#And by Asian they mean China Japan and South Korea

[specialmouse]

when i talk about japanese exceptionalism/fetishism being racist i dont mean that it solely affects, or even MOSTLY affects, japanese people. japan is the america of asia. japanese people on the mainland are fine. but what japanese exceptionalism and fetishism of japanese culture does is, well, exactly what it seems like im saying--it places japan (a deeply racist imperialist society) as the pinnacle of asian civilization. and what does that do? it places all other asian civilizations on a hierarchy, usually determined by skin color, and how close to "japanese" the asian person/asian ethnicity is. there's a reason why westerners are gooning over south korea right now and it's because they see a lot of similarities between south korean culture and japanese culture (which is funny because uh, colonialism guys. come on)---but hate china and the dprk, and see all of southeast asia as dirty and backwards.

when the archetypal japanese woman (pale, hairless, thin, yamato, submissive, etc.) is fetishized, it is usually not the japanese woman who faces the brunt of fetishistic violence (unless she is of the diaspora in which case... lol)--it is the vietnamese woman, the thai woman, the indonesian woman, etc., because they are more vulnerable to exploitation a) because they are more likely to be brown and *andre 3000 voice* across cultures darker skinned people suffer the most, b) southeast asian countries are still majorly suffering from the after effects of western colonialism and asymmetric warfare that leaves their country far worse off economically (particularly vietnam, laos, and cambodia) and, c) westerners, despite recognizing her as an asian woman, do not see her as a Japanese woman, and therefore treat her worse because they see her as uncivilized. there's a reason why, when pedophiles want an asian child, they go to thailand, not japan---because the sex tourism industry isn't something they can get rid of. japanese women are considered the ultimate trophy to be shown off as a sign of the man's virility and masculinity, and southeast asian women are seen as consolation prizes to the men who can't get the "real thing". do you know how many mixed asians i know whose dads scooped their moms up from a military base in the philippines or okinawa? and the mom has only gone to see her family maybe five times in 20 years? she's not the porcelain doll the man wanted, but she still has to try and "japanize" herself to be seen as even worthy of respect, which she still doesn't get because no matter what she does she will not be japanese. that's what japanese exceptionalism does.

[starryalpacasstuff]

The Absence of India in Discussions on Queer Asian Media

(Edit: Since making this post, I've compiled a list of all the queer Indian media I can find here (it's also pinned on my blog). India may still be relatively absent from discussions on queer media, but it doesn't have to be that way, and change starts with us!)

So, yesterday @lurkingshan tagged me in an ask she got from @impala124 about the absence of India when we're talking about queer Asian media. I was intially just going to reblog it with my thought, but as it kept growing I figured it'd be best to just make my own post. Please read the ask linked above first so this makes sense.

*cracks knuckles* this is going to be the most fun I've had writing a post in ages. (For a little background, I'm a queer Indian, born and raised)

So, this is a very interesting question on a subject I've been rotating in my head for the past several months. There's a lot of different variables that contribute to the noticeable lack of discussion on Indian and South Asian queer media in general, so I'm just going to talk through the ones I've noticed a little randomly.

Talking about Asian media in general, it's well known that the mass popularity of kpop and anime has contributed massively to the increase in popularity of Asian media. If you've been in the Asian media fandom for any amount of time at all, you'll have noticed that media from Korea, Japan, and China gets by far the most attention from international audiences; all East Asian countries. There may be several reasons for this, but in particular, it's no secret that the fetishization of East Asians is a massive proponent in the popularity of media from these countries, while there's no such interest in South Asians. If we shift our focus to queer media specifically, media from these three countries is still extremely popular, with the addition of Thailand and the Philippines to some extent; both South East Asian countries. From what I've seen, there's very little international interest in media from South Asian countries (although, if we're talking about India specifically, I can't exactly say anything. Bollywood has not been good lately). If we talk about queer South Asian media, the scope of interest falls even further. If you'll notice, MyDramaList, one of the most commonly used websites for finding and tracking Asian shows only allows for East and South-East Asian shows. So, that's one reason—there's just not much international interest in Indian media in general. As Shan said in the initial post, it's partially because of a difference in priorities. Korea is notorious for using media to gain global standing, the role of the 'soft power' of Thai bls in the recent bills for equal marriage in Thailand has been widely discussed, the list goes on. Could racism also play a part in the massive gulf of interest in media from East Asian versus South Asian countries? Probably. But I'm not going to get into that too much.

Moving on, there's obviously a massive lack of queer media in India. I think this is greatly exacerbated by the fact that it's very hard to support the people making queer media beyond buying and/or streaming their work. The majority of people engaging with Indian queer media are queer Indians, and a lot of us have to do so in secret because of the society we live in. This means that creators that have to push through several obstacles to publish their work often receive little incentive to continue doing so because of the lack of engagement. Because of the lack of media, international fans are less likely to become interested in queer Indian media, and the cycle continues.

I will say though, contrary to what Shan said, I think Indian media, particularly anything that came out post 2019 might actually be on the easier end of the spectrum when it comes to access. This may simply be bias, so forgive me if I'm wrong here, but from what I've seen, a lot of queer Indian shows are in fact available on streaming sites, and at most you'd need a vpn to access them. I think the two main things that actually hold back queer Indian media from becoming more popular are a lack of noise and it's relatively lower quality.

The main way we find out about new shows in this space is through either word of mouth (well actually, post) or because we follow production houses known for producing media. Because of the sparse nature of both the media and the consumers, there's very few people who learn enough about the media to want to give it a shot. For example, there's a film on netflix called Badhaai Do (hindi for Congratulate Us) that I've been meaning to watch for a while. It centers around a lavender marriage and I've heard a lot of good things about it, so I was slightly surprised to see that most of the people on tumblr I interact with who have been engaging with queer media for far longer than me had never heard of it. There's also a, Indian BL from 2017 called Romil and Jugal that I've written about before here, and I would've never learned of it's existence if not for a friend hearing about it from another friend of hers.

Because there's so little queer indian media, it's natural that the quality leaves much to be desired. The main issue is, because the queer asian media market has become so saturated lately people are becoming a lot more selective with what they watch, and for good reason. This means that queer media from india is simply unable to grow and improve over time, leaving it stagnant. Back in 2016-2018, the overall dearth of queer media from Asia meant that a lot of people were willing to watch shows that were average or even worse. Thailand particularly seems to have benefitted from this, being able to grow and evolve its queer media due to the successes of shows like SOTUS, 2gehter, TharnType and more even recently, KinnPorsche. Queer Indian media will have a much, much harder time with this because of all of the factors I've talked about and more, meaning that it is much harder for queer media to evolve. Honestly, though I haven't been able to watch/read much queer media from India, the stuff I have seen is really quite decent, it's just that it tends to fail in comparison to some of the brilliant stuff we're seeing from other countries. A while a ago, I bought four queer books by Indian authors, and of the three I've read so far, I'd genuinely recommend two, albeit one with quite a few reservations (I'll be writing about them sometime in the future, just haven't found the time yet). While talking about this with @neuroticbookworm, she brought up the excellent point of how Indian media in general has just been of fairly poor quality lately. It seems to me that a lot of it is catered to more conservative audiences, which results in people like me becoming disillusioned with Indian media and simply moving onto things from other countries. It has been a long time since I've watched anything worthwhile come out of Bollywood. So, it becomes even harder for queer Indian shows to be found at all; a majority of their target audience has already forsaken Indian media as a lost cause.

So, those are a bunch of reasons because of which there's not a lot of discussion about queer Indian media in fandom spaces like Tumblr. Something else I'd like to point out is, it's very hard for queer shows in India to gain much traction whatsoever. Live television slots are ruled by the infamous Indian serials, the majority of the audience being people in their late thirties and older, particularly women. And while homophobia is just as prevalent amongst the youth of India as it is amongst older generations, younger people are far more likely to be engaging with queer media, in India at least. This means that it would be near impossible for queer shows to air on live television the way they do in countries like Thailand and Japan. The majority of Indian youth use global streaming services to watch shows, hence the greater concentration of queer shows on service platforms. (Romil and Jugal is something of a dark horse here—I don't believe it was ever aired, but it was produced by a producer who has a few decently popular serials under her belt and is available on an Indian steaming service—another reason I'm determined to research how tf this show ever came into existence) If we talk of movies, the industry is limited by the iron fist of Bollywood, another reason it's very hard for queer movies to be produced and why they're generally found on streaming sites.

There's just not a lot of people who have the balls it would take to make a queer Indian show/movie and push it to the Indian public beyond a streaming service. I mean, we're all seeing what's happening with the Love in The Big City drama right now, and believe me, public backlash in India would be the same, if not much worse. And if no one in India is watching these shows, why would anyone in any other part of the world? There's barely any public figures that would be willing to participate in such a project, so queer media stays underground. Currently, Karan Johar is the most popular—and one of the only—out celebrities in Bollywood, and, well, he's treated as something of a laughing stock by the public. He has one or two queer adjacent shows under his belt as a producer, but once again, they're barely known and available only on Netflix. There was a movie called Dostana in which he played a straight guy pretending to be gay but, well, that speaks for itself. And well, I can't exactly blame him for it, knowing how the Indian entertainment industry is.

To talk a little more about the specific comparison between India and Korea, I think you're fairly accurate in saying that the two countries seem to be roughly on par in terms of homophobia, although that's an extremely vague statement that's rather hard to either prove or disprove. While the difference in international attention towards Korean and Indian media is certainly a major component of the difference in discussion about the queer media from these countries, there's obviously other things that go into it as well. There's this video I watched some time ago on the progression of queer representation in K-dramas that's quite well researched. It's an hour and a half long, so in case you don't have the time to watch it (though I do recommend it), it basically talks about some of the dramas with queer rep that have aired on Korean television and their impact. While it's hard to gauge the level of impact of these shows on the availability of bls and gls in Korea, they certainly had an effect, if only telling the queer population of Korea that they are seen and heard. To my knowledge (although I may be mistaken), no such queer rep has ever aired on Indian television, meaning that there's nothing to push creators to put queer media out there. There have been old movies and shows that depict queerness, but none of them ever reached the sort of the scale where they may have some sort of impact on the industry. As I mentioned earlier, the widespread popularity of K-dramas (and k-pop) does make it easier for creators to make queer media since there's a much higher chance of the shows being successful thanks to the international audience. Bringing back Love In The Big City, the success of the book abroad and the high probability of the show being well received internationally is probably one of the reasons it was able to be produced amongst domestic backlash.

Now, I've been talking a lot about how it's difficult for queer Indian media to gain any sort of international recognition with domestic attention. However, it's not necessarily the case. Here's where I start rambling (I say, as if this post isn't verging on 2k words). It's been proven that the presence of the international market allows for greater creative freedom in spaces beyond television. The best example comes from Korea's very own 'soft power'; K-pop. There's a K-pop group called Dreamcatcher that debuted in 2017 with a rock sound and horror concept that was extremely rare in kpop at the time. They succeeded mainly by focusing most of their promotions to the foreign market, knowing that their concept would not be well liked in Korea. And they succeeded. Today, Dreamcatcher has a sizeable fandom and has even been growing in popularity in Korea, with the Korean public warming up to their genre and having influenced other girl groups to try out similar sounds. We've already talked about the lack of international attention for Indian media, but there's also the issue that the producers of queer Indian media aren't marketing to foreign audiences, which remain ignorant.

That's all I have, this is so long good lord. All in all, there's a bunch of factors that feed into each other creating a cycle which means that, unless there's a break somewhere, queer Indian media will remain unrecognized. I'm excited to see what other people have to say, because this is a topic close to my heart and I'd definitely enjoy seeing more discussions around it.

[atlaculture]

Hello!! Firstly, I love your blog, thank you so much for providing such useful and interesting information! Secondly, how was pirate culture in the Qing dynasty? Especially in regards to their clothes. I'd like to make an Earth Kingdom pirate oc, so I've been taking some inspiration from Jiang from the comics and Ching Shih, a famous pirate, but I'd love to see any information you could provide about this topic! Thank you!

