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holaraindrop · 2 years ago

Text

Good Bye 2022 part 1

前情提要一下，雖然我大概花了一年半架了WordPress網站，但目前實在沒那麼多心思維護網站跟繳錢真是不負我作白工專家的盛名暫時重返Tumblr的懷抱（聽說現在不禁止R18貼文了真棒） 2023年的展望之一就是強迫自己多整理並寫下思考脈絡雖然沒什麼用，但從記錄中能確實看到自己的成長進化不信可以去看看我之前寫的東西

準備好了嗎？

快速帶大家回憶一下我的2022年都在做些什麼吧

January 一月

2022年是個有趣的開場，（相較2023的高效率，是哪個好孩子1/1一早起床健身後刷了累積一整年油垢的抽油煙機，接著壓底線趕完賀卡設計又衝去送印呢😳？）在前幾行立即離題，可想而知我本人有多少小劇場

總之，人生第一次追星應援就被禮聘為設計師，想一想自己的設計既代表台灣粉絲團，又可以被歐巴欣賞，真的是做夢都會笑欸雖然除了 Logo 外並沒做其他東西，但能把特長應用在興趣上的確滿足了我的成就感，也希望這個 Logo 可以長久的為歐巴應援加油

去看了蜘蛛人， Sony 跟 Marvel 誠意滿滿！三代蜘蛛人同台＝三個 Peter Parker 碎念，我愛死了也圓滿我對Andrew蜘蛛人的怨念，第二集真的難看到對 Marc Webb 恨鐵不成鋼，不過他後來導了 Gifted , 超辣的 Chris Evans 救場成功

一月中下旬則是忙著拍攝情人節行銷素材，從跑花市買玫瑰到拍攝到修圖到網站上線一條龍作業，呵呵（心死的笑）

因為選角很可愛就追了《那年，我們的夏天》，意外的是部寶藏作品（有時候懶得想更合適的敘述就會直接使用Dcard��，希望可以慢慢戒除這點）。編劇接受採訪時，說出：「一開始我們不知道對方的心裡話，總是覺得各自都過得很好，爾後吐露了內心才知道每個人都有自己的家務事，家人總是以愛恨交織的形式來到我們身邊，我認為青春的苦惱有很大一部分來自家庭。」每顆鏡頭都美得不像話，第一次覺得原來看別人談戀愛也會感到幸福啊宇植跟多美的火花真是批哩啪啦，好可愛喔

然後買到了絕版的 Dr. Martens 妹子鞋，超喜歡，磨腳跟磨到爆也好喜歡（我偏Ｓ屬性但意外很能忍痛）

以及跟學姊去了 REC cafe，景很美咖啡很普，不推

該怎麼辦啊我打了好長一段才一月啊😨😨😨

February 二月

每次過年媽媽都會說明年不煮這麼多了，結果還是滿滿兩桌每道菜吃兩口就飽了很瘋吧！

上個月沒有特別提，但 GR 相機的輕巧讓我願意隨身攜帶連買杯可不可都可以拍習慣以相機拍攝後，我在年末換了哀鳳相機就覺得怎麼拍怎麼醜欸（有沒有想過是人的問題？）

從PG媽那邊習得新型態蛋餃，很好吃，推薦各位試試看

家附近的早餐店推出超優秀的草莓三明治。草莓是滿的，不是只有切面那一排，加上卡士達醬，CP 值跟美味程度都屌打-4

中旬又進入一人當五人用的拍攝期間，同事 aka 手模本人洗手洗到��脫皮

🫠🫠🫠（救命

畢業已經六年了，好喜歡這組和西班牙文課同學們一起邊吃邊亂拍的照片，其實我們不太熟，但能留下這些紀錄真好

看《美麗心靈的永恆陽光 aka 王牌冤家》看到睡著，我真的不是文青的料不過如果必須得選擇，雖然痛苦，但我也不想遺忘受傷後癒合的疤累積起來才會變成現在這個階段的自己

參加了《昨日的美食劇場版》包場活動跟迅速在網飛追完《被擦掉的初戀》，這兩部作品都很平實可愛，我其實很喜歡貼近生活的作品，像是《昨日的美食》裡藉由每一餐的準備，去述說主角的處境以及食物所能帶來的療癒效果，自此之後食物對我的意義就跳脫了填飽肚子的單一用途，好好的吃飯，品嘗食物組合協奏的效果，和餐桌對面的人交換感受，也許就是我們一起活在當下的證據吧？

拍攝商品拍到快瘋掉，開始期望3D建模可以應付過去，至少燈光跟道具都可以無中生有（真的瘋了

《飢餓遊戲前傳：鳴鳥與游蛇之歌》超好看！其實整部飢餓遊戲我都覺得超好看也收藏了實體書，是一眾反烏托邦小說裡我最喜歡的作品。如果你同樣不喜歡聖光型主角，也熱愛人性刻畫的作品，真的可以讀一讀不要跟我說電影，那是不同作品

趁二二八連假和PG一起去染了粉紅色的內餡染，結果慘遭朋友評價是中國妹流行撇除漂髮頭皮爆痛跟頭髮乾爆以外，綁起辮子跟馬尾都很好看

March 三月

相對平淡的月份，工作不忙時就在摸新工具

Illustrator 處理3D的技術進化滿多也滿直覺的，雖然無法像真的3D軟體自由度這麼高，但做一些 trendy 設計也是很夠用了

也摸了一下 Blender 的 Geometry Nodes，此時並不知道這是我今年最後一次碰 Blender🫠，悲

GR攝影大大大阿默老師按了我貼文的讚，只是宣虎歐巴的花癡文，真是讓人五味雜陳⋯⋯

睽違兩三年又重新回去打了一陣子的羽球，

看了《語意錯誤》，看帥哥談戀愛好舒壓

默默的天氣就轉暖了，送洗了冬天的厚外套不知道從哪裡看來的說法，洗衣店是對整理衣服有所執著的人才能開的店反正我信了

April 四月

小蛋四歲生日了，從他誕生在我的衣架下到現在已經過了一千多天雖然他大概覺得自己還是小孩子但四歲已經是貓界的 Young Adult 了，差不多該出去賺錢了吧？！

上了一堂很憧憬的設計公司開的線上課程，但小失望決定要從熱愛亂買線上課程的人畢業我買過的課遍及 Hahxw、Yotxa、 Xdemy、知識X星、Cousexa，線上課就跟電子書一樣，買了可能永遠擠不出時間吸收但只要買多大家就會覺得是個勤奮好學的人會有人��興趣看各平台比較嗎？

這個月和大學奇異組織（？）小呂森旅行團出發台南，可能因為發起人跟策劃人都偏瘋狂，隨時都會放棄開車下去健行的那種瘋，所以整趟旅程都是 hang over style，不過這種瘋癲可以釋放掉平日假裝正常的壓力，對我來說是好好的休息充電我希望這個旅行團能年年有今日，歲歲有今朝，刪掉走到腳斷掉這個特色會更好，今年想去哪呢？宜蘭？台東？墾丁？

《如果三十歲還是處男，就會變成魔法師劇場版》是我少數看 BL 作品踢到鐵板，我個人覺得不太好看（很怕得罪粉絲），可惜了影集拍得可愛又讓人心動，電影似乎想走文青的隱喻象徵調性但！！！真的不要放一堆MV似不知所云的鏡頭啦！！！

這個月參加了山盟和中區再生基地舉辦的N種綠色生活講座，討論如何在生活的各面向落實環保的做法。我是被綠色婚禮跟綠色時尚吸引而參加的，不過最大的發現之一是雖然大家都是對環保有信念與熱忱，每個主理人的策略卻非常不同，透過凝聚社區意識來經營在地小店，或是以能被規模複製的角度去經營社會企業，這兩者因為策略不同而在議題處理上會有非常不同的見解。

這個講座發現之二是小燈製作所 Amber 所推薦的《最美五套質感人生穿搭》，我喜歡這本書裡提倡的：衣服應該要帶給我們能量，以及最適合當下的自己的概念，所以 2022 的下半年也是一直在實踐這個理論：每個月用五套穿搭，與衣服長時間相處，也透過預先計畫讓自己隨時處在一個最適合的狀態。非常推薦衣櫥爆炸或是永遠覺得自己少一件衣服的人來讀一讀這本書！

大家擁有自己的環保杯了嗎？早在自帶杯扣5塊的政策前，我就很喜歡用自己的杯子去買飲料。除了飲料會變比較好喝以外（？），也可以透過自我約束，沒有環保杯就不買，來減少自己喝手搖杯的頻率。我現在使用的組合是梅森杯搭配 ReCap 杯蓋，選擇這個組合的原因是：廣口的玻璃杯好倒入飲料也好清潔，不像矽膠杯會殘留味道卡色，或是塑膠杯容易刮傷以及杯蓋本身就具有手提拉環的功能，不需要再準備外出袋；裡面的矽膠防水圈可拆，也可以買到替換的墊圈，替換部分零件而不是整個丟掉這點真的很重要！撇除容易打破、有點重，不能保溫之外，我覺得是挺適合自己使用習慣的杯子～（還可以拿來當保鮮罐使用！！！）

我想不出能說些什麼來推薦《媽的多重宇宙》，你可以從預告感覺得這部作品的ㄎ一尢，但除了荒謬的設定跟節奏，你會感受到一點導演的詩意與人生觀，甚至在某個片段會覺得自己被同理與安撫了這就是一部神奇的作品，我很難說自己到底懂了還是不懂，但很直覺地喜歡甚至打算多看幾次

