#我流

[hunxi-after-hours]

hello. no one asked for this but the purpose of this blog is so I can turn my brain upside down, shake it vigorously, and dump out all of my thoughts such that each day I may come closer to my greatest life aspiration (being a himbo) SO. it is now time for me to do a far deeper dive on the production and fight choreography of the 《逆流而上》 performance from season 4 of 《披荆斩棘的哥哥》 / Call Me By Fire than anyone really cares for

still with me? have a drink close by? all right (holds out hand) let's get egregiously deep in the weeds together

BACKGROUND / CONTEXT

《逆流而上》 (something like "Upstream" or "Against the Tide") is all of a four-minute performance by 石凯 Shi Kai, 井胧 Jing Long, and 阿如那 Aruna. combining singing, acting, and some legitimately very good stage combat, the performance presents the narrative of a plucky young upstart gangster (Jing Long), who steals something he probably shouldn't have from a seasoned mob boss (Aruna), and in doing so pulls his friend and maybe gang leader (Shi Kai) into the battle

(where are you getting this plot summary, hunxi? from my brain. unfortunately. because I've watched this performance several dozen times. that is not an exaggeration. this is however simply my interpretation of the performance so Costco container of garlic salt etc etc)

BLOW-BY-BLOW (hah)

aka hold my hand, I am going to walk you through the entire performance

but it's only four minutes! you protest

did I stutter? are you still holding my hand? is now the time to warn you that this post is over five thousand words? well let's get moving then

0:11 - 0:40 Opening

here we are, setting the scene:

jing long's character returns from the street (hear the sirens and street traffic) to their warehouse hideout, carrying a mysterious duffel bag presumably crammed full of whatever he stole from aruna (likely cash, given the lightness of the bag)

glancing over his shoulder, he checks that no one is following him before throwing the bag to his back and skipping his way into the warehouse. he scans (a badge? some other form of RFID?) his way into the front door, swings from an overhead pipe, and slides down the fireman pole to make his entrance onto the stage proper

shi kai's character is established with his feet on the desk, watching security footage and toying with something in his hand (we hear a burst of static and the bleep of a walkie-talkie)

so already! we have learned the following:

jing long reads very much as a cocky young upstart, everyone's little brother who's too hot(headed) and too cocky for his own good

shi kai reads as slightly older, more responsible, more cautious. though he slouches leisurely in his swivel chair, he is still keeping a wary eye on the security footage around the warehouse

in addition, I would like to express my respect and admiration for the costume designers of this piece — note that all of the performers involved in fight choreography (named actors and stuntspeople alike) are dressed in long sleeves, long pants, and sensibly closed-toed shoes. given the physicality of the performance, you'd definitely want clothing that can protect easily-skinned areas like elbows and knees. also, longer (and looser) sleeves and pants can handily hide other padding if needed (e.g. elbow or knee pads, or just extra layers of clothing)

shi kai is dressed in a baggy brown coat over a relatively high-necked black shirt, as well as baggy pants and black leather gloves. the looseness of his outfit leaves much more room for potential padding underneath, which makes sense as the "bruiser" of the two with much more fight choreography. I would dock points for the silly little bandana (what are you wearing that for, your opponent to strangle you with?) but it's a fun accent piece so we'll let it slide on style

jing long is dressed more "stylishly" or roguishly, with a white tank top under a leather jacket that is pushed up to almost his elbows. he also wears full leather gloves, but with holes around the knuckles; so, clearly not a bruiser or someone who punches things with regularity. while the leather jacket is good for protection, it offers much less padding than shi kai's coat. this then comes back to bite jing long, who gets flung to the ground later by aruna and takes a solid moment to recover

0:41 - 1:20 Establishing the Jing Long - Shi Kai Character Relationship

in this sequence, we begin the singing (something that I personally find deeply hilarious is how the lyrics have almost nothing to do with anything that's happening onstage. we could unpack this for a while but for now I get a good laugh out of it), but more importantly, we get into the acting:

as jing long walks across stage toward shi kai, high five-ing shi kai on the way over and spinning him around in his swivel chair, jing long does so with a swagger, evidently proud of his heist

shi kai appears to be more skeptical; as jing long sits on his desk and unzips the bag to show him the spoils, shi kai instead raises his eyebrows and gestures at the security footage, as if to ask "well, were you followed?"