What a neat question! The pirate culture during the Qing Dynasty was really interesting. Since I know I have a lot of historical fashion fans following this blog, I'll show you the inspiration board I created first and then try to connect it to the Avatar world. If you're interested in the history of Qing-era pirates or the greater context behind my clothing recommendations, you can click on the "Keep Reading" line.

So what might the pirates of the Qing Dynasty have worn?

Since Qing Dynasty pirates spent most of their time in the South China Sea and docked along the China-Vietnam borderlands--- both the Qing Dynasty and the Tây Sơn Dynasty had employed these pirates at different points in time--- they were likely a mix of Chinese and Vietnamese culturally, if not ethnically. Their clothing would reflect this, as well as incorporating fabrics and cuts that would be suitable for a tropical climate. In general, their wardrobe would be very Southeast Asian in style.

Since you seem to be designing a female OC, I figured I'd make a collage of clothing and accessories that a Qing Dynasty lady pirate might have.

Headwear

Khăn lươn (Vietnamese Women's Headwrap) - Used to keep hair neat and out of the way. It's like a halfway point between a turban and a hairband.

Khăn mỏ quạ (Vietnamese Women's Headscarf) - A bandana that Vietnamese women would wear over their Khăn lươn to shield their hair from the sun. It literally means "Crow's Beak Scarf", because the bandana forms a triangle shape at the front.

Mũ chữ Đinh (Vietnamese Military Officer's Hat) - Many Qing Dynasty pirates would offer their services to the Tây Sơn Dynasty (Vietnamese) navy. I can imagine some pirates wearing these hats as a spoil of war. The hat is showcased on the bottom left corner of the collage.

Nón lá (Asian Conical Hat) - A traditional hat that is commonly worn in Asia by any profession that labors outside. It's probably the hat most associated with East and Southeast Asia.

Đinh Tự (Vietnamese Women's Hat) - A giant, wide-brimmed hat made from dried palm leaves--- it's basically an Asian conical hat on steroids. Whereas the nón lá is relatively gender-neutral, the dinh tự is considered a feminine hat.

Tops

Yếm / Dudou (Vietnamese/Chinese Halter Top) - Fun Fact: Its original purpose was to keep the belly warm, as the stomach is the sea of chi!

Áo gấm (Vietnamese Tunic) - A thin overcoat worn over the yếm. It's often fastened with a sash.

Áo bà ba (Vietnamese Folk Shirt) - A lightweight shirt with slits on the side.

Suoyi (Chinese Folk Raincoat) - A cloak made out of local materials such as palm leaves and grass. It was also worn by laborers in Vietnam, Japan, and Korea.

Bottoms

Kangkeng Le (Thai Fisherman Pants) - They're from Thailand, but I've seen them worn in other parts of Southeast Asia.

Váy (Vietnamese Skirt)

Miscellaneous Speculation

Kiềng (Vietnamese Gold Necklace) - Traditionally, gold or silver Vietnamese/Chinese necklaces were solid rings of metal, rather than being composed of small chain links like European necklaces. I imagine a powerful Asian pirate queen would wear at least three kiềng necklaces.

Tattoos - Since Confucian cultures traditionally considered body modification (including cutting your own hair) to be a sign of rebellion and criminality, tattoos would be the perfect status symbol for an Asian pirate! For a uniquely Vietnamese look, you could try incorporating ancient Vietnamese (Dong Son style) patterns to your design. Alternatively, they could have "protection charm" tattoos on their body, to ensure that the spirits watch over them while at sea or during battle.

Cormorants (Fishing Birds) - Historically, the fishermen of China and Vietnam have trained these species of bird to catch fish for them. I think it would be really cool if your pirate OC had some bird companions.

Weapons

Going to lean into the Vietnamese influence for the weapons as well. Most Vietnamese weapons were heavily inspired by Chinese weapons, but with uniquely Vietnamese touches. Generally, these weapons tended to have more tapered blades, metal engravings with floral patterns, and rattan-corded grips with smaller guards compared to their Chinese counterparts.

Dadao/Trường đao (Chinese/Vietnamese Machetes)

Jian/Kiem (Chinese/Vietnamese Doubled-Edged Swords)

Changdao/Guőm truòng (Chinese/Vietnamese Two-Handed Swords) - Fun fact: These swords were really popular with Chinese and Japanese pirates during the Ming Dynasty, as well.

Niuweidao - I don't think there's a Vietnamese version of Oxtail Sabers. Anyways, I've discussed Zuko's trademark swords at length elsewhere. They're civilian weapons that look very pirate-y to me.

Who would the Earth Kingdom pirates be? How would they make a living?

It has been shown that their is a Vietnam analog in the EK, as I've posted about before. The Swampbenders have some Vietnamese inspiration, as well. So the main base operations for EK pirates might have been that EK village that Zuko and Iroh begged in. Maybe the jerk that Zuko stole the swords from was a pirate.

Considering that Froggy Swamp denizens and other Water Tribers would probably be marginalized by EK society, I think their would be good reason for them to become pirates. Especially since waterbending would obviously be a very useful skill to have at sea. Also, since the Northern Water Tribe is shown to be a bit sexist, I could see the surprisingly not-as-sexist world of EK piracy being especially appealing to the ladies of the NWT. As far as EK natives go, farmers and fishermen who've been displaced by the Fire Nation would probably also turn to piracy. Similarly, jaded or corrupt Earth Kingdom and Fire Nation naval officers might switch to piracy, as well. What drives a person to piracy would definitely inform their clothing choices and weaponry.

Like the real-life pirates of the Qing Dynasty, Earth Kingdom pirates likely have no real national loyalties. If you paid them enough, they'd be willing to fight for either the Fire Nation or the Earth Kingdom. You also have to pay them off to cross their territory unscathed. Pirates raid merchant and military ships alike. For refugees who could afford it, they likely paid pirates to smuggle them into Ba Sing Se. Pirates probably also smuggled goods between nations, as well as drugs.

I also think Earth Kingdom pirates would worship water-related spirits, like Yue (+ the Ocean Spirit) or the Painted Lady. Perhaps they'd lay out offerings to spirit alters they'd have onboard or even "feed" the offerings to the seas themselves.

The Greater Context of Chinese Qing Dynasty Piracy

Who were the pirates of the Qing Dynasty?

The pirates of Qing Dynasty were predominantly made up of former farmers and fishermen. During this period, population growth in China lead to land shortages and many farmers lost their land either from being unable to keep up with rising taxes or outright theft from corrupt officials. Fishermen turned to piracy when fishing could no longer guarantee their survival, especially with European pirates and colonial ships invading their waters. In general, extreme poverty drove people to piracy.

Also, Chinese pirates were surprisingly more accepting of female leadership than men from more "respectable" parts of society. This is due to the fishermen roots of many pirates. Traditionally, when a fisherman died, his wife was expected to take over his boat and crew. Also, the two most prominent patron Chinese gods of seafarers are goddesses, Guanyin and Mazu.

What did these pirates do?

Qing Dynasty pirates were a unique fusion of bandit, mercenary, and drug smuggler. Obviously, if you planned on sailing through pirate-infested waters, you had better pay off the pirates to be left unscathed. Otherwise, your ship was getting plundered.

Qing pirates also offered up their talent for violence to the highest bidder during times of war. In the 18th century, Imperial Vietnam would frequently hire and train up Southern Chinese pirates to assist their fleets during naval battles. Those who earned merit during these conflicts would even be granted official military titles. In 1857, the Chinese government would even employ these same South Sea pirates to take down the Portuguese pirates terrorizing their waters.

Finally, as Qing Dynasty piracy reached its epoch at the same time as the First Opium War, Chinese pirates participated in a lot of drug smuggling. As pirates have no loyalty, they had no issue serving as middle-men in the profitable European drug trade.

Where were these pirates found?

The South China Sea was the stomping ground for Qing-era pirates, particularly the Gulf of Tonkin. In terms of ports and towns, they tended to spend a lot of time in the border areas where China met Vietnam. Remember that these pirates offered their services to both Imperial Vietnam and Imperial China, so they didn't exactly have national loyalties.

[chaos0pikachu]

Is BL Being Overly Influenced by Modern Western Romance Tropes?

Short answer: No. anyways, in the following essay I will explain that James Cameron is a weeb...

(okay fine~~ lets actually do this)

TLDR: discussing what media globalization is, how fandom can distill it down to only American/European cinema, showcasing how a lot of current BL is influenced by countries within it's own proximity and NOT "the west" but each other, also James Cameron is still a weeb

I had seen a post that basically proposited that BL was being influenced by modern western romance tropes and had used things like omegaverse and mafia settings as an example. I found this, in a word, fucking annoying (oh, two words I guess) because it's micro-xenophobic to me.

It positions western - and really what we mean by this is American/European countries, we're not talking about South American countries are we? - cinema as the central breadbasket of all cinema in and of itself. Inherently, all following cinema must be in some way, shape, or form, influenced by American/European standards, and as such America/European countries are directly responsible for cinema everywhere else, and these places - namely non-white countries - do not influence each other, nor have their own histories in regards to storytelling or cinema and do not, in turn, also influence American/European film making either.

Now like, do I think all of that~~ is intentionally malicious thinking on behalf of folks in fandom? No, so chill out.

I do, however, think a lot of it is birthed from simple ignorance and growing up in an environment where ~The West~ is propagated to be central, individual, and exceptional as opposed to the monolith of "Asia" - by which we mean China, Korea, Japan don't we? How often in discussions of Asian countries is Iran, India, or Saudi Arabia brought up even tho they are all Asian countries? - or the monolith that is South America - in which some folks might believe regions like the Caribbean and/or Central America belong to, but nope there both North America.

Anyway, what we're talking about here is the concept of "media globalization":

"The production, distribution, and consumption of media products on a global scale, facilitating the exchange and diffusion of ideas cross-culturally." (source)

"The media industry is, in many ways, perfect for globalization, or the spread of global trade without regard for traditional political borders. [...] the low marginal costs of media mean that reaching a wider market creates much larger profit margins for media companies. [...] Media is largely a cultural product, and the transfer of such a product is likely to have an influence on the recipient’s culture." (source)

Typically when I see fandom discussing what falls under MG the topic is usually focused on how "the west" is influencing Thai/Korean/Chinese/Japanese media.

Enter, Pit Babe.

Surely Pit Babe was influenced by Supernatural right? Omegaverse is huge in the west - love it, hate it, meh it - it originated in the west - specifically via Supernatural after all.

Nah.

Omegaverse has been popular in Japan and China for almost a decade, if not longer. The earliest omegaverse manga I can think of is Pendulum: Juujin Omegaverse by Hana Hasumi which was released in 2015, almost a decade ago.

(what if you added furries into omegaverse? WHAT IF?? - Japan)

There's countless popular omegaverse manga too, and the dynamics only moderately resemble the ones we're familiar with in the west. Juujin is part omegaverse and part furry/beastmen - the alphas are all beastmen the omegas are humans - while something like Ookami-kun Is Not Scary only slightly resembles omegaverse dynamics as a hybrid series - beastmen are really popular in Japan in part b/c of historical mythology (you see the combination of romantic Beastmen and Japanese culture & folklore in Mamoru Hosoda's work The Boy and the Beast and Wolf Children).

Megumi & Tsugumi (2018) is so popular they're an official English edition published by VIZ's imprint SuBlime and that's a straight up omegaverse story.

(look at the omega symbol on the cover loud and proud baby)

So if Pit Babe was influenced by anything, it certainly wasn't "the west" it was Japan, Korea and China. Because those countries have a thriving omegaverse sub-genre going and have had such for 10 plus years now. Supernatural is popular in Japan, yes, and that may be where Japan and Japanese fans originally found omegaverse as a fictional sub-genre.

HOWEVER

Japanese fans took the sub-genre, bent it, played with it, and evolved it into their own thing. As such, other countries in their proximity, like Thailand, China, and Korea who read BL and GL manga, found it and were like "hey, we wanna play too!"