May 五月

五月是宣虎歐巴的誕生月，首度的參加了應援咖啡廳。看到現實世界的人因為對同一個人的喜愛聚在一起慶祝是一種很神奇的體驗也讓人感覺到愛是一股很強大的力量：因為愛所以想要表達支持，大家有錢出錢，有力出力共同創造了本來不會發生的事與物。在欣賞這種社群文化的同時，也不禁思考這樣的熱情是不是一把雙面刃？雖說愛的付出的確就是你情我願，但看到某些粉絲應援花大錢送名牌禮物給偶像的作法還是有點難以過去自己心裡這關。

想著要抽離點，結果沒多久，因為緋聞銷聲匿跡幾乎整整一年的歐巴終於出現在 SNS 上，感動驅使我徹夜設計了小卡來發洩無處安分的開心！（現在想想好羞恥，還好成品自己蠻滿意的）

買了電子閱讀器給自己當母親節禮物，我一直以來都有買電子書的習慣，但不太能用平板長時間的閱讀，眼睛非常容易不舒服。換了電子閱讀器最明顯的改變就是閱讀時間大幅提升，首先解決了眼睛不適的問題，輕巧的重量減輕手持的負擔，尺寸小巧也很容易丟進包包裡攜帶。我通常會在睡前或醒來還不想離開床時閱讀，不過需要排隊的場合也超級適合，很容易就可以度過等待的不耐感喔！

PG跟我講了桑椹牛奶喝起來有股黑糖味後，抱持懷疑態度的我終於買到桑椹牛奶親自驗證：是真的，真的有黑糖味

在月底開始使用布衛生棉；我是五年以上的月亮杯使用者，但還是會有不小心漏出一點經血的時候，在經期前幾天還是需要墊片衛生棉會比較保險。趁著手邊的拋棄式衛生棉用完後就直接換成可以重複清潔的布衛生棉。必須說，我覺得布衛生棉的使用還是有一點門檻，在量大的時候可能一天還是得換個兩三片甚至三四片才能吸收所有經血，但換下來的布棉如果無法馬上清潔，就還得想辦法帶在身上。搭配月亮杯，很適合我自己想要減少一次性垃圾以及減少買衛生棉的精神（我就懶），不過建議有想試試看布衛生棉的女孩，還是先從經期的中後段開始嘗試，可能比較不至於大崩潰。

June 六月

被趴呢��去看了先知瑪莉的 live，我很喜歡《多雨的城市》，但 KTV 只點得到《Cheer》，微可惜。

和大熊挑戰了兩人密室，前面關卡大概十分鐘就咻咻咻解完，結果被困在拼積木拼到差點超時⋯⋯

工作上客戶指定我們開發招牌吉祥物相關商品，雖然最後並不是太有設計空間，但應該算小小的里程碑？

獲得其他家粉絲推坑贈送的專輯，感嘆擁有有錢的粉絲真幸福之外，也驚豔於韓國的設計水準，無論是攝影、平面編排以及印刷都很有質感

真的去了多雨的城市小旅行。小時候有短暫居住過基隆，對於基隆的印象就是下雨下好下滿下下叫（？）這次去主要是看看城市博覽會，展覽超棒！利用城市發展過程中逐漸廢棄的工廠或漁會大樓，從造船產業到漁業飲食文化到社區再生，很全面的讓人瞭解基隆是個怎麼樣的城市而且展場的佈置非常有巧思，不是走沒有內涵的拉皮路線身為文化美學沙漠金錢豹城居民的我好羨慕啊⋯⋯

我的MBTI是ENFJ，可以解讀為自以為是的蠢蛋

老闆從美國短暫返台，帶了可愛的杯子，以及海量CBD軟糖讓大家當辦公室零食

我喜歡Pizza Rock的海鮮披薩

雖然越寫越隨便，但2022的上半年過得好像滿充實的欸！？劇透：認真看一下下半年，我到底是怎麼撐過這一年還沒累死的啊？

#2022 year in review #2022 review #year review

0 notes

potteresque-ire · 3 years ago

Note

Dear Pie,

I hope you’re doing well! C-ent seems to be going up in flames. The govt is trying to purge the ent industry i guess? It would be lovely to hear your thoughts on this. Esp on their take on BL dramas. The govt seems to be making their move. https://twitter.com/zhaoxiaotango/status/1430723789289967618?s=21

Hello Anon!! As usual, I'm late to answering this ...

I’ve included my thoughts on Dangai’s future below the cut. I’ve also, in the ... not-so-grand tradition of this blog, gone on tangent and talked about “C-ent going up in flames”.

(TW: due to the nature of the historical event described, the second half of this meta may be unsettling to read—it has been demarcated with a fake cut.)

With the latest notice from the Publicity Department of the Chinese Communist Party (CCPPD), also known as the Propaganda Department (中國共產黨中央委員會宣傳部, 中宣部 for short), the future of Dangai dramas is rather dim...

The notice actually included only one quick mention of Dangai:

但是，隨著文娛產業迅速發展，天價片酬、「陰陽合同」、偷逃稅等問題有以新方式新手段死灰復燃跡象，流量至上、畸形審美、「飯圈」亂象、「耽改」之風等新情況新問題迭出...

But, with the rapid development of the entertainment industry, issues such as sky-high paychecks, "Yin-yang contracts", tax evasion have resurfaced, executed with new methods and means. New situations and problems, such as traffic-above-everything, deformed aesthetics (Pie note: referring to “sissy” men), the chaos of fan circle culture, and the fad of Dangai, have appeared one after another...

In the current climate, however, this is enough for observers to believe that Dangai dramas have been dealt a fatal blow—the kind of Dangai dramas most people are familiar with, at least, in which the creative team "plays edge ball” by subtly supplying hints of a M/M romance; in which the marketing of these dramas translates these hints into “candies” to popularise CPs (character, and real-person); in which the CPs bring in loyal fans not only for the drama, but also for the actors...

These observers include the state censorship apparatus, the production studios and distribution platforms, social media where promotions would take place. They'll all likely raise the bar for Dangai dramas to make it to airing and promotion, even if the ban hasn’t been made explicit.

This kind of ... the government hints, people guesses the hint and takes it (much) further is a tradition passed down from China’s dynasty days. Emperors often kept their wishes mum, or vaguely worded, and waited for his subordinates to find out what the wishes were, interpret what they wanted. The extra time and effort needed for the interpretation boosted both the Emperors’ image and his status—Look, our Emperor is kind, humble enough to not speak his mind! Look, our Emperor is important enough that his wishes, unspoken they may be, should all be met!!

This practice also allows the ruler—be it an ancient Emperor or a modern-day authoritarian regime—to play “the good guy”: they didn’t ask for the ban, did they? It wasn’t, isn’t their fault that the people agree(d) with the hint so hard that they went / go on to prohibit the stuff. The Emperor, the regime remain the open-minded one, and more importantly, the guilt-free one, if the outcome of the ban is less than ideal.

Strictly speaking, Dangai the genre will likely survive; "Dangai” 耽改, after all, only means “adapted from a Danmei source material”. Adaptions after this CCPPD notice may nonetheless turn the material into strict brotherhood stories, or even heterosexual romances. The dramas that are in the process of shooting, or have completed shooting, may have to modify the script, re-shoot scenes such that the project can pass the inspection by the NRTA (National Radio and Television Administration 國家廣播電視總局; the “censorship board”), such that the production studios and their investors can still air the products and cut their losses. Tencent, for example, already has 4 Dangai dramas completed (Immortality 皓衣行，Winner is King 烽火流金 / 殺破狼， The Society of Four Leaves 張公案，Chasing the Light 撒野 / 左肩有你) and one in the works (今朝萬年長); to shelf all of them will be a financial disaster, especially after its already having to shelf one “S+” grade (big budget) series this year—The Golden Hairpin (青簪行), with Kris Wu 吳亦凡 as its lead.

Anon, maybe this is what you’re wondering about too—will the state’s expressed displeasure with Dangai affect already-aired dramas and their participants?

Here’s my thought as of today (2021/09/05) ~ for now, I’m cautiously optimistic. The current upheaval in c-ent, as well as in multiple other industries (for example: big tech, private tutoring, real estate), seems to be targeted at the so-called “Capital” (資本), the ultimate power players in c-business and the (domestic and international) stock markets. Already aired Dangai dramas are unlikely to be golden eggs for the companies involved and the power-player investors behind them—most of their profits have already be made. Actors who have risen to fame via Dangai are young and haven’t really had the time to accumulate the wealth, the power to be considered Capital.

(Being Capital needs more than affluence—it also needs influence in both business and political circles.)

(Back when the Zheng Shuang tax evasion scandal erupted earlier this year, “helpful” melon-eating c-netizens researched the list of companies c-ent celebrities own, under the oversimplistic-but-not-entirely-faulty logic that ownership of an abnormally high number may equate ... financial “magical trickery” (especially pertaining to tax evasion). Our ❤️💚 boys were on the search list, and they came up clean :) ).

That said, I feel I also shouldn’t sugarcoat things and say that things will remain perfectly peachy for aired Dangai’s and their actors, their associated “peripherals” such as CPs and fandom communities (such as the supertopics). The reason, however, isn’t because of their connections with the Dangai genre; the effect, also, isn’t limited to those with connections to the genre.

This has to do with what’s happening beyond c-ent.

I shall try to explain a little about this below. Please note that ... some parts may sound a little scary, especially to those who aren’t familiar with the turbulence, the violence of post-1949 Chinese history and politics. Please proceed carefully, and remember: this meta is only one pie’s word, and will be around if there’re better times to read it than now. Some people are comforted by having a sense of the worst that may happen, some aren’t like that at all, and both are perfectly all right. Taking care of yourself is the most important ❤️💛💚.

