women possess the power of subjectivity but still carry the attributes of objects, giving them a dual perspective of subjectivity and objectivity. For the chameleon, zhen represents both an object (as a foster daughter) and a subject (as her former self). Thus, the chameleon is narcissistic, refusing to let her self-will be crushed by external forces, and everything she admires ultimately reflects herself.

Despite the shortcomings of KFP4's story, how can one not be drawn to an independent, self-willed, narcissistic woman who rises from the bottom?