(is that an omegaverse yuri novel I spy?? yes, yes it is)

When I watched the Red Peafowl trailer, it had more in common with Kinnporsche, History: Trapped, along with films and shows like: Jet Li's The Enforcer, and Fist of Legend, Donnie Yen's Flash Point, Raging Fire, and Kung Fu Jungle, Han Dong-wook's The Worst of Evil, Kim Jin-Min's My Name, Lee Chung-hyeon's The Ballerina, Baik's Believer & Believer 2, Yoshie Kaoruhara's KeixYaku, popular Don Lee films The Gangster, the Cop and the Devil and Unstoppable alongside BL manga like Honto Yajuu and Bi No Isu (probably one of the most well known yazuka manga to date).

Like, we're seeing a rise in mafia based BLs and people think that's because of "western influence" and not the absolute insane success of kinnporsche??? Especially in countries like China, Korea, Taiwan, Philippines and other Asian countries???

Mafia films and gang shows aren't even that popular here in America/Europe; don't get me wrong, they still get made and exist, but the last full length film was The Irishman which did not make it's budget back, and while Power is still on-going it's not a smash hit either. The heyday of Breaking Bad, The Sopranos, The Wire, Goodfellas, and Scarface are long gone. And if you've watched any those shows or films they have very little in common with Kei x Yaku, Kinnporsche, or Red Peafowl in tone, or style.

(who knew martin just wanted to make his al pacino/robert de niro fanfic come to life all these years?)

Another example, The Sign, which is clearly taking inspiration from Chinese costume dramas: Ashes of Love, Fairy and Devil, White Snake (and it's many adaptions), Guardian, & Ying Yang Master Dream of Eternity. Alongside Hong Kong and Korean cop and romance shows like Tale of the Nine-Tailed, Hotel Del Luna, Director Who Buys Me Dinner, First Love, Again, and previously mentioned cop dramas.

Like, I know y'all don't think Twins is influenced by, what, American sports classic Angels in the Outfield?? Gridiron Gang?? Rocky?? Nah that shit is inspired by the popularity of sports manga like Haikyuu!!, Slam Dunk, Prince of Tennis (which even has a Chinese drama adaption), and the like. And also probably History 2, & Not Me but I'm like 87% sure Twins is just Haikyuu fanfic.

So like, does this mean that there's NO history in which American and European cinema influenced these countries? What, no, obviously that's not true, American/European totally have had media influence on countries like Korea, Japan, etc.

Astro Boy by Osamu Tezuka considered "the father of manga" was inspired by Walt Disney's work on Bambi. Another more recent and prominent example is director Yeon Sang-ho and his film Train to Busan.

"And it was Snyder’s movie [Dawn of the Dead, 2004], not the 1978 original, that filmmaker Yeon Sang-ho recalled as his first encounter with the undead. “That was when I started my interest in zombies,” Yeon said, in an email interview through a translator from South Korea. Even today, he added, “it’s the most memorable and intense zombie movie I’ve ever seen.”" (source)

HOWEVER, the global influence doesn't stop there. It's not a one-way street. Yeon Sang-Ho was inspired by Zack Synder's Dawn of the Dead, a remake of George Romero's own work, but Yeon Sang-Ho's work has inspired countless Korean film makers to make their own zombie media; following Train to Busan there's been: Kingdom (2019 - current), All of Us Are Dead (2022), Zombie Detective (2020), Zombieverse (2023), Alive (2020), Rampant (2018).

And hey, wouldn't you know it now we're starting to see more zombie media coming out of places like Japan (Zom 100 the manga, movie, and anime) and High School of the Dead.

Do you know what Domundi's series Zombivor (2023, pilot trailer only) reminds me of? It's NOT The Walking Dead (which is the only relevant zombie media America has created in the last decade) it's Korea's All of Us Are Dead (2022). Comparing the trailers, the settings, the tone, it's clear where Zombivor is pulling inspiration from: Korean zombie cinema. NOT American zombie cinema.

In fact a lot of Domundi's shows - Cutie Pie, Middleman's Love, Naughty Babe, Bed Friend - are all very clearly inspired by Korean filmmaking, specifically that of romantic kdramas from the 2016 - 2020 era. Not always in story, but rather in technique.

This is media globalization. It's not simply ~The West~ influencing non-American/European countries but countries who are often more close in terms of: proximity, culture, and trade are going to have more influence on each other.

It is far more likely that Aoftion (Naughty Babe, Cutie Pie, Zombivor) was influenced by watching Train to Busan, All of Us Are Dead, and other Korean zombie shows and films than a single episode of Walking Dead.

My point isn't that this goes one way only, but rather it is very literally a global thing. This includes American and European film makers being influenced by non-American and European cinema.

Martin Scorsese, Steven Spielberg, Darren Aronofsky, Christopher Nolan, the Wachowski sisters, George Lucas and James Cameron have all been influenced by Japanese film making, especially the works of Akira Kurosawa, Satoshi Kon, and Mamoru Oshii.

John Wick's entire gun-fu sub-genre is heavily influenced by classic Hong Kong action films, specifically John Woo films. Legend of Korra, The Boondocks, Voltron, Young Justice, My Adventures with Superman are all obviously inspired by Japanese anime but animated by a Korean animation studio (Studio Mir). Beyond that, the rise in adult animated dramas like Castlevania, Critical Role Vox Machina, and Invincible to name a few are very clearly taking inspiration from anime in terms of style. The weebs that were watching Adult Swim's Inuyasha, Bleach, and Dragon Ball Z have grown up and are now working in Hollywood.

Okay so like, what's the point of all this? What's the issue? Since American/European cinema does influence et all cinema does any of this really matter?

YES.

I take contention with this line of thinking because it centers "the west" and our supposed individual importance way to much. Declaring definitively that "BL is being influenced by western tropes" and then including tropes, narratives, and film making styles that aren't inherently western and actually have major roots in the cinema of various Asian countries, removes the existence of individual history these countries have which are rich, varied, and nuanced. It removes the "global" part of globalization by declaring "the globe" is really just America and Europe.

It distills these countries down to static places that only exist when American/European audiences discover them.

BL doesn't exist in a vacuum you can trace the development of Korean BL to the development of Korean het dramas almost to a T. You can also trace their development to the queer history of each country and how Thailand interacts culturally with China, Japan, Korea, etc and vice versa. It also ignores the history of these countries influencing American cinema as well. Don't mistake "the globe" for only your sphere of experience.

Anyway James Cameron is a damn weeb y'all have a good night.

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes?

[like these posts? drop me a couple pennies on ko-fi]

[thebroccolination]

Hey so hi! Hi there!

Quick li’l baby gripe:

If there’s one thing I’d adore fans to stop doing in 2025, it’s dog-fighting the queer media industries of Asian countries against each other.

Yeah? Sound good?

Over the last several years, I’ve seen hundreds of English-speaking fans in the comment sections across all social media uplifting China, South Korea, Thailand, Taiwan, Japan, etc. only in order to dunk on another Asian country. This is 1) super unnnecessary, 2) rude, and, indeed, 3) a form of racism.

“China’s censored BLs are the best even without all the gross fetishizing sex scenes in Thai BLs!” (Note: “Fetish” is going on the top shelf until y’all learn what it means.)

“Japanese BLs are superior to the rest of Asia can’t beat the kings of the genre I’m so sorry everything else is subpar lol”

“Japanese BLs are so BORING compared to Thai BLs!!”

“Taiwan’s BLs used to be great but South Korea’s production quality is coming for y’all.”

Like???

You see it, right?

Simplifying a country’s entire queer media industry so you can use it as your own personal Pokémon to take down another country’s entire queer media industry is a phenomenally disrespectful thing to do with your internet access. Like, in the vast majority of cases I’ve seen, these are English-speaking fans who aren’t even from the countries in question. This isn’t “my country is better than yours,” which is a different, childish thing to do; this is, as far as I can tell, mostly western fans pitting Asian countries against each other like they’re sports teams.

Doing this undermines the incredible progress made in Asian queer media and perverts it into a game of fantasy football where people seem to be rooting for one country against another. This is so absurdly cruel and immature for no reason, especially when you’re a guest in these fandoms.

Going forward, I want to see more fans celebrating this beautiful genre. Cheering on the fantastic strides taken across all of Asia. To explore and consume the sheer variety of queer media coming out of every country, not just the most popular titles or the easiest to access. To delve into all the very specific political, cultural, socioeconomic, and historic circumstances behind each industry’s challenges and victories so you appreciate how difficult these series are to produce and market and protect for future generations.

Queer media is a miracle in a world ravaged by the homophobic aftermath and present influence of colonialism, and it only exists thanks to the tireless effort, courage, and passion of people who deserve our accolades. Don’t just passively take these series at surface value. Look into them. Look at the risks people are taking.

This is art and bravery and love, and if you’re going to be here, you should show these people the respect they’re due.

Leave this weird practice of pitting countries against each other in the past. Be part of the joy in everyone’s achievements.

For fuck’s sake.

Thank you.

🏳️‍🌈

[ql-of-all-time-bracket]

#1 QL of All Time

So I used to run the @ doyouknowthisql blog, but tumblr nerfed that blog a few months back, made it so that none of my posts would ever show up in the tags, which is rough when you're trying to run a blog with the goal of seeing how well a show is known amongst a community of people. long story short, tumblr never got back to me and I have made peace with that blog never returning. BUT!!!!!!! I was sitting here thinking "wow I have all these ql posters still downloaded, what can I do with them?" and the idea then occurred to me:

Tournament for the Best QL of all time!!!

This is going to be a massive 256 contestant tournament, in which qls of all shapes and sizes battle for dominance and only 1 will be the winner! But I need to define some stuff first!

What does QL mean?

QLs for the purposes of this competition are any live action tv shows, mini series, movies, or short films in which the main character is some flavor of queer and has an important plotline around the main character engaging in a queer relationship (romantic, sexual, queerplatonic, etc) with another important character. The relationship must be part of the overall story, not something that only shows up in like the last episode or is only implied/word of god to have happened (the exception being shows from countries where queer content is banned, like China. in those cases, censored shows that are adaptions of explicitly queer texts are allowed or shows in which the creators have stated explicitly that it is meant to be queer).

Country Masterlist

If you are looking for stuff from a specific country, you can click on one of these links for all the polls featuring qls from that country (and then further divided by bl and gl.)

Cambodia

BL

China

BL & GL

Japan

BL & GL

Philippines

BL & GL

South Korea

BL & GL

Taiwan

BL & GL

Thailand

BL & GL

Vietnam

BL & GL

What types of things can be submitted?

Any live action tv show, mini series, movie, or short film that fulfills the above requirement AND comes from an East Asian country is eligible. Examples of countries based on what was on the last blog: South Korea, Thailand, Taiwan, China, Japan, The Philippines, Vietnam, Hong Kong, Laos, Myanmar, and Cambodia. Any other countries or territories from this general region can be submitted. Only live action because I feel like things like animes and donghuas are communities of their own beyond the typical ql fandom.

How long will submissions be opened?

Submissions will be open until I fill the 256 spots. Trust me, there's way more than that many out there these days. When submissions start to slow down a lot, I'll supplement the list with others from all the stuff downloaded on my computer

Submit QLs here!!!

@bl-bracket @tournament-announcer @haveyouseenthisseries-poll (looking for my own bl-georg lol)

[damnfandomproblems]

Fandom Problem #6680:

What calling out racism in fandom should mean: exactly what it says.

What 90% of calling out racism means in fandoms of Asian works: people from China/Japan/South Korea/Thailand saying "we know our own culture better than a random American and we don't like our fandom tags full of westerners' hot takes" -> some American taking offense and screaming "I'm African-American/nth generation Asian-American/insert minority here-American, obviously I know better! You're racist!" -> Asian people being forced to the background of their own fandoms.