(Below the cut: c-ent’s “Bitter Cold Winter”, “The New Movement”) (TW: Dystopian Darkness)

====================

The future for actors, directors, creative teams... workers of the entertainment industry in general, goes hand-in-hand with the financial health of the industry. A perfectly peachy future requires very good financial health.

C-ent is heavily reliant on and connected to the “Capital” the state is currently targeting. The tech giants Alibaba and Tencent are both its major players. If the Chinese government fails to exercise moderation in its efforts to rein in these “Capital” (and the Chinese government ... isn’t really known for moderation), if it breaks them rather than tames them, it can spell significant hardship to c-ent—adding frost to the snow that has already settled on the industry since 2018.

(”Adding frost to the snow” 雪上加霜, is a Chinese idiom meaning layering hardship upon hardship.)

What happened in 2018?

As an aftermath of the 2018 Fan Bingbing tax evasion scandal, Chinese tax authorities demanded the Chinese film production companies to “self-correct” their tax history, and pay back what it believed it owed accordingly. To avoid a full audit, the industry coughed up a total of USD $1.7 billion in back taxes in the end—a third of China’s domestic box office revenue.

The Chinese government wasn’t wrong in wanting to eliminate the rampant corruption and tax evasion from the industry. However, its approach was widely considered to be too heavy-handed. Having to pay their massive back-taxes in one go, production studios had to halt or cancel productions while the audit took place, while they figured out whether they had the funds for the taxes. Some companies had to liquidate eventually. Banks refused to finance the companies while the latter needed it the most, fearing associations with an industry that had just displeased the government. Celebrities of the industry (famous actors, directors etc) lay low, fearing the state would train its eyes on them, turn them into the next Fan Bingbing. C-ent was paralysed.

And it never fully recovered. From 2019 on, the Chinese film industry, and c-ent in general, has been said to be in a “bitter cold winter”. Thousands of companies have been shut down, and more people unemployed. The simultaneous restrictions on creative freedom, with the Publicity Department of the Chinese Communist Party (a.k.a, the Propaganda Department) taking over the regulation of Chinese TV and film industries in 2018 and the further tightening of censorship rules, have made recovery even more of a challenge—hits that surprise and delight, even just cater to the audience have become increase difficult to make. For example, period dramas about infighting queens and concubines (宮鬥劇), a perennial favourite among Chinese audiences, were pulled off TV schedules in January 2019 after Beijing Daily criticised the genre for “glamorising lavish imperial lifestyles and palace intrigue instead of promoting "socialist core values".

Behind the films and dramas we love, therefore, behind the seemingly lavish shows and ceremonies, is an industry that is struggling. Production studios, in particular, need a proper budget to create media products that have an actual chance of becoming popular—the Chinese audience had already got used to extravagantly-designed sets, costumes, makeup etc—but the money is no longer around.

New business models have emerged to keep these studios afloat. One of them, for example, involves what is known as “bet-on agreements” (formal name: valuation adjustment mechanism VAM 對賭協議), signed between the smaller, money-short businesses in c-ent (production studios, management companies etc) and “Capital”, the power players of the Chinese business world and the major investors of the industry.

My poor business knowledge may mean I’ll likely never understand VAMs enough to talk about it intelligently, but the rough idea is this—for a production studio, for example, to get an investment, they must promise its investor (for example, a big tech) that they’ll hit a certain profit target for each year of the contract. If it fails to hit the target, it’ll have to pay the difference from its own pocket.

VAMs appear to be a win-win—the invested gets the funds it needs, while the investors are protected from high loses, become more willing to invest—but they also introduce their own problems. The time pressure associated with VAMS is *huge*. In desperate need to hit the profit target for that year, the invested may have to make decisions that may save them in the immediate future, but are not in their best interest in the long run. Production studios, for example, may have to cut corners, release their products at less than favourable time. They may have to be very aggressive in their marketing, copy proven-successful formulas—innovation, experimentation takes time and they do not have that.

Have some of you heard of 割韭菜 “cutting chives”? It’s a popular c-slang that describes how companies try to earn as much money from their customers as quickly as possible, by means that aren’t criminal, but morally objectionable. Fans are among the most talked about, most ... laughed at “chives”; they’re easy targets with their youth and passion, with the peer pressure from their fan circle to contribute to the sales numbers for their favourite celebrities.

While there are certainly evil Capital schemes behind the chive cutting, not all participants on the seller’s side are necessarily evil. Some, too, are under immense pressure themselves.

There’s Capital with a C, and just ... capital: businesses that aren’t small in the eyes of a common folk, but small compared to the financial risk that is the nature of their business. And capital in c-ent has not been doing well.

As a more tangible example of the kind of challenges Chinese production studios have already been facing before this summer ... please allow me to introduce a rumour that circulated around the release for The Wolf (狼殿下). As most rumours of such nature are, please bear in mind that it has never been confirmed, and never will be. The reason I’m spreading this rumour is because its truthfulness is no longer of consequence—this will be explained later.

Many of us may remember that all episodes of The Wolf were released within one day in November, 2020. A hypothesis I saw circulated in our fandom was this: to make sure the antis had no time to campaign against the series.

That made sense.

Outside fandom, meanwhile, another rumour circulated, and concerning a much-talked about VAM among c-ent business watchers: the one between China literature (閱文集團) and New Classics Media Media (aka Xinli Media, NCM 新麗傳媒).

China literature, a book publisher, became a subsidiary of Tencent in 2015. In 2018, it—and, most c-business watchers believed, Tencent’s Capital behind it—acquired NCM, a TV and film production studio. The VAM was part of the acquisition agreement: NCM promised to deliver the net profits of 500 million RMB (~77.3 million USD), 700 million (~108 million) and 900 million (~139 million) to China Literature in 2018, 2019 and 2020 respectively.

NCM had already failed to hit the profit target in both 2018 and 2019. Nonetheless, market watchers had remained optimistic about its performance in 2020. You see, my fellow turtles, NCM had produced three to-be-aired-in-2020 TV series named The Wolf, Douluo Continent, Oath of Love and That Cute Dude who starred in all of them? He got popular … like, really, really popular in the second half of 2019.

But then, 2020 came, then late February, 2020 * sighs *. The airing of the three series had to be held off. Late Autumn that year, another NCM production, the classic Wuxia series The Deer and the Cauldron (鹿鼎記), ... didn’t do so well.

The rumour went like this: NCM had to immediately release The Wolf to make up for the commercial failure of The Dear and The Cauldron. The end of 2020 was drawing near, and it soon had to report to China Literature a 900 million RMB net profit. It had to release a series with That Cute Dude; it didn’t matter that, perhaps, the studio could’ve made more profit by delaying its airing just a little longer, with more marketing and fanfare. It had to try to hit the target.

In retrospect—the “hindsight-is-twenty-twenty” kind of retrospect—November 2020 was probably the right time to test waters for The Return of That Cute Dude anyway, and to clear the 3-year-old The Wolf off NCM’s shelf. But it was impossible to know then; testing waters means ... there was a significant chance of failure, of backlash. In all cases, however, this was a story with a happy ending (hence, the truthfulness of the rumour no longer mattered): NCM managed to make its target profit in 2020 after China Literature had agreed to relax the target because of COVID, which had led to a major decrease in revenue from commercials.

And here’s the thing: it was a close call, and NCM is no small potato; founded in 2007, it was already an established, well-reputed media production company before 2018.

Production studios run a high risk, high return business. A hit, and they get to sustain themselves for a while; a flop, and they may never recover. Meanwhile, in China, they also have little control of the release schedule—an argument against the truthfulness of the rumour would be this: The Wolf couldn’t have aired without the NRTA already having given the series its approval, without the online platforms agreeing to distribute (and turtles know how ... complicated this process can be).

Similar VAM stories, in which the invested barely made it, or had to pay a substantial sum of money after failing to hit target, have also been heard in the film production arm of the industry, the management arm. In the case of the latter, the management company may have to accept low quality projects for its artists just to hit the target—projects that can become dark spots in the artists’ career.

C-ent isn’t really well-positioned right now to take another hit in its income source. After decades of propaganda that capitalism is communism’s mortal enemy, talks of the term “Capital” (資本) in China often carry a negative connotation. And “Capital”, indeed, has been associated with corruption, under-the-table deals, bribery, getting people out of wrongdoings, getting people into wrongdoings. One may say, “Capital” has acquired a strange reputation in the country—as a thing people both dream they're part of and hate the idea of—that some of us may have heard c-fans trying to dissociate their favourite stars from the word.

However, stripped from the moral, ideological judgements, Capital is simply lots of money, and any entertainment industry without lots of money isn’t all that peachy, limited in the types of high quality productions it can make, the choices its actors, writers, directors, artistic teams etc have.

(Period dramas, Wuxia and Xianxia dramas tend to be significantly more costly to make. C-ent therefore has had a near monopoly on them these recent years. Cash-poor Hong Kong and Taiwan entertainment industries have focused on cheaper-to-make modern dramas instead.)

Fear is another major challenge to a peachy future for c-ent and its workers.

If the fight between The State vs The Capital continues to escalate, if the pressure on Capital from the state continues to increase, fear may eventually become the prominent motivator behind business decisions pertaining to c-ent, overtaking common sense and financial incentives that are more comprehensible and predictable. In this case, anything can happen; anything that is thought to displease the government—even if the government doesn’t actually care—can be axed, offered as a “sacrifice” to get the government to get off the offerers’ back.