jing long's character rolls his eyes and crosses the stage to the couch, where he flops and sulks about shi kai not being appropriately impressed

shi kai gets up and follows him, and though the lyrics rapped here have nothing to do with the plot beyond general vibe, the moment reads very much like shi kai lecturing jing long about the need for caution and discretion. fascinating moment where shi kai's character is clearly saying something but the words coming out of his mouth are not what he's saying diegetically (except maybe "back off")

jing long is evidently fed up with shi kai's nagging, until they both hear footsteps in the scaffolding overhead — someone has followed jing long back to their hideout

I do love the detail of jing long looking up, directing our gazes to the mooks running through the catwalks. jing long gets up to go deal with them — again, hotheaded youngster — but shi kai pushes him back onto the couch with a pointed look which very much reads as "older brother once again cleaning up after younger brother's impulsive decision"

now that we've done all the set up! let's get punchin'

1:21 - 2:04 Fight Sequence 1 (Catwalk Fight)

in which jing long gets to sit on a couch and do vocal acrobatics while shi kai cleans up his mess

the degree to which this set is almost completely OSHA certified but also Strategically Not OSHA Certified in certain places brings me so much joy and anger, but it's nothing worse than what the original Next to Normal set on Broadway pulled, so I will put my hard hat down

shi kai climbs up the stairs to the upper level of the warehouse, where a bunch of convenient mooks/stuntpeople await him to be mowed down one by one. this sequence is very much reminiscent of platform fighting games

A NOT-SO-BRIEF ASIDE ABOUT STAGE COMBAT: one of the reasons why I absolutely love stage combat is because, done right, it is the biggest inside joke you can pull off in front of a live audience. the audience is convinced that these two characters are Legitimately Trying to Hurt Each Other, but the performers are secretly in on the joke — they are executing a perfectly and exquisitely choreographed movement sequence in which they hoodwink the audience together. for a medium that is premised on hoodwinking the audience together, stage combat is extra fun because the hoodwinking is dialed up to eleven. it's not just convincing the audience of the immediacy and urgency of a fictional world, it's also convincing the audience that you hate each other's guts when secretly you're trying not to break out into a huge grin (or maybe other people are better at staying in character, I was never cut out for acting). it's ALSO making the audience think that serious injury and damage has occurred, when in reality nothing of the kind has happened. it's the wordless trust and synchronicity that your scene partner will be exactly where you both agreed they will be, just as you will do exactly what you promised to do

in stage combat, none of the blows actually hit with the level of force they appear to — this is incredibly important in live theater, which is performed night after night for days to weeks to months in a row. the fight choreography must be sustainable. that means no performer can be a hero and say "oh you can hit me for real, I can take it" because the body reacts instinctively and if you know physical contact is coming, it doesn't matter how good of an actor you are, at some point you will not be able to suppress the flinch. also, you have to be onstage doing this again tomorrow, or even tonight, and if it's a blow that will injure or bruise, you can't keep taking damage in the same spot repeatedly and expect to make it through the run

which is to say — stage combat should be safe. it should appear to be violent, feral, unhinged, vicious, whatever the scene needs, but it has to be safe and sustainable. what that also means is that the ferocity of the attack, the damage of the blow, the lethality of the strike depends less on the attacking performer's "strength" and wholly on the "victim" selling the force of the hit. cradling your face after a slap (conveniently hiding that your cheek is not even reddening because there was no contact made). doubling over after a "blow" to the solar plexus to sell that gut-punch. depending on your genre, maybe even doing a gratuitous backflip off a platform if you've been "sent flying." half of stage combat is camp (the other half is knapping)

so! shi kai mows his way through a series of stunt performers, who are really doing the lion's share of convincing the audience that his character is a competent brawler. no shade to shi kai — the man is also singing through much of this sequence

most notably, shi kai is singing as he delivers that flying kick at 1:49. the audio cuts a bit strangely here, which allows you to hear the strain in his voice as he jumps into half of a pull-up and kicks a stuntperson in the chest

if you've gotten way too deep in all the extra behind-the-scenes material for this performance, you'll know that this was a sequence that shi kai really struggled with because the director kept asking him to kick the guy with more force and shi kai felt guilty hitting the stuntperson every time. it wasn't until the stuntperson confirmed that he was wearing chest padding that shi kai finally relaxed and felt like he could put more force into it

most of the choreography has the combatants coming at each other with a big ol' overhand haymaker/icepick attacks (whether with a steel pipe or a closed fist). this is a classic stage combat move, partially because it looks Big and Scary and Impressive, partially because it's extremely impractical in an actual fight: it's slow, utilizes an excessive amount of wind-up, and leaves a huge opening where a fast attacker can dart in for the advantage while your arm is still in the overhead swing, which is what shi kai does with the first stuntperson