[bl-bracket]

Anyways I was going to make a post about the process of picking bracket topics and whatnot and was trying to come up with some examples of types of topics that would or wouldn't work and for whatever reason I thought of the concept of a "best murderer bracket" and I can't stop thinking about it lmao

it's just like such a funny concept? the idea of fictional murderers battling it out, especially ones from bls (which like I don't think is most people who are not super familiar with the genre as having a lot of characters who have killed people) is just funny in like an absurd way. like abstracting yourself from tumblr and tournament blogs, the idea of telling someone else that there's a tournament going for fictional murderers from east asian mlm tv shows, a genre that for several years was primarily shows about high school and uni students.

anyways that devolved into thinking about it more seriously, and then deciding a more practical way of doing it would to make some kind of directory of bl murderers. which would then lead to a lot of interesting statistical analysis, like characters with highest on screen kill counts, which countries have the highest proportion of fictional killers, etc. you can then make a separate category for characters with implied kills that aren't explicitly shown on screen or vague. and you could track how the number increases over time, which I assume exponentially goes up as more bls are exploring darker and more serious genres.

anyways back to the country stats, I started thinking about what the breakdown would look like so here's my guess based on zero research and just my general knowledge of shows

China. While having very few bls (censored or otherwise), they have a very unfair advantage and that is genre conventions. The 3 biggest Chinese bls I can think of are: The Untamed, Word of Honor, and Guardian. With The Untamed and Word of Honor, the conventions of xianxia and wuxia genres means that there are a lot of characters and almost all of them have killed before (usually nameless canon fodder but still). And then with Guardian, it's a supernatural detective mystery show with murder plots in it and a lot of characters, which again leads to a pretty high kill count. So even only counting these 3 shows, China will probably have the most killers in bl, or at the very least most kills done.

Thailand. It's a numbers game on this one. There's just so many Thai bls and an increasing number of like detective or mafia ones. A show like Kinnporsche has a lot of killers and deaths. Then there's other shows that include a few murderers (but less than Kinnporsche) like The Sign, Manner of Death, 4 Minutes, 3 Will Be Free, Never Let Me Go (Palm did shoot a couple guys dead elt's nto forget), Dead Friend Forever, etc. However the numbers also hurt Thailand in terms of proportions, since there's a lot more Thai bls that don't have murder, so it actually might be 3rd.

Japan. You're not getting much murder from your Cherry Magics and Old Fashion Cupcakes, which is what a significant portion of bl fan's primary exposure to Japanese bl is, but let's not forget that there's a lot of dark Japanese bls where murder is definitely on the table. Now I don't actually have a good gauge of what the numbers on this is, cause I haven't really delved that deep into this corner of the bl market, so I can't make a good estimation but I bet there's more than I'm aware of.

Taiwan. They've got a couple of mafia shows like HIStory 3: Trapped and Kiseki: Dear to Me, both of which have some implied and explicit murder (though less then you would expect if we're honest). That'll give them a few kills and they also have a relatively smaller pool of shows to pull from, meaning percentage wise it's a bit higher.

South Korea. Ok I am far from an expert of bls from South Korea, but unless there's like obscure short films I'm not aware of, the only drama I can think of from here with kills is Long Time No See? or I guess The Director Who Buys Me Dinner has like 1.5 murders? anyways Korea also has a not insignificant amount of bls to their name so proportionally it will be quite low.

The Philippines. Out of all the countries on this list, I am least familiar with the bls from here, but from what I've gathered during my routine mdl searches, basically all of them seem to be murder-free (unless of course there's some shocking plot twists in them)

anyways I'll probably never do this project just cause it would require a lot of time and collaborative effort and I've got a lot irl going on right now (hence why the submission period for most whipped is so long lol) and also have some other projects I'm already planning on doing so I don't really have time to do it. but I wanted to tell y'all about my thoughts on the matter.

also sorry if this is the weirdest thing I've ever posted. kinda had a major stress breakdown today but then resolved it relatively quickly cause I realized I could just reschedule the life altering appointment that was causing the breakdown lmao so I'm in a strange frame of mind lol

[marengogo]

Rambling in INFJese - Part 10: Queerful In South Korea

SGMB and RPWP focused playlist

[Music is a very big part of my life and I’m MOSTLY INCAPABLE of writing without music, so I just thought I'd share what I am listening to while writing this]

🐺 — 🐺 — 🐺—

Gurls, Bois and Enbies … Hellooooooooooo 📢 Yes, I’m finally, officially, back from my travels.

Am I feeling relaxed and refreshed?

NO.

In fact, I’m pretty sure I’m more tired than when I left 😬. You see, there was more excitement than I thought, or even budgeted for, but, lowkey highkey I knew it was going to turn out like that, so, it was what it was and it was unforgettable 😊💜. 

Now, on to the topic of today!

As the title kinda spoils, I would like to bring forth the topic of queerness in present day Korea, touching upon specific sub-subjects within this main-theme, which you will discover as you keep reading.

In order to provide more context and understanding, I’ll have to bring up a bit of Geography, a tad of Politics and a lot of History, and let me make this clear, even though I have been out of politics for quite some time I used to be very invested in world politics … I am presently indeed somewhat annoyed, because there seems to be a lot of misinformation that has been going around with regards to what it might mean to be gay/queer person in South Korea, in the big year of 2024, which is why I’d also like to encourage us to be proactive and do some research, on our own, with the available resources that are out there. I know it sounds heavy, but I promise I’ll try and make it as least cumbersome, and as much relatable to what might concern all Queer people, and JK and JM of course, as possible ✌🏾.

Let’s start with some Geography.

Asia … is a big ass continent. Because it is so big, amongst the people who make these kind of decisions, it was decided that this continent would have to be divided into 5 regions: Central, East, South, Southeast and West. The regions we are going to be concerned with are East and Southeast also known as ASEAN. The East has a total of 8 countries, out of which we are going to focus on 4 being; China, Japan, South Korea and Taiwan, while the Southeast has a total of 11, out of which we are only going to concentrate on 1, being Thailand … aaand that was all for Geography; painless right?

Great. So now it is time for some of History. We are now going to be talking about the history of the BL genre and the Queer art genre within two particular cultures; Eastern and Western.

BL, otherwise known as Boy’s Love, is a genre that was born in Japan in the 1970s. To properly discuss the world of BL it would take way too many blogs, so I’m afraid I won’t delve too deep into it, but in order to proceed with our discourse I need for everyone to at least understand the substantial difference between, for example, a series like The Eight Sense and Heartstopper. The first is a BL and the other is a Queer Coming-of-Age Drama. These two series are the I most point out very positive outcome of a lot of struggle and progress within both the BL and Queer art genre through the years.

The East and BLs - BL was created by women to be consumed by other women in Japan. It had nothing to do with creating content for gay/queer people, and this is very fundamental for everyone to understand. The thing is that it doesn’t matter where in the world you are, if you are or were a girl/woman you know the struggles are real. Different parts of the world deal with this frustration in different ways, and Japan and eventually the other 4 Asian countries I listed above found this to be one of them. The BL genre is basically having two men in a forbidden relationship, driven by mad passion, and who would always choose each other over the rest of the world. Star crossed-lovers where one of them would always be the Seme/Top or male-male and the other the Uke/Bottom or female-male. At the core of it all, BL was intended to be escapism, which eventually turned into fetishism and now can be all the above and something else entirely; evolution aye?

Mainly Asian women perhaps used BL to feel like their opinions and emotions could matter, in an environment where like also many other countries in Africa men are the ones that have the last say, or just any say at all. So they fulfilled their fantasy of being heard, and having power, while at the same time having the “strongest/most ideal” of men fall desperately in love with this male version of themselves. It is obviously much more complex than my two line sentence explanation, but for now, kindly keep this image in your mind.

Moving on!

The West and Queer Art - The queer genre in the West for the longest time was almost always a guaranteed tragedy. Interestingly enough, even though the first movie that mentioned homosexuality was in the 1960, the beginning of Queer culture in movies was, also for the West, in the 1970s. I can’t tell you the amount of books and films I have read and seen in my day says the woman in her thirties LOL and, despite the heart-wrenching looming tragedy, I would still enjoy finding comfort during those few chapters/scenes when the couple/pairing was happy, even though I knew for a fact that either one of them or both would die, or be eternally separated, or some other kind of tragedy.

The funny thing is that I would just accept it, because why not? Is not like my reality showed any different. It wasn’t like I was aware of happy and successful queer people around me, so why would I expect to read or watch anything else? Also I am a nasty ass angsty person so really I have no excuse. 

… are y’all following me thus far?

Now, let’s take a bit of a leap into the 2000s where money-makers finally clocked in on the fact that there is mad-money that can be made with BL in the East and Queerness in the West. In the East we start adopting fanservice within boybands and Asian-Dramas, we start printing thousands of BL mangas, and producing as many animes to match. In the West we keep having the token queer comedian appear on every show as well as making movies of historic queer figures who have impacted the world somehow, so that the queers can feel represented, even though all the actors are for the most part straight, because at this point in time, even though we acknowledge that Queer people exist, coming out is still very meh.

As the 2000s progress and we enter the 2010s thanks to actual progress within some western countries, the interweb and social media it becomes increasingly easier for an Eastern Fujoshi/Fudanshi/Fujin (Bl lover girl/boy/enby) to find themselves in say the UK, which has areas that breathe queerness and queer history and for a Western Queer to find themselves in say Japan where they can easily buy a manga about “queers” in happy relationship or, somewhere in South Korea, can easily see two very attractive boys/girls from a random kpop band openly kiss.

And then, in the midst of this “cultural” exchange, and awakening, something happens.

The Eastern Fujoshi/Fudanshi/Fujin realise that there are actual real queer people in the world sounds stupid, but believe me, it is not. That queer people are not just characters in a book, or anime, and that in fact there really are people in the world who are for example of the same sex and truly wanna be together and, if gay, for example, can also be both very masculine and still want to be together. At the same time the Western Queer realise that they actually can be happy, and that they deserves a happy ending, because some of this BLs aren’t half as bad and they sometimes make valid points and then you find out that actual queer people are now also writing BLs so things start to make some sense. 

As I mentioned, society was also changing, Queer people in the West started gaining a few rights, such as being able to get married in America and some European countries, and as a consequence, in the following decade, we now have series and movies that have Queer protagonist, with happy endings to boot! In the East, things are either not moving at all or moving a bit differently, or kinda slowly, but still it is movement. Within the countries that are moving differently, talking about Queerness is still heavy but has finally become something that they “don’t mind” just talking about and the gay neighbour is actually seen as the gay neighbour, whether they will talk to them is debatable, but at least they are recognised as such and not absurdly explained away or their existence ignored.

Now back to geography. The reason why I mentioned those 5 countries (China, Japan, South Korea, Taiwan and Thailand) is because at some point in the 2010s they were the main producers, and consumers, of BL within the Asian continent, and yes, while still being hella homophobic and, but let’s be real for a second, queer people have been around since the beginning of time, so even though BL was made and intended for women, our Queer Eastern Siblings would find a way to secretly also consume BL, being the closest thing to reading about a queer relationship, so added to the westerner consumption as well, it is no surprise that these 5 countries suddenly had a boom, despite having been being homophobic. 

Hence, it can be said that these 5 countries were on the same wavelength in the early 2010s, but what about now? With the considerable change in behaviour and thought with regards to Queer people in these countries in the early 2020s where do these 5 countries stand with regards to their Queer people and politics? Well, China has now banned BLs entirely, and I will not delve into their further lack of queer rights. Taiwan and Thailand have legalised Queer marriage. Then there is Japan which is making progress towards trying to legalise Queer marriage with to my greatest joy a successful ruling that happened this year in March related to same-sex unions … so, what about South Korea?

Well … SK is so close 🥹 … Yet so far 😫

It’s like they are taking 4 steps forward and 3 steps backwards, constantly. They are well far from China-levels which is a fucking relief I tell you! but they are dragging their feet to be at Japan-levels (and Japan is very close to Thailand and Taiwan Queer status currently). Yet, it is not as negative as it seems, or as some people try to portray it. You look around social media and they depict SK as if it were China. SK is currently facing a situation where it notices that things are changing and change is scary y’all. Resistance is the usual reaction to change, and the older generations, mainly those led by the Christian groups are not really where is at. SK’s youth and older liberal generations hold the answer to the Queer Korea questions.