This risk is, again, not limited to those who have participated in aired Dangai dramas. As one may see these days, the list of things that has displeased the Chinese government is long. Things that once pleased the government may become an offence in a few years time (example: fan culture).

The more practical question to ask, then, is: will the pressure on Capital continue to increase? Will the tech giants, for example, have to continue to haemorrhage their company’s worth to the government? Will more billion-dollar industries be uprooted?

This has been a very hot issue among c-politics watchers.

Those who have lived under the rule of the Chinese government, or are aware of its policies, may know that it’s actually common for the Chinese government to interfere with ... everything every now and then, with loud opinions and louder (but not always useful) new rules. These people may know, too, that it is just as common for everything to simply return to the status quo after a while of sound and fury.

The return to the status quo may still be the outcome for this round of c-ent’s “regulation”. Why are so many people watching then? And on the edge of their seats?

Many c-politics analysts and watchers—those who cannot usually tell one idol from another—have been watching because of what some have suspected, or feared, about Xi for years. And before I get into their (worst) fear, I’d like to emphasise this. Political analyses are often speculative, and political analyses pertaining to China, especially so. Trying to guess the motivations of a government that lacks transparency always requires ample guesswork, piecing together subtle hints and shaky rumours. Word choices are dissected, compared to historical texts; key terms are counted one by one

(It’s not unlike how turtles excavate candies, sometimes).

This care is necessary. Too liberal an approach, and the conclusions become conspiracy theories. Too conservative, and they miss the important warnings—warnings that, if ignored, can ruin the lives of some people. When the government works in obscure ways, when its policies can change over night and important people can override what is written in the laws, these analyses, speculations are often what their audience rely on to make their decisions.

I’m not much of a follower of these analyses for that reason; I'm often uncomfortable with speculations. I’ve also, therefore, refrained from talking about them, spreading them. However, I’m making an exception this time because the following viewpoint, as I mentioned, has circulated for years and among multiple analysts who understand the Cultural Revolution well, some as first person. The same viewpoint has also been whispered in the recent grumblings of unhappy c-netizens.

More importantly, I’m making an exception because this viewpoint offers insight as to why, despite many of the recent criticisms made by the state have actually been made before (example: ”fan circle”: 1, 2, 3 from 2020; “sissy”: 1, 2 from 2018), c-ent is reacting so strongly to them, putting in so much effort to comply.

Why, in other words, the industry appears to be so afraid.

Perhaps, a good place to begin is a Maoist commentary published online on 2021-08-28, which caused an uproar among c-politics watchers. Written by a small time writer, the commentary was nonetheless reblogged by all the important Chinese state media (the original text is found here).

This article went into more details about why the commentary drew so much attention both domestically and in the Chinese diaspora. The TL;DR version is this: those familiar with the “May 16th notification” (五一六通知) that started the Cultural Revolution in 1966 found the language and content of this commentary similar. This commentary was therefore viewed to be possibly historic, the first shot fired for a New Movement similar to the Cultural Revolution—the New Movement postulated by many that Xi has been trying to make happen, based on the accumulating list of current events; the New Movement that some, for simplicity’s sake, has named the Cultural Revolution 2.0.

The Cultural Revolution (1966-76) has been widely interpreted as a power struggle between Mao and his once heir apparent, Liu Shaoqi 劉少奇. This New Movement, these c-politics watchers have postulated, will be the battle between Xi and Capital.

How is c-ent relevant to this? Why are people watching c-ent to see if this hypothesis—that A New Movement is about to take place, or is already taking place—is true?

This has to do with the role played by, and the fate of the arts and entertainment during the Cultural Revolution.

What was memorable, and terrifying about the Cultural Revolution was this: in the name of attacking the 'Four Olds' of Chinese society (Old Ideas, Old Culture, Old Habits, and Old Customs), the movement ... almost destroyed China itself. The “Four Olds” included every pre-Communist element of China that, supposedly, was getting in the way of the Communist revolution; almost all adults were therefore connected to them in some way—”Old” was often just their habits, their background, their jobs, their favourite pastime. Association with the Four Olds was, therefore, an easy “crime” to accuse anyone of. And to carry out this attack of the Four Olds—and remove Liu in the lawless chaos that would result—Mao mobilised the Red Guards, student youths whose fervent worship of Mao made the fan circles of 2021 look like bored passer-bys.

Intellectuals, anyone with ties to the West, with the former Nationalist / Kuomintang government were killed, tortured or publicly humiliated; books old and new, historical sites, cultural relics were destroyed. Laws, ethics and moral codes of the society, common sense ... they were no longer relevant (story); sinners and not-sinners were judged by one criterion—perceived loyalty of the accused to Chairman Mao, determined by the Red Guards who would then oversee, execute their punishment.

(The ”Three loyalties, 4 Infinites” slogan will demonstrate this in a bit.)

It was a period of extreme unrest, and extreme violence.

It affected all levels of the Chinese society. Arts and entertainment, however, were the first sectors to be purged. They were already intricately tied to Old Ideas and Old Culture; Chinese opera, for example, the favourite pastime of commoners of the time, was almost two millennia old. Back when literacy was very low—and that was true for most of China’s history—these plays and their related forms of storytelling were how folk lores and histories, especially those omitted in the official source, were passed down from generation to generation.

Chinese operas were filled with the Old—stories of Old dynasties, Old imperial courts, Old war heroes and Old scholars and Old trials and Old romances. Old songs. Old poetry. Old costumes. Old dances.

As it is the case now, however, the Chinese government during Mao’s era saw its arts and entertainment as tools of propaganda. Propaganda tools are to be controlled tightly, and early especially if a war, a quest for power is to be waged. The corollary, one may say, to this logic is this: before, or at the beginning of the war, the quest for power, perceivable shudders are expected in arts and entertainment.

In the case of the Cultural Revolution, may considers the first shudder to be Mao’s denouncement of a popular Chinese opera named Hai Rui Dismissed from Office 海瑞罷官, written by the historian and Beijing politician, Wu Han 吴晗, in 1961.

The play, about an incorruptible official in the Ming Dynasty who had dared to impeach the Emperor for his corruption, was meant to encourage officials to be upfront about the challenges they met during the implementation of state policies; Wu wrote the script at Mao’s request to create something for that purpose. However, in 1965, an opinion piece appeared in the press—commissioned by Mao’s wife Jiang Qing 江青 and approved by Mao—that panned the play as a veiled criticism of Mao’s dismissal of his former defence minister Peng Dehuai 彭德懷, who had been fired in 1959 after telling Mao that the Great Leap Forward had not succeeded.

(”Not succeeded” was a vast understatement: the series of failed policies in the Great Leap Forward (1958-62) led to death of 15-55 million people).

Artists connected to Hai Rui were arrested, their possessions seized; they were publicly humiliated, tortured, killed. Wu Han died in prison in 1969 for his “crime”; his wife was tortured to death the same year and near the end of the movement, his daughter committed suicide in a mental asylum—a common final destination for those who survived the torture. The main actor of the play, the beloved, legendary Ma Lianliang 馬連良, was also tortured to death.

The targeting of artists and entertainers would continue for the rest of the Cultural Revolution, while creative expression came to an almost complete complete halt. The need for extreme political correctness, in combination with the severe punishment of those accused of not being sufficiently correct, led to, perhaps, the largest scale, most brutal “Canceling” in history. Soon, only a handful of Revolutionary Operas (aka Model Operas 樣板戲) were performed in China.

How many is a handful?

There were eight original Revolutionary Operas, listed in the editorial of People’s Daily on 1967/05/31, named 革命文藝的優秀樣板 “The Fine Models of Revolutionary Art”. By the end of the Cultural Revolution, the number was twenty-six.

Advertisement by the Anhui Revolutionary Committee, celebrating the performance of all 8 original Revolutionary Operas in their province. (Source)

Stage photo from 智取威虎山 “Taking Tiger Mountain by Strategy”. Performers in Revolutionary Opera wore modern costumes. (Source)

The legendary Chinese opera actor, Mei Lanfang 梅蘭芳 (1894-1961), known for his lead female roles (Dan 旦), in a traditional Peking Opera costume. (Source)

*Nods *. For almost 10 years, 800 million people watched the same, two dozen stories over and over again. Chinese operas sung those stories; ballet dancer danced those stories; orchestra played the the music of those stories. Performances of these stories was considered essential to show devotion to the early Cultural Revolution slogan 三忠於四無限 (”Three loyalties, 4 Infinites”), the three loyalties being:

忠於毛主席 (Loyalty to Chairman Mao) 忠於毛澤東思想 (Loyalty to the Thoughts of Chairman Mao) 忠於毛主席的無產階級革命路線 (Loyalty to the Road to Proletarian Revolution by Chairman Mao)

The 4 infinities were as follows, describing attitudes towards the 3 loyalties: 無限崇拜 (Infinite worship) 無限熱愛 (Infinite adoration) 無限信仰 (Infinite faith) 無限忠誠 (Infinite loyalty)

”Three loyalties, 4 Infinites” highlight the Chairman Mao craze in China during the Cultural Revolution. They also highlight the critical differences between the Cultural Revolution and the political climate in summer, 2021 ~ why other analyst believe that, even if there is a New Movement, it won’t be a Cultural Revolution 2.0.

Two key differences are, for example:

1) Worship for Xi in 2021 is nowhere near in fervour compared to the worship for Mao in 1966. Relatedly, Xi’s words have not demonstrated the power to mobilise the masses to the point of completely overriding laws, ethics, moral codes and common sense. Mao was a very charismatic leader; more importantly, he was the founding father of Communist China. Xi, meanwhile, has not had any major political accomplishments, or scored important military victories during his 9 years in office (some believe the military aggression against Taiwan has been waged for this reason).