I am fairly confident that they are adding additional sound effects for punching, hitting the ground, and later, jing long strangling aruna — partially because I don't think we'd actually be able to pick up those sounds in the general noise of a live performance, but also primarily because they sound, um. somewhat canned

give it up for the professional stuntpeople who are really selling this performance, and also because of how extra they are across the board in "being defeated." I'm specifically calling out the second guy at 1:36 for his little foot twirl when shi kai gives him that head smack, and the last guy at 2:01 for bouncing off the edge of the platform where there is deliberately No OSHA Protective Railing. like my guy you could've just somersaulted onto the mat that's presumably discreetly laid out below, the bounce was completely gratuitous

speaking of moments where you can spot the "seams" of the fight choreography: watch this enough times and you can see how the stuntperson doubles over and waits for shi kai to knock him off the platform from 1:59 - 2:01; the slight pause there is partially hidden by the rapid cuts, but if you watch the stuntperson you can see him holding the position in preparation to be kicked off the platform

2:05 - 2:50 "ARUNA!!!!!!!!!"

time check: we are now two minutes. into a four minute performance. and only now does aruna, our third character, show up, and what an entrance it is. in the performance cut that aired, the editors briefly flash to the greenroom, where the other contestants of the show, watching the performance live, erupt in cheers for aruna's arrival. shouts of "he's coming, he's here!" and "ARUNA!!!!!!!!!" briefly interrupt the performance's audio as the other contestants clap, yell, and rise from their seats in primal enthusiasm. one gets the sense that aruna is not only a fan favorite contestant, but also a cast favorite as well

it is exceedingly difficult to get screenshots of the fight choreography since it all blurs. you will simply have to trust me and watch it

aruna's entrance + first lines are maybe the closest the lyrics actually come to making diegetic sense hhh

aruna's character rolls up with an entire crew, only to wave them off, presumably because he thinks he can take care of these upstarts on his own. to be fair, he's not completely wrong about that

I love the way they did the first moment of eye contact between aruna and jing long; aruna, high up on the catwalk, looking down at jing long on the warehouse floor with a nonzero amount of scorn. jing long, in contrast with his earlier insouciance and general slouchiness on the couch, now sits up, slightly hunched over, with what looks like fear in his eyes. as it turns out, he didn't pull off his heist as cleanly as he thought he had, and now the consequences are coming (literally) to beat his ass (literally)

they also take time to establish the location of shi kai's character, high up on a catwalk on the other side of the stage. this raises the possibility that the earlier mooks he dispatched in Fight Sequence 1 were simply a distraction aruna sent ahead; more importantly, it means that jing long will have to fend for himself against aruna until shi kai gets there

but not to worry! jing long and shi kai's side ALSO has disposable mooks (very hardworking stuntpeople). note that these stuntpeople (unlike the, uh, assorted 小鲜肉 in the background who wear tank tops) are dressed with sensible coverage

aruna one-ups shi kai's initial fight sequence by taking on three people simultaneously, more or less in a melee (they do attack him very politely in sequence. this is choreography after all). the first person he dispatches with a spinning kick, which is tremendously impractical in real life (slow! difficult to aim! not actually more forceful!) but looks cool in choreography

the second person comes at aruna with an openhanded haymaker, which makes it tremendously convenient for aruna to get inside that stuntperson's range, twist him around to feign a joint lock, and use him as both shield and leverage to kick the other two guys (the joint lock is feigned because it's real easy to get injured in a real joint lock. later, the two of them also untwist the "joint lock" to get better and safer leverage on the shoulder throw)

blink and you'll miss it — when the stuntperson hits and breaks the coffee table behind him at 2:46 - 2:47, you can see him briefly check over his shoulder to make sure he's falling where he wants to. I can only hope that the coffee table was pre-broken for the effect

the shoulder throw at 2:48 looks pretty gnarly, but if you slow it down you can see the stuntperson strike the ground feet-first to absorb the impact before pretending to crumple. that being said, the speed and the force of the impact are probably enough to rattle his bones a little

after summarily dispatching the three stuntpeople, aruna points at the bag by jing long's feet and gestures an unimpressed "give it back"