So what exactly makes SK look hopeful? Well, time to get back to some History again 😘

The first Queer organisation in SK was formed in 1993 by 3 gay men and 3 lesbian women. The following year the 6 separated into 2 groups and formed the first gay organisation and the first lesbian one respectively. In 1997 we have the first demonstration for gay and lesbian rights, which then lead into 2000, the year of the first Pride Parade, which is one of the events of the very first Seol Queer Culture Festival Daegu Queer Culture Festival will be created in 2009, do keep this in mind … but another major event happened in the year 2000.

Y’all know that saying X walked so that Y could run? Well Hong Seok Cheon was basically forced to walk so that Queer Korean could learn how to properly train to run.

Though Seok-cheon is presently back to being somewhat popular again, his coming out was pretty traumatic. His career as comedian/actor started in 1994 and he was quite popular which landed him a good number of acting roles, and a lot of placements in comedy shows, as well as a kids show. In 2000 he was asked about his sexuality and he had no qualms in replying that he was gay. The show editors decided to cut out that part but a journalist gotta love them 🙃 got a hold of the footage and forced him to “elaborate”. Upon confirming, Seok-cheon lost all his jobs and was shunned verbally abused, discrimination and the lot, oh yes … by his own country. 

Not surprisingly, given that nobody in his own country wanted to interact with him, he at first thought of moving to the US to start afresh, but then decided against it. Seok-cheon decided to stay and prove to everyone in his country that he could make it and be successful again. And that he did. In 2002 he opened the first of what now is a high end chain of 9 restaurants in Itaewon. 2004 he joined the Democratic Labor Party and was selected by Time magazine as the Asian Hero of that year and in the following years Seok-cheon will keep racking up achievements  🎶🎵Did you see my bag? Did you see my bag? 🎶🎵 Namean?! (I’m not gonna list them all but you should definitely look him up and learn a bit about him, if you are interested).

But how does that connect to today? In 2008 he started his own talk show Coming Out and though there was a bit of resistance at the beginning as expected, the youth came in force and he started gaining audiences and boom! He was back on TV and slowly he’d get also a few cameos on prominent media, such as the Netflix drama Itaewon Class. Now let’s leave the lime-light for a second and let's look at the military 😬. It is vitally important that people understand that being gay is not illegal in any of the 5 countries we’ve been talking about yes, even China, but the public opinion and beliefs of each country greatly influence how their queer communities are thought of and treated.

Now, SK Military has become pretty infamous within the queer community for conducting witch-hunts in order to find out and humiliate gay soldiers, so much so that organisations such as Amnesty eventually had to step in. That being said, let's be real real real for a second. Though it is appalling what they have done to the queer soldiers, the SK military was also very famous for hazing, assaulting, causing cadets regardless of sexuality to want to unalive themselves and what more. All of the aforementioned, which put SK’s military on the map in a not so positive light globally, added to the increase in suicides, made the government address the situation, and they eventually came up with solutions such as the buddy system, which was first implemented in 2003. But, back to the gays. The most popular witch-hunt happened in 2017 where two soldiers amongst others were outed, but these particular two were found guilty of having sex off-base, during off hours.

In 2022 this conviction was overturned, the soldiers were no longer guilty and it is now no longer illegal, for queer soldiers, to have sex off-base during off-hours. You know what else happened in 2022? SK aired their first Queer reality shows, one being To Me(a)rry Queer and and the other being His Man. In 2023, His Man 2 will give us our first successful real-life queer couple, who are our beloved couple Junseong and Seongho (together known as Junseongho). They are the first queer couple to ever appear on Dazed magazine and we are all familiar with Dazed, it is not the front page like our boys get, but we all know how big of a deal this is, right?

You know what else happened in 2023? Remember that Daegu Queer Culture Festival I was talking about? The Mayor of Daegu (big Christian sympathiser) tried to stop this festival which includes the Parade and many other events, even though the Court ruled it was okay for the Festival to be carried out. The Mayor gathered other supporters and pulled up to the group, but the Daegu Police protected the Festival and removed the mayor and his “friends” from the premises. This was big and made news worldwide. 

In fact, Daegu’s Queer Culture Festival is the second largest one in the country, after Seoul’s. This is mainly possible because the Local Authorities (such as the police) are quite independent in belief from their present Mayor and the Christian factions. In contrast, for example, Busan’s Queer Culture Festival had a two year run but was then cancelled in 2019. Unfortunately, in Busan, The Mayor, the Local Authorities and the Christian factions are buddy-buddies making it much harder to get protection and permissions, aaaaaand things like that, kids, is why it is super important to vote for your local administration as well.

Even though these are all very important stepping stones, SK is nowhere close to being the UK, obviously. The LGBTQ community still has to get all their core rights being legalised, and queer people can still be subject to random ass attacks, such as the singer Holland had in 2022, which, by the way, also still occasionally does happen in the UK and everywhere else in the Queer World. Which is a general minority reality I’m afraid.

Furthermore, it is still illegal to have sex on base, which the country maintains that they are upholding because they are trying to prevent possible sexual assaults not too mad about this tbh, which is a valid concern, but most importantly they now know that the world is watching and why is that important? Because, for example, even though they are now separated, one of the boys from the Me(a)rry Queer couples enlisted around the same time with JK & JM and from his posts and photo-booth pictures that other soldiers posted of him, he seems to be making friends and to be comfy as comfy as you can get while serving, kinda like Joonie and most likely JM & JK

View this post on Instagram

A post shared by 박보성 (@park_bosung)

Not quite the attitude of someone fearing a witch-hunt, right? But then again, there isn’t much to hunt when you are already out, it is afterall illegal to hunt people and the world is now aware; is there? …

Now back to the general people of SK. According to a survey conducted in 2023 last year, 56% of South Koreans still oppose same-sex marriage (in comparison with only 26% of Japanese). 56% is not bad but then 72% don’t want queer people in their neighbourhoods and  workplace, though 81% think that it is not right to terminate people because of their sexual orientation 4 steps ➡️3 steps ⬅️… … … Basically it’s okay to be queer here as in SK, but not here-here, perhaps over there like a queer only neighbourhood or something which at the moment is the Itaewon district. 

So yes, 2024 Queer SK is still struggling though they are not going to be overtly nasty about it, because the world is watching. I mean, don’t get me wrong, progress is progress and we love to see that, it is actually amazing, but there still needs to be a general environment where LGBTQ rights in SK need to be recognised and for queer Koreans to not be discriminated against in their social/work/family life. It is also great that Queer media is trying to transition more and more from only BL to actual Queer Drama, for example I am really looking forward to watching Love In The Big City which btw also stars Kim Go Eun.

There is still work to be done, but I think Jung Cueri, a lesbian woman who helps with the Seoul Queer Culture Festival, says it best (here is the full article https://www.dw.com/en/why-are-south-koreans-less-welcoming-of-lgbtq-neighbors/a-68698268 ):

“I think the attitudes of younger generations of Koreans are getting better," she said, pointing out that young LGBTQ+ individuals "tend to come out sooner to their families, in their workplaces and schools than my generation because they are more aware of their sexuality through social media and exposure to various discussions that are more tolerant of LGBTQ+ people." And the cultural festival can help to be a catalyst to change further, she believes. "It will get better," she said. "And that is why the organizers and everyone else involved in the festival are working so hard; they know that Korean society will get better, and they want to contribute to that.

From where I stand it seems Hopeful, Queerful, if you may.

So, Fighting!, Queer South Korea!

Always respectfully yours,

Marengo. 

[room-surprise]

do you have any thoughts on where rin could be from? I've seen ppl say she could be Chinese or Malaysian but there's barely any info on the eastern archipelago other than Wa

This is a fun question! We have very little information to go off of, that's true, but we do know some things!

(This is an excerpt from a map of the Dungeon Meshi world I'm working on for my essay.)

This is what the Eastern Archipelago looks like, minus the one medium-sized island that is populated by dwarves.

Wa Island has a culture similar to the Sengoku period of Japan.

Izutsumi is from the large island to the northeast of Wa.

Izutsumi's succubi turned into a woman wearing Central Asian clothing similar to a Mongolian deel, and Izutsumi thought that this was an illusion of her mother. Though we now know this isn't exactly true, the succubi is a psychic monster, so it must have pulled the clothing from Izutsumi's memories, something that she recognized from her childhood, and would expect her mother to wear. Since clothing like the deel doesn't seem to be worn in Wa, we can assume that this type of clothing is worn on the island that Izutsumi is from instead. So this island may be similar to Central Asia, which consists of Mongolia, Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, Uzbekistan, and Afghanistan.

We know that ogres used to control the Eastern Archipelago, and on the ogre race illustration page, Kui shows the majority of the ogres wearing clothing that could be influenced by Chinese, Japanese, Korean or Mongolian clothing. 7 of them have Asian-inspired clothing, 4 have indistinct but not-Asian looking clothing, and the rest have no visible clothing.

We don't know what any of the other parts of the archipelago are like, but I think it wouldn't be crazy to assume they resemble other parts of Asia, such as China, Korea, etc.

The far eastern side of the Archipelago is neighbors to the Western Continent, a region that appears to be home to Greek, Roman, and South and West Asian cultures. So it would make sense if some cultural influence from the West naturally migrated across the ocean to the far-far East.

Now, what do we know about Rin?

The beginning of her bio reads: 両親は東方群島 東地方からの流民だが. This translates as: "Her parents were refugees from the eastern region of the Eastern Archipelago." This is interesting because it's different from the official English translation by Yen Press. Their translation skips the second mention of the east, and also calls her parents wanderers instead of refugees: "Her parents were wanderers from the Eastern Archipelago." The original Japanese says east twice, 東方群島 (Eastern Archipelago) and 東地方 (Eastern region). I think the translator, a contractor who doesn't have time to fact-check, maybe didn't understand why Rin's bio said east so many times (the sentences before and after also mention "east" many times) and just didn't bother including what seemed like a redundant mention of it.

SO WHAT DOES THAT MEAN?

What it means is we actually know what part of the Archipelago Rin is from!

Obviously this is only speculation, but I would guess her family originally came from one of the islands I've colored in dark gray here, since they are the furthest east part of the Archipelago.

WHAT CULTURE COMES FROM THOSE ISLANDS?

(I talk about some of this in chapter four of my Dungeon Meshi essay in the section about Rin.)

We don't know! However, remember what I said about how the far-east of the Eastern Archipelago is neighbors with the Western Continent?

The Western Continent is a region dominated by western elven culture. Therefore it makes sense that this part of the Archipelago should have had the most contact with the elves, and foreign tall-men who are a part of elven culture. There should be cultural mixing between the two groups... And there is! Rin's name is evidence of it!

Rinsha Fana (رينشا فناء), is an Arabic name. Arabic is one of the languages Kui associates with the Western elves, which would mean that in-universe, Rinsha Fana is an elvish (or at least Western) name.

THE SIMPLE ANSWER

It's possible that there is a fusion culture in the far eastern islands, and it's the natural result of contact between the West and the East.

Since Rin's name is Arabic, we could theorize that the far-east of the Eastern Archipelago is similar to various Asian cultures in the real world that were influenced by the Arabic world historically.

The ones that I could find are Myanmar, Cambodia, Vietnam, Thailand, the Philippines, Brunei, Indonesia, Malaysia, China, Uzbekistan, Kyrgyzstan, Tajikistan, Turkmenistan, and Kazakhstan.

So the Fana family's home island might be similar to any of those! It's a long list, but it does narrow things down a little bit!

THE COMPLICATED ANSWER

In addition to the fact that the far-eastern islands are physically close to the Western Continent and there being some cultural fusion there, we also know that there are groups of elves in Dungeon Meshi who behave similarly to missionaries in the real world.