2) While Reporting (”Ratting out”) Culture has returned with a vengeance, the Red Guards who were permitted to dole out punishment based on the reports and their whim have, so far, not re-surfaced. There are no parades of torture and public humiliation on the streets. The Cultural Revolution was a social movement of the masses; the re-distribution of power proceeded from the bottom towards the top of the power hierarchy. Right now, the state’s take down of Capital runs in the opposite direction: the state is at the top, acting against Capital on a lower rung.

youtube

ETA: What has NOT happened in 2021: a public humiliation party (批鬥大會). Wu Han is at 00:15 of the clip. Note the size of the crowd and their young age.

Regardless of their opinions, c-politics watchers are watching c-ent closely. They’re watching not because they believe the artists and entertainers of 2021 will be publicly humiliated or tortured, but because arts and entertainment, by having to face their audience public, offer a relatively transparent window to the opaque workings of the Chinese government. Because history has informed these watchers that, if a New Movement is indeed about to happen, arts and entertainment will be among its earliest battlefields, and where the first well-known casualties will likely be found—similar to Wu Han and Ma Lianliang from Hai Rui’s Dismissed from Office. Because the industry, in being the state’s propaganda apparatus, means the message it sends (and doesn’t / cannot send), via its stars, its media products, will have to be clear to be communicated—it isn’t difficult to guess the take-home message of the opera Taking Tiger Mountain by Strategy just from the stage photo above. These messages will offer vital clues about the direction, and more importantly, the intensity the state is intending to move—whether it’ll stop at “trimming” Capital, or it’ll only stop at the latter’s destruction.

Does Capital, the power players in business and the stock market believe that the state is waging a New Movement against them? I’m far too distant from them to know.

But, movement or not, the Chinese government has already shown a willingness to make significant economic sacrifices, shake the pillars, the very foundations of its economy in the battle. Capital, therefore, has a reason to be afraid, to be super careful about what they do, play the very obedient child for the time being.

Things are therefore volatile right now in all areas where Capital touches; c-ent is just one of them. This volatility, however, isn’t likely to have truly stemmed from the “incorrectness” of Dangai, or “sissy’s”, or the list of “cancelled” stars and their mistakes, or “fan circles”, or even, from the Clear & Bright campaign (which is actually in its 2nd year; there was a Clear & Bright campaign 2020 that few noticed). They may be cited as the reasons, but the volatility is part of the pressure system of the overall political climate of the country.

And people are watching, alarmed because of the backdrop, because other billion-dollar industries collapsing in the background. How truly afraid is c-ent itself? A simple thing to watch, perhaps, may be how the state-issued criticism against “sissy’s” will translate into action. As mentioned briefly, the same criticism has already made its round once in 2018, the lasting legacy of which is the (in)famous earring ban that while making little sense, has also done little harm.

(As with this time, the industry had little idea of how the state defined “sissy” in 2018.).

What will happen this time may serve as a gauge of the atmosphere in c-ent. How much fear, how much anxiety it actually contains.

With all that said, what are us fans to do then? Is there anything we can do to help?

The best thing we can do—and this is my humble opinion, as usual—is to keeping doing what we usually do. Keep fanning. Keep loving. Keep our corner of fandom calm and happy. Whatever is happening, whatever will happen, is way, way bigger than any of us, than fandom, than even the entire Chinese entertainment industry. And should something less than peachy happens to our favourite things in China, to our sibling communities, I hope everyone will consider remembering this—and this is, perhaps, the message I hope to send with this meta—it’ll very unlikely be the fault of anyone, any subgroups within our fandom(s), even though the blame may be laid upon them. Scapegoating is common at uncertain times like this, mob mentality even more so, and the most precious qualities one can combat them with are independent thinking, and a good memory of what, and who, we’re here for.

(Love. Gg and Dd.)

The giant cogwheels of Chinese politics are turning, as they’ve always been. Are they beyond our control? Yes. Can we pitter patter on the teeth of the gears, and for the more nimble ones among us, hiphop, lock, pop, break, urban?

Yes.

(My move: King Tut. Um, the King Tut in Egypt, not the ones in SDOC4 :D.)

Keep calm. Carry on.

That’s what turtles do. That’s what turtles are born to do. ❤️💛💚

#pie metas #yizhan #bjyx

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swiftie1016 · 2 years ago

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天使聖物骸骨之城

統整一下疑點

1. 我需要有人親口證實 Jace & Clary 根本不是兄妹雖然前面就有講只是陰謀了但你們這樣害他們兩個沒有辦法專心談戀愛！

2. Simon被吸血鬼咬的那兩點會怎麼樣嗎

3. 為什麼學院裡的博士嗎還是什麼兩邊都幫啊？請交代。

4. Alec活下來了嗎？

5. 狼人們的後續

應該還有更多這些是我目前想到的但不怪誰只有資本主義該負責（# 這部原本應該會像暮光之城那要多出幾集的只可惜當時票房太慘

這兩個人比 Edward &Bella 更值得美好的愛情啊啊啊啊好想看原班人馬拍續集(;´༎ຶД༎ຶ`)但已經不可能了（這是2013年的電影）

再來是我原本以為大概就是部普通的科幻電影吧出乎我意料各種效果都做得很精美唯一比較拙劣的是狼人的牙齒有被點噁到了打鬥場面也是各種精彩上陣會讓我屏氣凝神地那種

唯一小可惜是想要塞很多小說設定到時長不太夠的電影中有時候稍嫌混亂了（所以我說如果有續集就不會有這個問題了嘛！）

不得不提愛情方面的處理實在是太中我了！！顏值撇開不說男女主角演技在線各種微表情的刻畫一絕劇組營造的場地漂亮氛圍唯美叫人不心動都難🥺女主人設又是各種討喜不會在那邊猶豫是不是喜歡男二愛誰就是愛誰🤣

順便說一下 Lily Collins & Jamie Campbell Bower分分合合了大約六年要不是莉莉已經死會我就要變成CP粉了這邊先大哭(;´༎ຶД༎ຶ`)

#the mortal instruments #city of bones #lily collins #jamie campbell bower

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aidonotknow · 3 years ago

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Y字釘刑與知善惡樹

（Knives/Legato的圖像學考察）

查了一點資料現在我整個人都不好了。

Y型十字，哥德式十字架的一種，又名crucifixus dolorosus、furca、ypsilon cross、Y-cross、盜賊十字（robber's/thief's cross）。

於13、14世紀的神祕主義影響下出現，在德國萊茵地區尤其常見，在當地也被稱為 Gabelkreuz（叉十字）、Mystikerkruzifix（神祕主義釘刑）、Gabelkruzifix（叉釘刑）、Schächerkreuz（盜賊十字）或Pestkreuz (瘟疫十字)。

據信叉型十字代表了一棵樹，確切來說，就是為世��帶來原罪的知善惡樹（the Tree of Knowledge）。而原罪已被耶穌在十字架上的苦難擊敗。典型的神祕主義十字上會強調耶穌的痛苦表情以及受創、衰弱的肉體，喚起信徒強烈的敬畏和恐懼。

［節譯自Wiki：Forked cross］

知善惡樹是伊甸園中心兩顆獨特的樹木之一，另一顆是生命之樹。也有學者主張知善惡樹就是生命之樹。

希伯來原文被翻譯成「善與惡」可能是一種修辭，將兩個反義詞並置以產生更廣泛的意義，「善與惡」可能是「一切」的簡單表達。在某些情境下表示「優劣」，未必只限道德觀念。

考慮到拒絕服從上帝的背景，描述亞當違反禁令的用詞是他將「注定一死」（doomed to die），在希伯來聖經中這常是宣判死刑的一種形式。

＂the knowledge of good and evil＂在現代學術中有各種解釋：智慧、全知、性知識、道德判斷、心智成熟等等。有學者主張將其概括為「管理獎勵與懲戒的知識」，暗示上帝禁止人類獲得的正是「運用終極力量的智慧」。

在猶太傳統中，該樹及食用其果實代表善惡混和的開始，在那之前善惡是分明的，邪惡只是一種模糊存在的潛能。雖然自由意志在吃禁果之前就存在，但邪惡是一種脫離人類精神的實體，人類的本性並不渴望它。是吃了禁果並內化它才使得人類產生邪惡的傾向。

在基督教的傳統中，樹及果實本身都不是邪惡的，因為神創造的一切都是好的。是亞當夏娃的「不服從」使得造物陷入混亂，人性因此繼承了罪咎。在基督教藝術中禁果常被描繪成蘋果，可能是源自拉丁文mālum（蘋果）和malum （邪惡）的雙關。

諾斯底神祕主義認為這棵樹是正向積極的，甚至是神聖的。一開始有人欺騙亞當夏娃吃了果實會導致死亡，但一位受到聖靈差遣的導師告訴他們果實是得救的途徑。

［節譯Wiki：Tree of the knowledge of good and evil］

雖然整個作品裡很多陣營都有用到十字架，但在Knives和Legato這兩個人身上卻避開了這個符號。

就不同的立場來看，其實兄弟倆都是「善」的－－Knives消除罪惡（單方面剝削plant）的人類，Vash拯救人類的生命並努力使他們免於犯罪（尋求共存），而Legato的角色任務是使除罪者染罪，打破他們的純粹，使善惡的界線模糊。但他自己卻是沒有善惡觀的，純粹的渾沌。

然後Knives最後放棄和兄弟道別，選擇在他的蘋果樹旁消散......這到底是........？那樹還是Y型的.....