2:51 - 3:26 Fight Sequence 2, Electric Boogaloo (The Showdown)

you know it's a Big Fight Scene when they take a break from singing to do a pure instrumental + fight choreography interlude. after aruna summarily dispatches three stuntpeople and tells jing long to return what he stole, jing long, true to his character, flings the bag at aruna in a "fine, take it!" and goes in for the attack

aruna dodges easily, and as he goes to the side, he picks up a plank of plywood that he swings at jing long

it passes way over jing long's head, because jing long has planted one hand on the ground to slide by underneath

side note: in the behind-the-scenes material, shi kai was the one practicing a sideways knee slide. considering that 1) no knee slide made it into the final choreography, and 2) jing long is the one doing this close approximation here, that makes me wonder if a) jing long and shi kai at any point switched roles, and b) at what point the set was finalized vs. the fight choreography set, because there isn't enough space in the catwalk fight sequence for shi kai to slide safely or practically

but that's neither here nor there

aruna swings at jing long twice, and jing long ducks out of the way both times. props to jing long for making sure he comes back up between swings before ducking again, because otherwise it would make aruna's character look a bit foolish for repeatedly swinging at empty space

on aruna's third swing with the plank, he shatters it against jing long's left side. I'm hoping the plank was either really thin or pre-broken because that is a hefty cloud of dust

jing long then comes at aruna with — you guessed it — a haymaker, which allows aruna to grab him by the entire forearm and sock him in the stomach. this makes jing long double over, conveniently setting them both up for—

the next stunt these two pull involves partnerwork and coordination; aruna falls backwards, dropping his center of gravity to the floor and pulling jing long forward. he then gives jing long a boost with his foot (ah, my bad. "a kick"), which allows jing long to flip over him in a very showy manner

if this was actual combat, aruna would have probably kept hold of jing long's forearm in order to slam him against the floor. but since this is choreography, aruna lets go of jing long's arm, which allows jing long to catch himself on his hands and turn that into a forward somersault

don't be fooled by how far jing long rolls. after the first roll to dispel momentum from the flip, he's doing the rest of the rolls on his own merit

again, the "ferocity" or "strength" of an attack is sold by the "victim," so by lying on the floor for a bit longer and struggling to get up, jing long is selling aruna's fighting prowess. also, even if this is meticulously planned stage combat, the performers are still absolutely getting their bumps and bruises

shi kai enters — somewhat tardy, but I love this entrance because it's so funny. a plywood (?) siding hits the ground with a cloud of dust, presumably bashed in from the force of the two stuntpeople colliding with it, who then fall to the ground as shi kai struts in. the two stuntpeople roll around on the ground as if shi kai just pummeled them into the wall, but in reality the three of them were probably j chilling, waiting for their cue, before the two stuntpeople jumped at the plywood shoulder-first to knock it down for shi kai's entrance

again, stage combat is a huge inside joke! what looks like shi kai kicking ass and taking names as he comes to his lil bro's rescue is actually just the stunt crew going "nah man leave this to us, we'll make you look cool" and shi kai going "oh ok you guys sure?" and them going "yeah!!" and yeeting themselves at the wall

neither here nor there but I love shi kai sprinting across stage to get to aruna. it really builds up the momentum and intensity of the fight. the fact that he does this while spitting "now call me by fire" is. well. pretty fire

aruna's turn to throw a haymaker! shi kai easily ducks under it for the waist tackle, which 1) helps transfer all of his sprinting momentum to twirl the two of them around, and 2) results in a net zero change in positioning. throughout this whole performance, aruna is consistently positioned on stage right (frame left), and shi kai / jing long are consistently on stage left (frame right), just to make "who's on whose side" a bit easier for the viewer to track

aruna even does a fun little jump/flail to dissipate shi kai's momentum, which I find delightful. throw the didis a bone, aruna, they already can't beat you two-on-one

shi kai does a little jump + snap kick, which aruna easily parries with his hands. choreography!

aruna then goes for shi kai's leg to take him to the floor (what's with this choreography characterization. in less than two minutes aruna has gone to the floor at least three times. let the man rest)