There may or may not have been a religious component, but these elves felt it was their moral duty to spread elven culture and knowledge (including elven style magic) to the short-lived races, and improve their standard of living.

Since the far eastern islands of the Archipelago are the closest to the West, it makes sense that elven missionaries would have had a presence there, just like it makes sense that they would have had a presence on the far western coast of the Eastern Continent.

It's strongly implied that Rin's parents may have practiced elven-style magic, since if they had practiced Gnomish magic (the dominant style in the Eastern Archipelago and the Northern Continent), they might have been able to join a local organization (a church, a school, a royal court) in the Northern Continent and not been lynched. Something about their magic was "foreign" and scared the people of the Northern Continent.

The original Japanese text explicitly says they were lynched (私刑).

Kui also explicitly tells us that Rin’s family was lynched in the Northern Continent, using the word 私刑. Lynching is an extrajudicial public execution by an in-group against someone who is outside of their social circle, who has somehow “transgressed” against the in-group. Usually the “transgression” is something like being a foreigner, being of a different race, different ethnicity, practicing a different religion, or behaving in any unusual way (being neurodivergent, gender non-conforming or homosexual).

The Fana family fled the Archipelago, didn't change their family name, and then gave their daughter a western/elven personal name as well. This implies that they are unwilling to give up their culture, even under circumstances where it would be safer to assimilate. This suggests that the culture is very important to them.

WHY DID RIN'S FAMILY LEAVE THE EAST?

We don't know exactly, but the original Japanese text says they were refugees. This implies that they left their homeland due to some kind of danger or threat to their lives.

We know that the Eastern Archipelago is constantly at war with itself, and that could be enough reason for a family to flee. But because of the history of Christianity in Japan, Rin's name, and her family's behavior, I think there may be something more to it.

We know that there are treaties between the nations in Dungeon Meshi that prevents the long-lived races from colonizing the Eastern Archipelago. The nations of the Eastern Archipelago most likely consider any influence from the long-lived races a threat to their sovereignty, and they are probably making an effort to keep long-lived races and their culture out of the region.

This sounds very similar to Sakoku (鎖国 Literally "locked country") an isolationist foreign policy in Japan that began at the end of the Sengoku era (the era that Wa appears to be in the middle of). Under this policy, relations and trade between Japan and other countries were severely limited, and nearly all foreign nationals were banned from entering Japan, while common Japanese people were kept from leaving the country.

The sakoku policy was enforced in order to remove colonial and religious influence from European countries, which were perceived as posing a threat to the stability of Japan.

Japanese people who had converted to Christianity were seen as traitors, and missionaries were foreign enemies trying to undermine Japanese society. Conversion to Christianity, the dominant religion of Europe, was seen as the first step of European nations trying to colonize Japan.

Part of the sakoku policy was the Japanese government officially persecuting, torturing, and executing somewhere between 2,000 and 5,000 Japanese Christians and foreign Christian missionaries. This forced Christians in Japan to either go into hiding, flee the country, or renounce their faith in order to survive.

I think an attitude like this towards foreign culture would logically be common throughout the entire Eastern Archipelago, and not just the island of Wa.

So local people like Rin's family who might have adopted Western elven culture (magic, names, clothing, etc.) may have been seen as a threat, and may have been pressured to renounce their ways, or leave.

The cultural backlash would be extreme, and could easily cause civil war and instability, especially in any areas that have a large Western cultural influence, like I've theorized the Fana family's home island to have.

In the end, I think no matter which way you choose to interpret the information, it's clear that Rin's family has a connection to both East Asia and Arabic culture... So start there, and see what cool ideas you can come up with!

[d-criss-news]

Darren Criss and Helen J Shen Make Robots Feel More Human in Maybe Happy Ending

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Darren Criss and Helen J Shen are currently starring in Maybe Happy Ending, a new musical at the Belasco Theatre where they play two retired Helper-bots who formerly assisted humans with their day-to-day tasks. Set in the future and directed by Michael Arden (Parade, Once On This Island), the show takes the audience on a journey through love, loss, and belonging. It’s received rave reviews on Broadway after first debuting in South Korea, then moving to Japan, China, and Atlanta, Georgia.

This marks Criss’s return to Broadway after stints in American Buffalo, Hedwig and the Angry Inch, and How to Succeed in Business Without Really Trying. He also starred as Blaine Anderson in Glee and won an Emmy Award for his performance as Andrew Cunanan in The Assassination of Gianni Versace: American Crime Story. Shen is making her Broadway debut after recently graduating from the University of Michigan.

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Darren Criss: I was about to go into tech rehearsal for American Buffalo at the top of 2020, an American contemporary classic play with Sam Rockwell and Laurence Fishburne. I was like, “Wow, dude, the show is cooking. I’m opening this on Broadway. All these incredible things are happening.” Then, it was no more. I feel like I went through the pandemic with these two men [Rockwell and Fishburne], because we were all so excited to be part of this show. We would FaceTime regularly, read through the play, and talk about life. The show went on in our minds. We weren’t sure if we were ever going to get to do it.

That was something we kept chugging through, and we finally got to come back in ’22 with some of these things which now seems so in the rearview mirror: COVID restrictions and testing and audiences wearing masks. We were very diligent about all that stuff, and luckily we’re on the other side of that.

But at that time, that show was the longest I’d ever been on Broadway. The poster for that show at Circle in The Square [Theater] remained there for two and a half something years, even though the show hadn’t ever opened.

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Talkback On their initial reactions to Maybe Happy Ending:

Criss: I think the best stories we’ve heard are the ones we weren’t prepared to hear. It’d be like if Batman wasn’t as culturally ubiquitous as it is, and I tried to pitch you Batman. You’d be like, “That sounds so dumb. Rich guy fights a clown? This sounds absolutely ridiculous, and there’s no way this is going to be one of the most popular IPs the world has ever seen.”

That is what’s so exciting: When you feel people in the audience truly not knowing what’s going to happen, whether production-wise or as a spectacle. You don’t know if some things are going to look a certain way, you don’t know things are going to sound a certain way, and you don’t know if the story is going to feel a certain way.

Musicals live and die by their music. I love Shakespeare, but I’m not listening to Shakespeare in the car on the way to work in the subway. Musicals have that. They have this sort of extracurricular component that you can have forever after the fact. When I listened to the music, I was like, “Oh, wait. Hang on. This is really special. Why is this so smart? Why is this so beautiful and elegant and sophisticated and familiar and nostalgic?”

That keyed me in. And then I read the script and I went, “Wait, hang on.” I am glad that I was available to do it, because I think it’s one of the greatest things that could have happened to me at this point in my life.

Shen: It felt like a very kismet meeting of minds and hearts and souls and stuff. Still to this day, I’m like, “Thanks for having me, you guys.”

Criss: This was a train that was bound for glory with or without us.

On what they’ve learned from each other:

Criss: We went to University of Michigan together. That’s certainly a fun relating point, and something that I’m really proud of, the fact that two U of M alums share the marquee of the Belasco Theater. That’s so special.

But, to keep using the academic reference, I am an upperclassman now, which is very strange for me, as I kind of crossfade into that chapter of my life. I’ve always been the young gun. Now, being on the other side of that, I feel like I’ve been given a role of, “Okay, I am a senior now. I tell the freshmen what’s what, and hopefully, I’m saying something correct.” It’s an occasion I have to rise to. In rehearsals, from the very beginning, the loud voices of doubt were certainly prominent. I think Darren, Michael, the people who have more experience in the industry, and just experience in existing in these spaces, have taught me how to not apologize for my space that I take up, which is something that I think I’m still processing and still will continue to be processing throughout.

On what this show means for Asian-American representation on Broadway:

Shen: It means everything to me. If I was sitting in the audience, to see a show like this, to see someone who looks like me embody this character, be nuanced, be flawed, be all the kinds of things, instead of just the flavoring of a body, is everything to me.

Growing up, if you don’t see an example on the path that you’re choosing, it can feel impossible. You feel like, “Oh, there’s one spot.” That is so frustrating, to feel that sense of competition with people who look like me, instead of feeling like I stand in solidarity with them and stand in power next to them.

It’s been amazing to talk to people at the stage door who are like, “I’ve never seen myself represented on stage in this way.” I’ve never felt it where my Asian-ness isn’t the only thing that is my character. To have my Asian-ness be just a fact [of my character] is so much. It means so much to me. To see my parents see that, too. They wanted to protect me so much. They wanted me not to feel pain in this industry, and for them to see that I can inspire others is probably really exciting for them, and exciting for me too.

Criss: Everything that has happened for this show thus far was not on my itinerary. The response has been wonderful, but that’s not why we’re doing it. It’s not why we’re here. We’re in it because we found a beautiful story that we fell in love with, and we’re lucky enough to be asked to join it. It’s better to pursue something you love and potentially fail than succeed at something that you can’t stand. We’re in that rarefied wave, which is the combination of your passion and excitement matching those who are outside of it.

I want to be very clear about this, I think what I love about this show’s heart and soul is not that it is an Asian show. It is inhabited by Asian-American actors, and those Asian-American actors represent something really beautiful. I love the idea that in the future, this is a show that can have anybody from any background in it, because the story is so enduring and such a human story. My million dollar clickbait line is that I believe that the show is about as Korean as Romeo and Juliet is Italian. It’s just where we set our scene.

Now, at the same time, fuck yeah—Asian excellence on Broadway. It’s really exciting. Having any kind of representation in any mainstream commercial form of entertainment is wonderful.

On Elsie Fest, Broadway’s Music Festival, which Criss co-created and produces every year:

Criss: Elsie is such a passion project for me. It’s for this community that I love so very much, and I’m so pleased that it’s taken on a bit of a life of its own. I will keep doing it for as long as I can.

Having people like Helen, and the new guns, like Joy Woods, Lizzy McAlpine, and Rachel Zegler, people who will show up to be a part of this, is so encouraging to me. It gives me such faith in a community that I already have endless faith in and love and appreciation for. It is my small way of thanking this community for what it has given my life and trying to give it back in whatever way that I can.

Shen: Elsie, to me, it’s a love letter to the inner child, to the inner theater kid that we all are continuously. I have been a fan of this, obviously, for years. I can’t believe I got to sing A Very Potter Musical this year.

Criss: Andrew Barth Feldman was at the first Elsie Fest ever in 2015, almost 10 years ago, a little brace-faced teenager at the VIP meet and greet to meet StarKid, my friends from Michigan who made A Very Potter Musical, and there he was almost 10 years later singing the song that he was there to support with us. That is the best.

[dkettchen]

I have added geographic & language data to my ship data set!

(some of the combo ones may still be recategorised but alas that's very few)

Total ships (by country, continent, language):

TLDR:

The US has too much soft power with over 50% of top AO3 ships in the last decade being from US-originated media

UK & Japan are runners up but each only make up about an 8th of the ships

"European media" is almost exclusively UK media, with only about 3 fandoms from other countries (France, Norway, Sweden) without UK/US collaboration and/or original/most popular release(s) in english, we do not have much translated non-english european media represented the way translated east asian media is

Africa and South America are straight up not represented

Other than Thailand, only east asian media is represented for Asia. India as one of the two most populous countries in the world alongside China is not represented at all

Oceania (Australia and New Zealand only) only has I believe 3 fandoms represented

Countries by ranking:

(overall, annual, and femslash:)

The overall and annual rankings improved their country distribution over the years.

Annual had the biggest influx of east asian media, aligning with the previous racial diversity findings.

Femslash is actually doing the worst on country diversity, with 3/4 consistently being made up by the US alone, which was surprising cause it was doing the best on racial diversity out of the three. (me@femslash: YOU WERE THE CHOSEN ONE ToT)

Overview stats by country (biggest 6 represented):

US & Japan:

UK & Canada:

China & South Korea

East asian countries feature about as many east asian characters as english speaking countries feature white ones. The latter also do not feature much more east asian rep than other groups, meaning that the vast majority of our east asian characters in the rankings are *from* east asian media becoming more globally popular, not from more east asians being represented in other media.