當然有可能只是巧合，不過朝這方向考慮的話，Legato一些很奇怪的特徵：金瞳、很狂的用餐方式、特別長的舌頭和嗅覺....就有了其他意思。他是蛇。

吊死在一棵在樹上的蛇。牠說知善惡樹的果子是好的，是真心這麼相信。

Knives當然清楚Legato像蛇，這個形象根本是他搞出來的，不但斷手腳還把人裝桶裡。

你真的很恐怖！！！！😨😨😨

長這麼大第一次看到真的蛇塑（物理）的CP，我TM大受震撼.....

是不是還有做什麼改造....？雖然和GHG其他人比起來他算是保留很多人類原貌了。

他可能是想找個邪惡的形象套在人類身上，從人類的瞳色得到的靈感吧....結果到最後把自己也套進去了🙄 明明蛇也有誘惑的意思，你的潛意識在咆嘯啊大哥！

#millions knives #legato bluesummers #trigun #spoiler #forked cross #tree of the knowledge

17 notes · View notes

soonre627 · 3 years ago

Text

【Adler x Stitch】

⚠️ooc��警⚠️完全腦洞⚠️自我架空⚠️含大量私設

吃不到cp真是太痛苦了，我只能自產自銷

不知道這樣釣不釣得到同好（？

因為我真的覺得stitch很受，他就是個小可愛（？

由於內含大量私設，純腦洞，想寫他們如果結婚去蜜月會發生什麼事。

而且我沒寫完（欸

之後看有沒有空再說。

下收正文：

維霍爾．庫茲敏後來仔細思考，才發現自己都已經這樣的歲數了，竟然完全沒有到外頭旅行過。在維霍爾的印象中，就算是到其他國家，也全是為了工作或者研究，而且通常都是他獨自一人，沒有旅伴，當然也不可能有旅遊或是其他觀光行程。

所以，像這樣和另一個人出來旅行，對維霍爾來說，還真是頭一遭。

況且自己現在可不單純是出來旅遊而已。

「——在想什麼？」

站立在他身旁的羅素．阿德勒微笑著開口詢問，他注意到身邊的維霍爾貌似相當分神，便輕輕伸出手撫著他的臉頰。維霍爾瞬間回神，瞧見了身邊站著的阿德勒，看見他身上輕便休閒的衣著、然後又看到了對方身後美麗的河岸城市景色，這才突然間回過神，他和阿德勒現在身處在義大利的威尼斯，這次他們並不是為了工作或是任務前來，而是單純就是來旅行的。

或者該說，蜜月旅行。

事發在莫約一個多月前，事情的開端維霍爾記得不是很清楚，總之，基地裡不曉得是誰——十之八九是龍心或歐蕾西雅，發現除了維霍爾跟阿德勒之外，其他所有夫夫們都已經度過了蜜月。而維霍爾由於副指揮官的身份，已經很長一段時間沒有休假，又正逢阿德勒解決完一個長期任務，於是基地裡的所有人一致認為，他們應該去度個蜜月假期。

所以，最後在維霍爾抗議無效跟其他人的半強迫、還有阿德勒溫柔的邀請之下，他們便來到了義大利的威尼斯。此時的他們倚靠在一處小橋樑邊望著底下河道來往的貢多拉，這樣輕鬆悠閒的氣氛，讓維霍爾有些不適應。

「沒事。」維霍爾回答：「有點不習慣而已。」

阿德勒微笑著，冷不防的湊上前去吻了吻對方。而維霍爾立刻因為他的行為而紅了臉頰，他下意識慌張的環視著周圍其他路人，不過其他人只是瞧了瞧他們的方向，然後便紛紛又轉開了視線。

「緊張什麼？這裡沒人在意的好嗎？」阿德勒笑著，伸手摟著維霍爾的腰，見到他有些慌亂外加許久不見的羞澀模樣，阿德勒忍不住又把他整個人摟進懷抱裡親吻。

「好了！別鬧！阿德勒！」維霍爾伸手推了推對方，羞紅著臉瞪著他，雖然說他也知道在義大利這種歐洲國家，像他們一樣的同性情侶，根本就見怪不怪，但維霍爾總還是感覺彆扭，或許也因為這是他第一次跟阿德勒一起出來旅遊，沒有任務纏身、沒有隨時都要留意周遭，這樣的輕鬆氛圍讓維霍爾感覺非常微妙。然後這時他總會無意間的瞥見自己右手無名指上的戒指，跟阿德勒左手無名指上戴著的同款婚戒，一起在義大利和煦的陽光下閃著光芒。

維霍爾會在這瞬間突然意識到——他們已經結婚了，而這樣的事實總會讓維霍爾感覺彆扭跟害臊。畢竟平時老是忙於工作，維霍爾總會忘記自己其實已經結婚這件事情。

不過，相對於有些工作狂的維霍爾，阿德勒倒是隨時隨地都會記得這件事。他老早就想跟維霍爾出來一趟旅行，但無奈於局勢，他們分別的時間總是大於相處，所以對於這次為期兩週的蜜月，阿德勒顯得非常滿意，這一次總算不會被任何人打擾，他們可以正大光明的牽著手，一起漫步在街道上。

望著不遠處正在買飲料的阿德勒，維霍爾還是感覺相當新奇，這好像是他第一次看見阿德勒穿得這麼休閒，但是即便是休閒的打扮，也無法掩蓋他的好身材，阿德勒的身形非常高挑，健壯的體魄在休閒襯衫跟長褲的勾勒下顯現出完美的肌肉線條，一頭金髮搭配著天藍色的深邃眼睛，帶著傷疤的臉龐反而替他多增添了一抹獨特的魅力，這讓阿德勒笑起來的時候更加迷人，不光是維霍爾，周遭有許多人都把目光落在了阿德勒的身上。

其中有兩名女性正在對著阿德勒議論紛紛，而她們站的位置離維霍爾相當近，他能清楚聽見她們的對話。由於站在橋邊也沒什麼事情可以做，維霍爾的注意力便很自然的集中到了女性的談話內容上。

「——像是外國人，美國？加拿大？」其中一名女性說著，目光直勾勾的盯著阿德勒：「老天，妳看他的身材，真是好的不像話！」

「可不是嘛，姐妹！」另一名女性吸著飲料回答，有些感嘆般的說著：「不知道他有沒有女朋友？天啊，要有多好的條件才配得上那種男人？」

是啊，要有多好的條件，才能夠配上他？維霍爾倚靠在橋邊，與兩名女性同樣望著不遠處的阿德勒，偶爾想起他們在一起的事實，維霍爾還是對於阿德勒最後選擇了自己這件事感到不可思議，他從來沒有什麼能給他的，但阿德勒還是選擇和維霍爾在一起、甚至走向了結婚這個選項，這是維霍爾壓根兒沒有預想過的結局，他到現在仍然想不透阿德勒選擇自己的原因在哪裡，光是外貌條件，維霍爾就知道自己已經輸了一大截，更別說個性還有其他部分，維霍爾就沒什麼能拿出來說的優點，就像那兩名女性說的——得有多好的條件才能跟那樣的男人在一起。

但是，維霍爾．庫茲敏不知道的是，阿德勒對他的一切早已完全著了魔。

此時的阿德勒在等候餐點的同時，把目光移回半趴在橋上的維霍爾身上。阿德勒注意到維霍爾的視線，便對他勾起一個淺笑，而維霍爾則是匆匆地把目光移動到橋下的小攤販上，害羞的反應惹的阿德勒輕笑出聲，就這樣盯著維霍爾的身影不放。

雖然維霍爾本人老覺得自己的相貌水平一般，但事實卻是有很多人都在盯著他瞧，維霍爾穿著的襯衫領口釦子並沒有全部扣上，加上他的姿勢半趴在橋樑扶手上，可以隱約看見胸口的肌肉線條，光是這樣就已經吸引了不少人的目光，更別說他今天穿的長褲還非常貼身，臀部的線條被勾勒的更加明顯，甚至可以說相當性感，惹得阿德勒不自覺的吞嚥了一口口水。

而理所當然的，被維霍爾吸引的人，可不光只有阿德勒一個。

「他媽的，你看橋上那個男的。」其中一名男子在經過阿德勒身邊時，這樣對著身邊的同伴訕笑著說道：「你看見了嗎？那個性感的傢伙？」

「看到了，我的老天。」他��同伴回答，目光不懷好意的盯著維霍爾的身影猛瞧：「老兄，我告訴你，我願意花五百歐元跟他上床幹一炮。」

另一名男人笑出聲音，悠哉的繼續說：「我也是，我可以再加碼一百歐元讓他幫我口交，靠，你想過去跟他搭話嗎？」

他們發出一連串笑聲，絲毫沒注意到後方的阿德勒表情非常陰沉，依舊對著維霍爾指指點點。而阿德勒在取走攤販的飲料後，經過兩人身邊時，趁著沒人注意的當下，悄無聲息地把一邊花店攤販的推車往他們的方向踢了一腳，那兒正巧是下坡，載滿花盆的推車就這樣不偏不倚撞上了兩人。