I guess in a real fight it might make sense for aruna to use his greater strength and mass to pin his opponents to the floor, but that requires following through and punching their lights out, which he, uh, does not

shi kai's spinning flip is "assisted" by aruna — the quotation marks is because that maneuver requires anchoring one's weight on the leg that aruna's holding, but because shi kai's doing it with that foot elevated, it's much harder than it would've been if shi kai's foot was just on the ground. trust me on this one. it's all about core strength and leverage

much like how aruna politely let go of jing long's arm while flipping him, aruna politely holds shi kai's leg long enough for him to flip as well

they use this moment to briefly split apart and breathe for a second in the choreography

shi kai's turn to throw a haymaker! in an echo of earlier, aruna grabs that arm and puts it into a (very loose) joint lock, and loops his left arm around shi kai's chest in a "headlock." I would like to praise aruna's fight choreography technique here, because he is executing a lovely fake headlock — arm barred across shi kai's collarbones and shoulder, not actually anywhere close to shi kai's throat. likewise, shi kai's free hand is on that arm, which anchors both of them relative to each other and also allows for shi kai to "struggle" without being in danger of dislodging aruna's grip to somewhere more dangerous

aruna then pivots them and "kicks" shi kai onto the couch — either he misplaced his foot or he's really selling it, but that flail does not look very controlled hhh. meanwhile, shi kai finally gets to flop on this very squishy-looking couch, which jing long has been monopolizing for this entire performance. again, it's shi kai's job to sell the force of aruna's kick, so he whiplashes very convincingly onto the cushions

this is also a classic of stage combat: "throw" your opponent into what is actually a soft landing place with very little real force, and let your opponent control the force and direction and theatricality of how they land

aruna, stumbling back from kicking shi kai, has his outstretched arms caught by two of the stuntpeople he laid flat earlier. also another visible "seam," as he essentially backs into their arms so they can catch him

he then flings them off, which is tremendously unrealistic sdlfksdjls but we can cut the man a break, he's been onstage for a minute and a half and that minute was almost entirely fight choreography

side note: you can hear aruna's heavy breathing, which means that they decided to keep his mic on during this fight sequence?? well I hope they turned aruna's mic off shortly after this for the next stunt they're about to pull

the flying kick + punch combo is also tremendously unrealistic (like, way to cancel out the force of your own strikes as you try to go in opposite directions simultaneously), but it looks showy. if you watch carefully, you can see the second stuntperson (who presumably gets socked in the face) do his extremely extra flip while he goes down just a hair late

3:27 - 4:08 (end) Finale

and now it's time for the big finish! I do love the editing on this performance, since no matter who's currently engaged in a beatdown, they'll periodically give shots to the third person so we know where they're positioned. in this case, we saw jing long levering himself back up during the aruna - shi kai showdown and gearing himself up for—

jing long runs at aruna and launches himself into the air to lock his legs around aruna's neck

moment of silence for aruna's neck. and all the rehearsals they had to go through while jing long figured this out

another visible "seam" — as aruna backs up towards the center of the stage, he's subtly checking over his shoulder (the wrong shoulder, likely on purpose so that he can still be taken "off guard" by jing long's attack) and killing a few seconds while jing long gets a running start

to be honest the spinning leg lock just looks fun. probably not for aruna but once they get into position jing long lets his arms go like "wheeeee"

letting his arms go is also important for weight distribution, balance, and lowering himself to the ground once aruna's spun them enough times. hey can someone send a memo to 偶像剧 that this is clearly the superior form of the 公主抱 + 转圈圈 combination

aruna goes to the floor — again — to let them both down and they roll away from each other to disengage. hilariously, at some point in this scuffle, aruna loses a shoe. you can spot it by shi kai's foot in the next shot, and also when aruna stands, facing the didi gang, his right (shoeless) foot is visibly smaller than his left

this manuever also yanks the earpiece out of aruna's ear — at this point I'm just impressed that all of their microphones stayed on their faces

while shi kai helps jing long get to his feet (love that you can hear the unsteadiness in jing long's voice. that doesn't stop him from being exquisitely on key or belting), aruna goes and grabs the duffel