Korea is doing the worst on diversity represented cause its fandoms are almost exclusively kpop RPF, hence only feature east asians (and even among them largely only the ethnically & nationality-wise korean ones, not many of the international ones), and with the exception of Red Velvet only boy bands/mlm. BTS makes up over half of its ships despite only featuring 7 individual men.

The US as the biggest category has the most racial diversity and highest percentage of interracial ships, but Japan and China have surprisingly high levels of diversity represented, despite their irl population's much lower ethnic diversity than say the US to my understanding. In China's case this seems to largely be due to Genshin Impact making up over half of its ships and featuring many different culturally inspired worlds, leading to more diversity represented on paper, with the caveat that a lot of its non-white and non-east asian characters have been criticised for white-/light-washing/colourism. Both Japan and China have white characters as their second biggest group, unlike english speaking media which does not mirror that ratio for east asians.

The UK and Canada are doing way worse on racial diversity than the US, despite featuring way more different fandoms than Korea. (= They don't have an excuse lmao)

As expected based on the rankings' country distributions, the US features an almost equal amount of male & female characters, due to wlw and mlm ships being nearly tied and a decent amount of straight ships being represented. Canada has an even crazier femslash ratio with over half of its (much lower number of ships) being femslash. Japan and the UK both feature about 1/3 female characters. Japan is also the only asian country of the three that features any straight ships at all.

[thatsonemorbidcorvid]

5 minute read

Women who are groped on trains in East Asia face the further threat of their assault being filmed and uploaded for sale online. In a year-long investigation, the BBC World Service's investigative unit, BBC Eye, has gone undercover to unmask the men cashing in on sexual violence.

It was the morning rush hour in Tokyo. The train was packed and rocky.

Takako (not her real name) was on her way to school. The 15-year-old tried to hold on to a grab bar.

Suddenly, she felt a hand pressing on her behind. She thought someone had accidentally bumped into her.

But the hand started to grope her.

"That's when I finally realised - it was molestation," Takako recalls.

The hand quickly disappeared in the crowd. "I couldn't do anything about it." She arrived at school in tears that day.

That was her first time being sexually assaulted on public transport, but Takako was molested almost daily for more than a year on her commute. On countless nights, she went to bed crying. "I felt like there was no hope in my life," she says.

Many women like Takako are targeted in public by sexual predators. In some cases, they face another violation - the attack is filmed and the videos are sold online.

Most videos follow the same pattern - a man secretly films a woman from behind and follows her on to a train. Seconds later, he sexually abuses her. The men act discreetly, and their victims can seem totally unaware. These graphic videos are then listed on the websites for sale.

In a year-long investigation, we traced the men behind three websites which sell and produce thousands of these sexual assault videos.

An epidemic in Japan

Encountering sexual abuse almost daily, Takako found herself unable to speak up during the act due to fear and shame. But every night, she covered her mouth with a towel and repeatedly practised in front of the mirror how to call out a harasser: "This person is a 'Chikan'!"

"Chikan" is a Japanese term describing sexual assault in public, especially groping on public transport. It also describes the offenders themselves.

Chikan perpetrators typically take advantage of crowds, and the victims' fear of causing a scene. In Japan, speaking too directly and openly may be seen as rude.

Thousands of arrests are made every year for Chikan offences, but many more go undetected and unpunished. Saito Akiyoshi, mental health professional and author of a book about Chikan, says that only about 10% of victims report the crime.

The Japanese police encourage victims and eyewitnesses to speak up, but the crime is far from being eradicated. The problem is so widespread that even the UK and Canadian governments warn travellers to Japan about it.

Chikan has been normalised by its prominence in Japan's adult entertainment industry. One of the most popular types of pornography in the country - the Chikan genre - has spread to other Asian countries.

Chikan websites

One Chinese-language website called DingBuZhu (which means "I can't hold it" in Chinese) immediately caught our attention.

It's a marketplace for Chikan videos, filmed secretly on mobile phones in crowded public places, such as trains and buses. They are shot across East Asia, including Japan, South Korea, Taiwan, Hong Kong and mainland China.

Some videos cost less than a dollar. The site even once allowed users to order tailor-made abuse videos.

We also found links on DingBuZhu to two other websites - Chihan and Jieshe - with the same type of content.

There is a Telegram group with 4,000 members who share tips on how to sexually abuse women.

One name kept coming up on the Chikan websites - "Uncle Qi".

He was hailed as the guru in this community. Dozens of abuse videos were labelled as his work. On Twitter, he put up teasers of the websites' videos to his 80,000 followers. But who was he?

The Telegram group we had been monitoring revealed a clue. One day, an admin claimed in a series of messages that he had abused a woman with Uncle Qi.

The messages were accompanied by photos of a woman standing on what appeared to be a metro platform.

Within hours, we found a match for the location - Ikebukuro station in Tokyo.

And there were more leads pointing us to Japan.

The websites listed a Paypal account receiving Japanese yen which was linked to a Gmail address. When we put the address through Google Contacts, the profile picture that came up was a young man with an elaborate hairstyle and theatrical makeup.

A reverse image search put a name to the face - Noctis Zang, a 30-year-old Chinese-born singer living in Tokyo. He was the frontman of a metal band called The Versus.

Noctis had a glamorous public image, but we soon found something hidden behind it.

In early 2022, The Versus' photographer had alleged on Chinese social media platform Weibo that Noctis built "porn websites" alongside another band member, Lupus Fu.

He had posted pictures of a notebook, which showed some accounting and video categories similar to those on the websites. The photographer had also posted a video which appeared to show Noctis's browsing history, with links to Chihan, Jieshe and the admin pages of DingBuZhu.

Could this rock singer be Uncle Qi?

Unmasking the admins

Posing as a music talent scout called Ian, our undercover journalist met Noctis at a fancy rooftop bar in Tokyo.

They first talked about music, but the chat soon moved on to the subject of sex. When Ian said his company used to make porn films, Noctis's eyes lit up.

The two met several more times, and they even celebrated Noctis's birthday together.

Noctis introduced Ian to his fellow band member Lupus Fu, whose name had been mentioned by The Versus' photographer. Lupus, also from China, was studying sociology in Japan.

Ian said his company planned to invest in porn sites and asked if they knew anything about this business.

Noctis confessed he had "some exposure" through a friend, "Maomi", who had created his own porn sites with "metro" content.

Ian then casually brought up DingBuZhu.

Lupus and Noctis both laughed: "That's Maomi's website!"

They revealed that the person behind the Chikan websites was a Chinese man in Tokyo nicknamed Maomi. They said Maomi was reclusive and paranoid.

Noctis and Lupus also admitted that they played admin roles for the websites.

They spelled out their business model.

"In China, sex is the most suppressed," Noctis said, "Some men are very perverted, they just want to see women getting…" Lupus finished the sentence: "screwed over."

Lupus said he was in charge of promoting abuse videos on Twitter. Noctis revealed that he had uploaded more than 5,000 videos on the websites, received payments for the business and taken 30% of revenue. The rest he had transferred to Maomi.

Lupus also said he could help connect Ian to Maomi.

The Chikan club

On a quiet back street in the red-light district of Yokohama, a storefront decorated like a metro station catches your eyes. A sign spells out its concept: "legal Chikan trains".

In this sex club, called Rush Hour, customers can pay to enjoy the Chikan experience legally.

Its manager Hasuda Shuhei welcomes us on board. "We let people do things that can't be done outside. That's why people come here."

Inside, a sickly-sweet smell of cleaning products permeates the air. Private rooms are decorated like train carriages and equipped with a sound system that plays train announcements. Even the club's membership cards look exactly like Japan's transportation cards.

"I think it's important for men to be able to pay to vent in place like this, so they don't commit rape and other forms of sexual assault," says Hasuda.

Mental health professional Saito says that the matter is not as straightforward as Hasuda claims. He says that most Chikan perpetrators are aroused by the idea of domination over and humiliation of their victims.

"They do not treat their victims as equals, but as objects."

It's an opinion that rings true with Takako.

After months of assaults, she fought back one day. As she felt a hand reach for her skirt in a packed train carriage, Takako shouted at the top of her lungs and grabbed the assaulter by his wrist.

Takako took the man to court, where he only got a suspended sentence, even though he had previously been caught for Chikan offences.

Disappointed by the outcome of her case, Takako went on to start an anti-Chikan campaign, producing colourful badges reading "Chikan is a crime!" People can wear them to show they will not keep silent.

"It's a deterrent for criminals," says Takako, who is now 24. There is now an annual anti-Chikan badge design contest among Japanese high school students.

The hamster

Maomi means "kitty cat" in Chinese. However, Lupus said his personality was more like a hamster. "He's harmless, but cautious of everything and he sometimes overreacts."

Lupus was right. Maomi repeatedly refused to meet Ian.

But on Chinese New Year's Eve, Ian's luck changed. Maomi agreed to a meeting at a karaoke bar.

The air was thick with cigarette smoke, the sound of clinking glasses and Chinese pop songs.

The person who turned up was not who we expected. A skinny young man wearing half-rim glasses and a dark trench coat, Maomi looked like he could be a college student. He said he was 27.

Showing an interest in investing in his business, Ian asked how much he made.

"Our daily turnover is around 5,000-10,000 Chinese Yuan (US$700-$1,400; £565-£1,130)," Maomi said proudly, showing the transactions on his phone. "Very stable income, right?"

Ian acted impressed, and mentioned the name Uncle Qi.

Maomi admitted: "I am Uncle Qi."

But to our surprise, he revealed Uncle Qi was not just one person.

He managed a team of 15 people, including 10 in China who made videos under the same name. Maomi received 30 to 100 videos from them each month.

The videos were then sold on the three websites which Maomi confirmed he owned. They had more than 10,000 paying members, mostly Chinese men.

"The key is to be authentic. It has to be real," Maomi said. He later told us his websites even sold videos of drug-facilitated rape.

Maomi talked about his business as though it were any other budding start-up. He described his team as "passionate" and "brave". He even casually mentioned he had been training others to carry out and film sexual assaults.

But there was one thing he never mentioned - the women in his videos. It was as if they didn't matter to him at all.

Maomi exposed

We wanted to know Maomi's real identity. At another meeting with Ian, he opened up about how he got into this business.

Like many boys, Maomi liked Superman, anime and video games growing up. But when he was 14, he started watching sexual assault videos like the ones he sold now.

He knew his business was not risk-free.

"I am so cautious," Maomi said. "Safety first." To avoid scrutiny from the Chinese authorities, he planned to naturalise as a Japanese citizen.

However, as careful as Maomi was, he made a mistake.

When Ian asked where to send the investment funds, Maomi pulled out his bank card and handed it to Ian.

The card revealed his real name - Tang Zhuoran.

Later, we confronted Maomi with our allegations.

As we approached, he tried to cover his face and walked away. And all of a sudden, he snapped, hitting out at our camera and crew.

The next day, by coincidence, we spotted Maomi at the airport. He was leaving Japan.

Uncle Qi's Twitter account, where he openly promotes the abuse videos, is still active.

Twitter did not respond to our request for comment. Instead, they sent us a poo emoji, which has been an automatic reply to any inquiry directed to their press email since March.

We also put our allegations to Noctis and Lupus. They did not respond. We have since learned they no longer work with Maomi.

On a spring day, we meet up with Takako to tell her about our investigation. Appalled, she says: "We women are just content in their videos. They see us as objects. They don't think we have a heart."

Takako advocates for tougher laws against these crimes.

Japan is set to reform its sexual assault laws. However, campaigners say these changes don't go far enough.

But Takako will not give up. "We will not cry ourselves to sleep."

Additional reporting by Chie Kobayashi, Ryuzo Tsutsui, Hanae Arrour Takahashi and Joel Gunter

[kimyoonmiauthor]

I thought it might be fun to list "Best cultures for", imo, BTW, doesn't include SK in most cases.

So using my Anthro degree for something. This is Academic interest. I'm only giving the loose reasons why. I'm not particularly promoting fetishization here. I'm saying, do the research into this specific culture for this specific cultural aspect. rather than blind worship.