阿德勒回過頭，狠瞪了兩個一臉莫名其妙的男人，他們當然不曉得這是阿德勒做的，只是困惑又驚恐的摔倒在地上。阿德勒沒再搭理他們，逕自拿著飲料回到了維霍爾的身邊。

「那裡怎麼了？」看見方才的騷動，維霍爾露出些許困惑的神情望著阿德勒。但阿德勒只是微笑，把手中的飲料交給對方。

「不知道，不重要。」阿德勒輕鬆的回答，然後伸手接過維霍爾原本拿在手上的外套。「把外套穿上吧。」他説道，然後也不管對方答不答應，就直接把薄外套披在維霍爾的肩頭上。

「為什麼？」維霍爾困惑的發問。

「穿著就對。」阿德勒回答，外套的長度剛好可以遮到維霍爾的臀部。

而維霍爾雖然覺得莫名其妙，但也沒有抗拒的意思。他們繼續在威尼斯的街頭上漫步，這是維霍爾第一次到歐洲國家，路上的許多事物都讓他覺得新奇，這瞬間的他像個孩子，冰藍色的眼睛不自覺的一直到處張望。

看見這樣的維霍爾，阿德勒始終掛著寵溺的微笑，他牽緊維霍爾的手，帶著他走過巷弄街道。這不是阿德勒第一次來義大利、也不是他第一次和別人出來旅行，但過往的經驗裡，旅程中從來就沒有讓阿德勒值得留戀的事情，甚至是他和前妻的蜜月旅行，都在中途就被自己用工作為理由而中斷。

所以，像這樣享受旅程的一切，對阿德勒來說，也是第一次。

晚間他們回到了下榻的飯店，威尼斯在這種觀光產業上做的可謂相當淋漓盡致，他們入住的飯店不算最頂級，但整體的設計可謂相當別出心裁。頭一晚他們抵達時由於長途飛行的疲憊而沒有好好待在房裡欣賞，第二晚又因為附近的煙火表演，回到房間時已經是深夜，直到第三天晚上，阿德勒跟維霍爾兩個人才終於乖乖待在房裡沒亂跑。

房裡的設計帶點中世紀風味，柔軟的大床上掛著布幔以及薄紗。阿德勒在一邊整理行李時，轉頭瞧見了趴在床上休息的維霍爾，他的身影在薄紗後若隱若現，阿德勒看著維霍爾懶洋洋的在床上舒展著身軀，對上阿德勒的眼神後，側躺著露出一個淺淺的微笑。

於是阿德勒便很自然而然地爬上床去，伸出一隻手把維霍爾壓在身下，先是俯下身親吻著他，然後才露出一個壞笑。

「你故意的吧？」他笑著問，而維霍爾則是歪著頭回答：「故意什麼？」

阿德勒俯下身，把他壓在身下索吻，維霍爾並沒有拒絕的意思，伸出手摟著阿德勒的腰，而阿德勒也很自然而然的便把手伸進去維霍爾的衣服裡，指尖滑過他的腰線，向上撫摸到胸膛，揉捏著維霍爾的乳尖，他聽見身下人發出小小的呻吟，便露出滿意的微笑，目光炙熱的盯著維霍爾泛紅的臉龐。

「這兒有很多東西能讓我們慢慢玩。」阿德勒說：「房間服務很周到。」

維霍爾勾起一個淺笑，又一次歪著頭回答：「你有什麼能玩？」

阿德勒笑出聲，順手脫掉了自己的上衣。「多著呢，小貓咪。」他酥麻的呢喃低語，他們在擁吻中像瘋了一樣做愛，阿德勒掐著維霍爾的腰，一下讓他趴在床上、一下又讓他側躺著，撩起他的一隻腿幹、過了一會兒又覺得操得不夠深，便把維霍爾整個人壓在身下，但終歸沒停下的都是紮實的抽插。這張床夠大，方便他們不停變換姿勢，而阿德勒的性慾永遠強的驚人，維霍爾在幾次高潮之後就有些撐不住，於是阿德勒壓在他身上，吻遍他身上每寸肌膚，然後笑著取來早已放在床頭櫃裡的春藥，對著身下喘息不止的維霍爾呢喃。

「不行了嗎？」他喘著粗氣說道：「讓我幫你，小貓咪。」

說完後，阿德勒將一粒春藥塞進維霍爾的口中，貼著他的耳畔，用溫柔卻強欲的語氣下令：「吞下去，聽話。」

維霍爾有點神智不清，乖乖聽從阿德勒的指令把藥給吞下，然後阿德勒滿意的微笑，繼續吻著對方臉上的淚痕。藥效發揮的很快，幾分鐘後維霍爾原先已經半垂著的陰莖又一次硬挺起來，他的喘息帶著嬌軟又淫慾的喊叫，扭著腰迎合阿德勒的抽插，緊緊抱住了他的身軀，阿德勒都不需要做太多事情，維霍爾就會因為藥劑的關係顫抖著哭著高潮射精，但他仍然渴求著性愛、主動吻著阿德勒、在他耳邊低語著下流的情話。

「你喜歡我這樣操你，對嗎？」阿德勒笑著問，故意在這時停下了抽插的動作：「喜歡嗎？小貓咪？」

維霍爾因為得不到快感，便睜開欲求不滿的眼睛望著阿德勒，他發出了像是哭泣一樣的啜泣聲，用力的點點頭，挺著自己的腰讓阿德勒炙熱又巨大的陰莖完全頂進自己的深處。

「不要、不要這樣——」他接近崩潰的哀求：「羅素、操我——拜託、求你操我——」

阿德勒露出滿意的笑，又把維霍爾整個人壓回床上狠操，他們之間最後只剩下喘息、喊叫還有抽插時淫慾又下流的水聲，兩人的身軀幾乎完全緊密交纏貼合，春藥跟潤滑劑的空罐被他們扔在地上，這場性愛直到接近黎明時分才總算終結，無論是哪一方都已經精疲力竭，但他們望著對方的目光卻仍帶著炙熱的愛。

於是，這天他們沒有任何外出的行程。阿德勒睡到中午才醒來，而維霍爾完全沒有醒的意思，依舊躺在他懷中熟睡。

阿德勒輕手輕腳離開被窩，順帶吻了吻維霍爾的臉頰，然後才下床盥洗。由於他猜想維霍爾並不會那麼早醒過來，便相當悠閒的叫了客房服務，侍者把早點跟報紙送到他們房間。阿德勒倚靠在陽台的窗邊輕啜著咖啡，外頭的天氣依然非常舒適，阿德勒望著底下的河道街景發了好一會兒呆，然後才回到室內享用早午餐。維霍爾還在睡，而且睡得非常沉，由於阿德勒不在身邊，他順手抱著枕頭，整個人埋在棉被堆裡睡得香甜。

阿德勒咬著麵包，無法克制自己臉上一直露出相當寵溺的微笑，他望著維霍爾意外天真可愛的睡臉，轉了個身從行李箱裡拿出相機，就這樣把維霍爾幾乎每個角度都拍了一張相片。

回去洗照片的時候這傢伙一定會生氣。阿德勒微笑著想。

維霍爾又過了一下子才醒來，他在床上翻了個身，感覺自己全身都酸疼的不像話，每次一跟阿德勒做愛就是會有這種下場，他邊想邊睜開了眼睛，而一邊的阿德勒注意到他醒來後便微笑著走到床沿邊坐下。

「早安，睡得好嗎？」阿德勒笑著詢問，不過維霍爾看上去還略顯疲態，有些懶洋洋地看著自己手中拿著的盒子。

「你在幹嘛？」維霍爾有些困惑的盯著那個紙盒：「那是什麼東西？」

阿德勒把目光落在盒子上。「這個？」他微笑著，把小盒子在手中揚了揚：「這麼快就忘了？虧你昨晚吃了一堆這東西呢。」

聽見阿德勒的話，維霍爾這才意識到他手上的小盒子就是昨晚他倆用來助興的春藥。看上去盒子已經空了，鬼知道這傢伙昨晚趁著自己意識不清到底餵自己吃了多少！難怪會全身酸痛成這樣！維霍爾瞪了阿德勒一眼，沒好氣的開口回答：「幹嘛？你還嫌不夠嗎？」

「我喜歡這東西。」阿德勒壞笑著，貼近維霍爾身邊說道：「這小東西讓你性感的像隻發情的貓一樣。」

聽見阿德勒的話，維霍爾有點害臊，畢竟昨晚自己的行為確實相當放蕩。於是他抓起一邊的枕頭狠狠就往阿德勒身上砸，對方大笑著閃開，趁機又把維霍爾壓在身下親吻著，維霍爾沒有抗拒，就這樣與阿德勒擁吻了一陣。

他們在午後的溫暖陽光下接吻，微風撫過身旁，時間在這一刻凝結，這瞬間他們是兩個相愛的普通人，彷彿一切痛苦都沒有經歷過、一切遺憾都未曾發生，他們的愛將會持續到永恆。

「——我愛你。」在放開對方之後，阿德勒輕輕對著維霍爾呢喃。而維霍爾回給他一個淺笑、以及相同的一句「我愛你」，他們相視而笑，阿德勒在他身邊坐下，讓維霍爾把頭枕在自己的大腿上休息。

這時的維霍爾安靜的躺在阿德勒的大腿上，對方正在看著早報，維霍爾則是在這時又瞥見了右手上的婚戒，他輕輕撫摸著那只銀色的戒指，過了一下之後換了個姿勢，仰躺在對方大腿上望著他專注的臉龐。