I am also irrationally charmed by how shi kai mirrors aruna's chin-jerk. in my personal postcanon imagination for this stupid four minute performance I like to think that they follow the 不打不相识 rules of friendship, and aruna takes these two chuckleheads under his wing. oh wait that's what already happened in the rehearsals for this performance. anyway

a moment of appreciation for the dynamism of the last shot — in the ringing silence after the last note, aruna hurls the duffel bag behind him with a yell, and the two sides charge at each other as the stage goes dark. this must have been a late add, because their dress rehearsals have the didi gang getting up in aruna's space and surrounding him, and the stage goes to blackout in that stationary image. ending on this clash is such a lovely evocation of movement and further story as both sides throw away the original "goal" of this confrontation (the duffel) for the thrill of the fight

OK SO THAT WAS A LOT OF RAMBLING, NOW WHAT?

you know, I wish I knew what the point of this exercise was too beyond trying to shake all of these thoughts out of my brain. all I know is that I watched this performance a couple of weeks ago and it's now become my entire personality. I think about it multiple times a day. I've watched it so many times I know all the cuts, and maybe most of the choreography by heart

I think there's something about the rawness of this performance — both in a primal, punchin' kind of sense, but the relative lack of artifice. this performance is very much a back-to-theatrical basics; a rare piece that doesn't rely on an overabundance of flashing concert lighting or pyrotechnics to elevate the atmosphere of the song. much like the barebones aesthetic of the set (mostly scaffolding), this performance relies on very little special effects beyond good old-fashioned theater. legitimately, I'm not sure they had many lighting cues beyond "lights up" and "lights out," which is tremendously refreshing to see.

and of course, naturally, I've been obsessed with the fight choreography. hopefully the several thousand words have convinced you that the choreography is well-made and well-crafted within the context of the song and performance and narrative; I think for me, it was the refreshing novelty of seeing actually good fight choreography in cmedia. it's just been. so long?? since I've seen down and dirty fight choreography that hasn't been stylized and slow-moed to hell and back, strung up and strung out on wire work and wind machines. there's also a down-to-earth-ness to the stage combat here — reminiscent of HK gangster flicks, for sure, and their overlap with kung fu action films — from the lack of wild stunts and acrobatics that feels especially appropriate to the presented narrative

and it helps that everyone brought their all to the performance! aruna, shi kai, and jing long's characters all shone through easily, subtly, in embodiments that felt effortless, though jing long would be the first to argue otherwise (he struggled quite a bit, and went to Professional Screen Actor Aruna for advice). and even if the characterizations felt seamless, I loved being able to see the "seams" of the performance; how they put the fight choreography together, the little tells where you can spot the immense amount of work that went into honing this performance into something stage-ready. the effort everyone put into this is palpable, from the shortness of breath to the strained voices and strained back muscles (big mood, jing long). it's the fly on the painting that brings it to life; it's sneaking a peek of the human effort and time and work it took to put this together

I am rapidly running out of words to explain why I love this so much, but to actually explain all of it feels like it would strip away the emotion and render it nothing more and nothing less than appreciation. but there is a healthy mixture of all of that: appreciation, admiration, enthusiasm, knowledge, satisfaction, that makes my deep affection for this performance that much stronger, that makes me stop my workday whenever this comes up in my playlist again to watch it all again, even if I already know every grunt and every thump, every run and every belt by heart

(bows to an empty auditorium) thank you for your time as I yammer on about another niche interest. I'm off to go elevate my watch count into the triple digits (kickflips off stage)

LINKS

纯享 4-minute performance video

full episode (their section begins 41:20 and runs approximately to 1:00:00)

extra reactions from the greenroom

additional rehearsal footage

[jingyuanyuan]

(Observations from Chinese fandom idk what it’s like in the English side, also idk translations for some of the names of things)

A lot of blade fans dislike jingliu (hmm perhaps for killing their guy hundreds of times) but I think people forget jingliu was possibly the most direct victim of the incident. She had to kill the cursed dragon made from baiheng’s flesh (I don’t read liuheng fics but I kind of passively ship them because it makes this more knife and more tasty) which basically immediately triggered her mys and drove her insane (altho she was already very old 1000+ by this point) so effectively Dan feng and ying xing caused her death as well, and thus altho she considers herself one of the 3 sinners due to going insane and killing fellow soldiers, you could also consider that to be Dan feng and yingxing’s fault too. From this point on jingliu is dead, and iirc the document in game says the casualty count was in the thousands and I don’t think jingliu killed blade that many times, if you want to calculate it like that.