Agriculture

Of the three major regions, (West Asia, Southern China-ish, Meso America/Northern South America) hands down, The Americas.

I mean, if you look at the genetics and origin of the potato, that itself is super impressive. Through domestication alone, they managed to make the potato grow in all environments, AND changed the amount of genes the potato has. !@#$ What? Really? And then you have things like Amaranth, corn, squash, beans of different kinds, quinoa, tomatoes which is related to nightshade, which is used more than eggplant worldwide, and Sweet Potatoes which they gave to Polynesians. Also single handedly through the Potato and Sweet Potato saved China, Korea, Ireland, and several other places from famine, thus also helping to end the slavery cycle in Korea, China and Japan. I mean... who are you going to rank the highest in that case?

Second place ranking I have to give to Western Asia. Daaaaamn, you have wheat, oats, barley, sheep, goats, cows, horses (supposedly), pigs. That's pretty impressive.

Third place Southern China—rice production, most of the world's commercial flowers, soybeans, a lot of the fruits including citrus. You also get honey.

Honorable mention to South Asia for Chickens. (Indonesia and India specifically)

Despite this, apples are my favorite fruit. lol I need to eat a Courtland apple please. I can eat them by the bushel.

Sea navigation

Hands down, Polynesians, beats the pants off of everyone else by a nautical league. When you can feel sea currents with your hands, be able to get your people first to the South Pacific from China, and then navigate ALLLLL the way to the Americas and beat Europeans, Yes, definitely they get the crown several times over. I mean... think hard about it. When you memorize stick charts, casually and then don't have them at sea and sometimes your tattoos are only brief reminders, FLOORED.

Make Europeans in the same time period look terrible.

House design

I'm looking at passive solar, specifically rather than aesthetics. For me, this is kinda toss up. Indigenous peoples rocked it pretty hard, especially in the South West US into Mexico region. They were exceptionally good at regulating air flow. But Koreans invented underfloor heating. And Chinese figured out Feng Shui which is just Passive solar+ a bunch of other stuff that's practical. (Such as your bathroom shouldn't be above your kitchen). But I have to admit I also admire some of the Indian Passive solar efforts (subcontinent). This one is hard to decide. But if you're researching, I'd look there.

Gender

My favorite to point to is Bugis people of Indonesia. 5 different genders. Freaking awesome. Of course it's a bit disciplined these days by the government, but it's worth investigating.

As I wrote before East Asian gender systems of the past were often more fluid and flexible and still are compared to European ideologues.

Clothing?

No one has impressed me that much, tbh. It's a pick and choose. I can choose the most impractical, but not the one that wins my heart for inventiveness.

Crakows, though, crack me up every single last time. Especially for the Phallic nature and that they were associated with men. But that's on the impractical list. That's also why I submitted it for review on History Hit's fashion list. I haven't gotten over it since I first saw it, I think it was on a Dan Snow documentary about British kings. I mean look at them and resist laughing your butt off.

Religion

I personally think that real Voudoun is much cooler than what's in the movies, which is really racist 98% of the time. It is a Synchronized religion, and it is Christian-based in some ways, but c'mon, look it up and be impressed.

BTW, I really dislike the conflation of zombies with Voudou, granted as an outsider, since it belongs to Bokor and is a warning against *becoming a slave* not about white people trying to shoot zombies with grey and darker faces because OMG, slave uprising psychology.

Zonbis, are cooler than zombies since it's about overcoming and resisting masters, rather than about masters mass killing their slaves, which is what the later meaning seems to say. Ad Zombie movies are at their best when they symbolically get the original concept and meaning. So like becoming a work drone.

^^ I still have a soft spot for Muism as a Korean, but ya know, Korean. I lean towards liking shamanism, probably because of the historical acceptance of LGBTQIA and disability.

Shamanism is also appealing in some ways because often shamanism says that if everything in your life is going wrong, then that might be a sign of powers or spirits calling to you, rather than saying in the old Christian ideology that you've sinned deeply, so you need to repent.

But this is usually not what people are asking about when they are thinking about religions. They usually want the polytheistic, Jade Emperor, Greek, Roman, Egyptians, Norse route. Or Monotheism. Kinda dull, really. Where are the other types in fiction. I mean, Druids?

Give me some totemism for once.

Government System

Look up Wigan Council. I might also be biased towards it because of Gaya, but it's a way to play with things and also allow for more LGBTQIA royalty. Royalty without autocracy?

Inventions?

Hands down, no doubt, Islamic Empire. I mean, when you have Automatons without electricity, you're winning without question. When your people are inventing surgery, calculating the size of the Earth, allowing women to read, learn and write, inventing the lens, which is the cornerstone of so many inventions, and you got Europe's Bacon by inventing the Scientific Method first, historical crush does't cut it. I mean, when you can calculate a pointed arch, do geometric mosaics with mathematical principles, I am floored beyond reason.

Conclusion

This isn't to say I'm not impressed by specific things from other cultures as well, but this is broad strokes. Vedanta Hinduism, for me, is impressive from India. And I really like the practicality of Hanbok. (Why hanbok over hanfu is a long, long post) And I've raved over kimchi before multiple, multiple times, more than you know (quora... I think I have the most answers and I also answer with the food science of Kimchi down to the bacteria.) BTW, dumplings are damned clever.

What are your favorite culture for specific things from those cultures? Would you choose different cultures for each of these things? If so, why? What impressive things have I missed that have floored you?

[alabasteranxieties]

Something shifted

When you're realistic with yourself, you tend to separate women you find attractive into two groups, aiming for modesty. In my league and out of my league.

Many pretty women are of course out of my league. The types of girls you see online, are often out of my league, and many in real life as well. I'm a regular white guy, and I try to nip ego in the bud when I can.

With the rise of hip hop, R&B, the general Africanization of pop culture, and interracial pornography, this new fascination with BMWF couples initially had little effect on me because simply put, the girls in these arenas are WAY out of my league. Girls like that preferring black men has essentially no impact on me. That's how I felt initially anyways.

However, there has been a trickle down effect, as is true with all trends. As this kind of content gains traction, and as mainstream media also pushes this particular pairing, and as women gain more and more independence, empowerment, and proudly state their sexual taste, more and more girls are getting curious, or at least simply open to the idea of a black partner, whether its for a night or for life. I personally think it's great that people are figuring more out about themselves and exploring all options, especially ones that were previously off limits.

I think these seeds are planted initially in women with generally good self esteem. Girls who know they're hot and are having fun with it. However, as women encourage each other to try things out, and more and more, porn just means interracial porn, even more average girls are flirting with the idea of hooking up with black men. Its been a slow progression but over the past 5 years I've seen BMWF couples go from 9/10s, to 8/10s, to 7, to 6 to 5 to 4s… You get the picture. As this trend takes off and truly permeates itself into our pop culture, I see more and more women, extremely normal women, having a preference or inclination towards black men. Even outside of white women, Asian women from Japan, South Korea, and China are exploring this with increasing popularity (sorry white dude, I know Asian girls were your weird little back up plan but things are moving fast and you can't keep up)

This of course is ok! Everyone has preferences, and nobody is entitled to someone's companionship. However, it has also led to a massive decline in my matches on dating apps and the little success I ever had with girls in real life has vanished.

In fact I would make the claim that in casual interactions, a lot of girls treat me a bit differently nowadays. Still polite, but small talk is ended essentially immediately. I am no longer humored and thus my opportunities to turn a conversation into something more have vanished.

The little conversations I could previously start with women, I now see black men starting effortlessly while these same women talk to me like I'm a cashier at their local grocery store.

By default, there is an extreme disinterest towards me now that did not exist for most of my life.

So I find myself in an interesting position. The girls who used to be "in my league" have upgraded, which I guess means girls in general have upgraded their "league".

I find myself not just in a lower league though, but not in a league at all. I've been forced into retirement, quite early might I add.

Now this doesn't mean white guys don't get laid anymore. That's a delusional point of view usually just for fueling fetish material, but SOME types of white guys have absolutely been cycled out at least from casual hookups.

On the flip side, black men who I would measure to be roughly in the same league as me, are absolutely killing it. Not just on dating apps but openly in public, and on social media. A black man I would equate to myself is at times thirsted after by many different types of women. I know this probably sounds like I inflate my own score but I assure you I am trying my hardest to be realistic and modest (and frankly I'm quite insecure anyways).

Fact of the matter is, we previously lived in a world where white guys were given bonus points for simply existing and that's being corrected a bit.

Some white guys were scoring goals because the goalie literally didn't know how to block and now women everywhere have gone to training camp and learned on a professional level.

I am not angry about this, and I prefer not to wallow. If women have decided universally that I no longer should have intimate relationships, I of course accept this outcome. Entitlement is foolish, and frankly I don't blame them. In fact I think it's quite a good thing! If women can decide to filter men like me out, and they've successfully done so, then it sounds like we're making some great progress for Women. People like me are no longer getting women purely out of resource hoarding or fear. I would argue a decent amount of the population only bred through misogyny and oppression and the result are guys like me, who in a natural world would frankly not exist. However, I am here, for many more decades hopefully, and I don't just cease to exist just because I no longer exist in the lives of women. I will most likely not pass my genes on (for the best probably lol) but I'll be kicking around for a bit.

In a future post I will discuss how to exist in this state, or better put:

What do you do when you no longer have a league?

[stirringwinds]

When do u think the modern personification of Korea was born? Cause there is the kingdom of Goguryeo which place Korea at like 4000(but like would it be like a china situation where it’s the same personification who’s just stupidly old or like Greece and Egypt where they had an ancient version) there’s also the three kingdoms period which started about 2000 years ago. Or there’s even the more modern eras like Joseon. I’m just curious how old u see the current personification as.

*Gojoseon I accidentally typed the wrong G kingdom. Goguryeo was later on. Sorry for any confusion

thanks for the question! this is my personal take on it: yong-soo is at least 2000 years old; he thus dates back to the three kingdoms period rather than to gojoseon. i do think there's always some wiggle room with the age of a personification and how we interpret history so i can see other variations; my main hard no is making him too young (such as born after the 1950 korean war...please no).

contemporarily, yong-soo represents south korea, but in the beginning, i see him as the old korean kingdom of silla. nations don't suddenly spring into existence overnight, so while silla was was officially founded in 57 BCE, he's probably older than that. that's just the latest date i see him being around by. yong soo, imo, also has/had at least two brothers: goguryeo (who later represents north korea after wwii) and baekje, who was kiku's close ally—as per how, in real history, the kingdom of baekje and yamato japan had quite an important alliance. baekje dies by a combination of yong-soo and yao's actions after the baekje-tang war—as per how baekje got annexed into the kingdom of silla, and china crushed the japanese forces attempting to support baekje restorationists at the battle of baekgang. i don't think yong-soo necessarily wanted his brother to die, but it was a power struggle, and those have consequences (as tang dynasty yao would probably say coolly, while seated atop his war horse...😔)—nations mirror humans, and how often have royal houses across different cultures warred against family members throughout human history? so, it's kind of sombre but there were once three brothers.

overall, i see yong-soo as an old nation who's lived many lives before his present incarnation as the republic of korea (and in the east asian cosmology; reincarnation is quite a familiar concept for us). i see him being older than kiku, and he's the one who taught kiku advanced shipbuilding and navigation, as a reflection of how mariners/shipbuilders from silla influenced japan. this is naturally very ironic from the meiji era onwards, particularly when korea comes under japanese colonial rule, and kiku refashions himself as a 'modern' naval power. so, rather than the canon dynamic that seems to posit a rather youthful yong-soo vs. old man china and japan...imo it's really Old Men Wrestling with the Confucian Hierarchy All the Way Down (even if Yong-soo's skincare regimen means he looks good and he is skilled at putting on a friendly and youngish persona if need be). one implication that's important to me about yong-soo's age is exploring how he and kiku (and also yao) have a very old relationship that runs deep due to all that history and cultural exchange, but it is naturally, far from easy.