I’m not a blade 推 he’s just very interesting to me, his suffering fascinates me lol, I’m a jing yuan 推 tho so I suppose I also have complicated feelings about the current, mys jingliu because of the trouble she and luocha did and will bring to xianzhou and thus jing yuan… she really is not herself anymore. The jingliu who taught jing yuan 吾等云骑，如云翳障空，卫庇仙舟 is gone… that jingliu would never use the lives of everyone on luofu as just another means to achieve her goals.

And if you look at blade altho he is probably normal most of the time when he’s not exposed to mys triggering things from his interaction with firefly he seems pretty quite and reserved (altho still cracks jokes which were then heavily memed hhh 点刀哥经典语录：死不了) which is very different from famously arrogant yingxing. That arrogance was probably why he helped Dan feng, for Dan feng he also had to consider this could be the way to save the future of his race but for yingxing I interpret his motivation as helping a friend and the short lived race’s desire to do what no one has done before and leave his mark before he’s gone. Blade probably considers his arrogance as one of the fatal character flaws that led to the disaster. I suppose time both sands down ones edges and wears away everything but the most pure desires and goals, and everything else is in service of that goal. For blade the goal is his eventual death, for jingliu it’s to kill yaoshi, and altho jing yuan hasn’t mys-ed you could say for him it’s all in service of luofu

[murderedbyhomework]

Li Xiangyi is the sun, Li Lianhua is the moon, but have you ever considered:

There’s not much difference between the sun and the moon, really, not in the end. The sun might be brighter, it might be more magnetic and all consuming and eye catching, so that you can’t help but stare at it even as its light blinds you, the moon might be paler and more damaged, it might be dimmer and easier to stare at for ages, but they’re both the same, in the end. They’re both beautiful yet so so distant, hanging in the sky more precious than any jewel you could want, but they’re unreachable, you could leap into the sky, you could throw yourself into the sea just to catch its mirage, but you’ll never touch them. That’s okay though, because even as you plummet from the sky or sink into the depths of the ocean, you can derive comfort from the way their light caressed you for an instant. And that makes it all worth it, doesn't it?

[sarahalainn]

真似してみた

初の長岡

中越弁、怪しいところもあったかもしれないけど(あっきゃー)、「なじらね？」は通じた

ちょっとお久しぶりの稲垣潤一さんとのクリスマス🎄

お互い水に弱くて溺れそうになった経験や、地声は低いのに歌うと高いという共通点でトークも楽しく盛り上がりまし��。稲垣さんの歌声は、どの音もそのど真ん中に刺さるので、なんともクリアでピュアで、ベルのような響き🔔

オーストラリア育ちの私は、クリスマスは違和感しかなく(南半球なのに飾りもツリーも基本変わらず暑苦しい)、基本お祝いして来なかったため、クリスマスキャロルが流れる頃には憂鬱マックスでしたが、日本に来て、もう稲垣さんの声が流れないクリスマスは想像しにくいです🎄

1st Stage はお着物関係👘

リクエストされた大河ドラマ『西郷どん』で参加させて頂いた「我が故郷」を振袖ドレスで表現

本物も真似してみた

和風編

最後は皆さんも真似してみた

(ご協力、ありがとうございました)

相変わらずハートフルなピアノ演奏をはじめ、

いつもこのメンバーの時のセトリや衣装のプロデュースをされてるのは塩入さん^_^

New Otani Nagaoka の入り口のすぐ隣の素敵なお店。ショーウィンドウに折り鶴が。🇦🇺の国旗も。

毎日頑張ってる自分へのご褒美。贅沢なクリスマス。人生を豊かにするそんな瞬間に、心躍りますね。

世界の誰もがそんな贅沢なクリスマス、安心できるクリスマスを過ごせる権利があるべき。なのに、現実は違う。

平和を願うクリスマス。そんなメッセージを込めて尊敬する教師、坂本龍一氏の『戦場のメリークリスマス』を歌って演奏させて頂きました。

一度きりの人生。思いっきりエンジョイして、自分を大事にして、周りの人も同じように人生を自分らしくエンジョイできるサポートをして行きたい。

贅沢なクリスマスだからこそ、そんな当たり前なことを毎回考えさせられます。

では、最後に、良かったら、笑って下さい🤭

この人、見たことある

feat. 稲垣潤一、塩入俊哉、サラ・オレイン

[web-novel-polls]

Have You Read This Web Novel?

If you’re in the process of reading this web novel, please choose whichever option best fits your situation. You do not have to be completely finished with it to answer “yes.”

If you’ve never heard of it, please read the description below the cut!

See similar polls and results here!

Lin Huai personally thinks that he is just an ordinary college school student. He likes science, he likes life, he likes people, and he is also really stubborn about using novels and TV series to make up for his common sense. Apart from being a ghost in a dry well, who has devoured all the other ghosts in the city, and possessed the cold body of a college student, there’s nothing special about him. Now, he just wants to live a peaceful life with some occasional small events. Until he found out that the doors of the apartment he was supposed to rent were locked. On the long table in the lobby, there was a note that said: “There is a ghost among you, if you want to survive, you must find out who it is.” Lin Huai: ? I really just wanted to rent a house. “Little newbie, don’t be afraid.” A hand was placed on his weak and helpless shoulder, “I will protect you.” Then, the guy called Chu Tianshu gave him a hearty smile. “I’ll help you hammer that ghost.” Lin Huai: (Softly smiles) ……Can I hammer you first? Later, Lin Huai tried hard to prevent the ghost who was screaming and struggling to escape from him and used his shoulders to knock on the door with difficulty. “Help! It’s escapi- ……No I mean it’s chasing after meee!”

- Novel Updates

[chryso-chryso]

tomorrow! the 王者荣耀 event is going to be livestreamed on weibo, as far as i know. and the Melody Journey finale is at 9 @ jiangsu TV.

acts under the cut!

[chocoberrycrepe]

A place called home, a family to belong to 🏡

QUELL7周年おめでとう！！🎉

Happy 7th Anniversary, QUELL!! 💐

🩵💚💙❤️

🐿️🐿️ #QUELL7周年 🐿️🐿️

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A post shared by Rena (れな) (@moonsquirrele)

🔁 October 28, 2023

[phillip-karfere]

I seldom draw about kiss or any other things because I can't understand them

[justaboutsnapped]

Alpine你们。。。

[hunxi-after-hours]

about 无限流 recs: not really the most typical example of the genre and in a very different flavour to liehuo's interrogation of the same question but 《我的理想小镇》 has things to say about what it means to be human (and what it means to give that up)

I HAVE ANONS THAT READ 无限流???

ok so I am VERY intrigued by this recommendation, especially since I read 《魔尊也想知道》 by the same author and enjoyed it! for a 沙雕文 it had a lot more fun (meta)narrative-based worldbuilding than I expected, so I'm curious to see what this author will do with a more intensive genre like 无限流

mark me intrigued anon 👀 👀 👀

[mynameisemo]

可以说【灼灼风流】的结尾全靠王丽坤跟徐海乔撑起来的。

对于柔嘉公主先前的柔弱，到后面的狠厉，我觉得王丽坤把握的极好！老实说，柔嘉初登场时，个人觉得：「喔～好丑！」实在不怪我，这女人把自己整的实在太廋…着实不好看；后来也不知道是不是看习惯了，还是她养回了一点肉？！反正就越看越顺眼了……也就在这越发顺眼中慢慢看出柔嘉这角色的真面目跟真意图——不错、不错，这王丽坤的演��依然处于高水平！我被最后两集里的柔嘉震惊到了～她不为帝着实可惜啊啊啊……！！！

徐海乔——唉～于他的演技……我真心体会了一把以下成语：我见犹怜、梨花带雨、楚楚可怜；别说柔嘉得对他弃械投降，连我这观众都得对他拜服！然后仔细想来…好像自从他（沈惊鸿）爱上柔嘉（王丽坤）这个女人以后，就注定了他步向死亡的结局——想来他自己也是有预感，只是自己也深知劝不动柔嘉也只能同她随波逐流了。

比之正主（冯绍峰、景甜）的表现……我只想说：好吧，尽量替你们（正主）找找可以让人信服的藉口——都是剧情给的不够有张力，所以你们发挥不足以令人惊艳…呵呵——譬如：你们的戏份被编导弱化了（编导不好）、坏人演的不够坏（沈惊鸿、王丽坤）让你们没有惊人演技尽出的余地……

这些藉口———够让人信服吗？

[andywangqq]

巴西引流？

[chengyangblog]

[niteshade925]

🤪