「怎麼了？」注意到維霍爾的目光，阿德勒笑著把視線移到他身上：「你想吃點東西嗎？」

維霍爾並沒有回答，只是對著他勾起嘴角。此時的維霍爾仍舊赤裸著身體，除了底褲外一絲不掛，柔軟的棉被蓋著下半身，他對著阿德勒笑了一下之後便將視線移動到手上的婚戒，修長的手指輕輕撫摸著戒指，雙腿在床上勾著交疊，隱約能看見大腿內側跟下腹的吻痕與咬痕——維霍爾大概不知道自己常常下意識做出相當性感的動作，這不曉得算不算天份，總之，阿德勒對於四下無人時他這樣的行為感到非常的滿意，於是他伸出手輕輕撫摸著維霍爾的腰，忍著跟他再來一發的衝動，把報紙放在一邊的小桌上。

「你該起床��點東西了。」他呢喃著說：「都已經快下午三點了。」

維霍爾沒有拒絕阿德勒的提議，畢竟他真的有點餓。於是維霍爾伸了個懶腰從床上坐起身，有些懶洋洋的朝浴室走去。而這次在他換衣服時，阿德勒直接站在他身邊幫他挑選衣服。維霍爾露出不解的神情，很自然的歪了歪頭，他在困惑時總會有這樣的舉動，無論看幾次都讓阿德勒覺得可愛至極。

「為什麼是你幫我挑？」維霍爾挑著眉問道，但是卻乖乖接下阿德勒給的衣物，是一件素色的T恤外加一件襯衫外套，以及較為寬鬆的長褲。

「因為，」阿德勒笑著，湊上前吻了維霍爾：「我不喜歡路上一直有人盯著你瞧，這很合理吧？」

維霍爾愣了愣，有些懷疑的望著阿德勒。「要看什麼？有誰會看我？」他邊問邊把上衣穿上：「除了你以外？」

阿德勒露出一個壞笑，伸手猛然揉捏著維霍爾的臀部，貼近他的身子後呢喃著說道：「多著呢，看你有多性感、多可愛，還說著想跟你來一炮，你說我要怎麼不擔心？」

聽見阿德勒的話，再看見他有些嫉妒跟埋怨的眼神，維霍爾稍稍紅了臉頰，但依舊不怎麼相信對方的一番說詞。「聽錯了吧，怎麼可能是在說我。」他哼了哼聲，把襯衫套上，原先想這樣直接走出房間，卻被阿德勒給拉了回來。

「就是在說你。」阿德勒有些不滿的伸手把維霍爾襯衫的扣子給嚴實的扣上，因為他發現即便只是簡單的T恤，維霍爾的胸線依然在衣服下隱隱乍現，於是阿德勒直接把襯衫的扣子全扣上，然後挑著維霍爾的下顎，湊上前吻著他帶傷疤的左眼。

「這樣還差不多。」阿德勒露出滿意的笑，然後才牽起他的手往房間外走。維霍爾沒有拒絕他的行為，反正就算把他的手甩開，等會兒阿德勒還是會重新貼上來。他們就這樣在街道上漫步，今天沒有安排什麼特別的行程，所以他們的腳步悠閒中帶點懶散，另一方面當然也是因為阿德勒知道維霍爾應該不能走得太快——畢竟他們昨晚可是幹了整整一晚上。

而維霍爾低頭看著自己跟阿德勒十指緊扣的手，又往上移動到他的側臉，恍然間感覺好像在做夢，阿德勒注意到他的視線，便轉頭對著他一笑。

「怎麼了？」他輕聲詢問：「你覺得無聊了嗎？要去其他地方走走嗎？」

「不，不會。」維霍爾回答，稍稍用力握緊了阿德勒的手，對著他露出一個淺笑：「這樣很好。」

阿德勒同樣緊握住維霍爾的手，是啊，無論怎樣都好，只要知道現在前行的路上有彼此，那樣就夠好了。

他們在一處看得見海的小餐館裡歇息。維霍爾待在座位上咬著吸管喝著玻璃杯裡的水果氣泡飲，他們的座位在室外區，阿德勒拿著菜單去吧檯點餐，而維霍爾就獨自一人在座位上等他。維霍爾在座位上伸了個懶腰，舒展著身軀，然後把目光移向遠處蔚藍的大海，海面非常平靜，偶爾有幾隻海鳥從空中滑翔而過，平靜的景色讓維霍爾有點發愣，所以他並未注意到有個人影正在朝著自己的方向接近。

「Ciao（你好）。」

一個相當陌生的低沈男音在維霍爾身邊響起，他被嚇了一大跳，慌張轉過頭看向聲音來源，這才看見自己的身邊不曉得何時站立了一個黑髮的高挑男人，深邃的五官以及深色眼珠，是相當標準的義大利男性長相。此時男人正對著維霍爾露出一個燦爛的笑容。而維霍爾並不認得他，於是下意識的產生了戒心，畢竟曾經在戰場廝殺這麼多年，他對於陌生人的警覺還是相當重的。

「對不起，我是不是嚇到你了？」男人微笑著問。維霍爾用相當不信任的眼神打量著他，冷冷的說道：「我不認識你，你找錯人了。」

「那麼，我想我應該先自我介紹？」男人依然笑著，看不出有任何��脅性存在：「列托．雷斯特利。你呢？Bellezza（美人）？」

由於維霍爾聽不懂義大利文，於是他只得露出有點困惑的表情，輕輕的歪了歪頭：「什麼？」

對方被他的反應逗樂了，便相當自然的笑出聲。這反而讓維霍爾有點緊張，畢竟除了阿德勒之外，幾乎沒有人會像這樣在自己面前笑著，維霍爾確實對於自己的行為常常無意識的帶著可愛以及性感這點一無所知，所以他並不曉得眼前的義大利男性究竟為何會笑得如此開懷。

「你一個人？」列托微笑著，用手撐著桌面，相當自然的靠近了維霍爾幾寸：「來威尼斯旅行嗎？還是工作？」

維霍爾一時之間不曉得該不該回答，於是只能用懷疑的眼神瞪著他。

列托依然微笑，目光停在維霍爾那隻已經瞎了、並且帶著傷疤的左眼上。「你的眼睛怎麼了？」列托詢問，一瞬間露出了略帶疼惜的目光：「真是可惜你的眼睛，是那麼漂亮的藍色。是因為意外嗎？」

維霍爾沒有回答，事實上心底相當慌亂，除了阿德勒以外，他可從沒被別人用帶著疼愛的目光注視、也從來沒被別人稱讚過，更別說他倆才認識不到三分鐘。於是維霍爾下意識的想從座位上起身，但他很快注意到列托正巧擋著離開的路，只得僵硬著身體又坐回原位上。

列托又露出相當燦爛的笑：「怎麼了？你害羞嗎？Bellezza？」

「——這應該不是你要注意的事。」

阿德勒的聲音在他身後響起，列托跟維霍爾同時把注意力向後轉，看見一臉陰沈的阿德勒站在列托後面，他的眼神帶著殺意，像是現場就要直接把列托給宰了，他伸出手，相當不客氣的抓著維霍爾的手腕，讓他從位置上起身。

「阿德勒——」

「換個座位，這兒有隻煩人的蒼蠅在。」阿德勒輕聲對著維霍爾說，然後輕輕挽著他的手臂往另一側走過去。

但即便見到了阿德勒不悅的表情與他們之間親密的互動，列托依然沒有死心，他微笑著擋在了兩人面前，目光在阿德勒跟維霍爾之間來回逡巡。

「他是你朋友？」列托笑著詢問維霍爾。

而阿德勒完全沒有讓維霍爾回答的意思，他橫了個身，擋在列托跟維霍爾之間，抓著維霍爾的右手拉到對方面前，讓他清楚看見兩人無名指上的同款銀色戒指。「是丈夫。」阿德勒冷冷的說，然後拉著維霍爾頭也不回的轉身離開。

幸好列托並沒有跟上來，他們選了一處較為角落的位置坐下，維霍爾能明顯感受到對面的阿德勒情緒不佳，他皺著眉頭，目光落在他們走過來的方向，像是在擔心列托會跟上來一樣。

「⋯⋯你生氣了？」維霍爾有些歉疚的開口，而阿德勒在聽見他的話之後才把視線轉回他身上，見到維霍爾帶著愧疚的眼神，阿德勒搖搖頭，露出一個微笑，伸手越過桌面握住了維霍爾的手。

「好了，現在你知道你有多引人注意了，對嗎？」阿德勒輕鬆的回答，撫弄著維霍爾的手指。對方則是稍稍漲紅了臉頰，確實，維霍爾並沒有預想到自己竟然也會被別人搭訕，這還真是他人生中頭一次，更別提對方的相貌還不差，雖然維霍爾依然不明白當中的原因是什麼，但不管怎麼說，現在他不得不承認阿德勒說的的確是事實。

「我又沒回答他。」維霍爾哼了哼聲，但目光依然帶著些許自責。看見維霍爾的眼神之後，反而是阿德勒感覺有些愧疚，於是他牽起維霍爾的手，湊到唇邊輕吻著他的指尖。

「我沒有生你的氣。」阿德勒溫柔的說著：「不要那個表情，我們可是出來度蜜月的，我可不想為了那種傢伙壞了好心情。」

維霍爾又一次泛紅著臉頰，但他並不怎麼想承認，於是便故意哼了哼聲，斜睨了阿德勒一眼：「怎麼，你吃醋嗎？」

「沒錯，我當然要吃醋。」阿德勒相當大方的承認，緊緊握住了維霍爾的手，對著他溫柔微笑：「我好不容易才得到你，怎麼能這麼輕易就隨便被那種來路不明的人搭訕？」

「好了，哪有那麼誇張？」聽見阿德勒的話，維霍爾反而有點彆扭：「別講得好像我是什麼稀世珍寶一樣好嗎——」

「你是。」阿德勒吻著維霍爾的指尖，望著他的目光帶著強烈的愛戀、珍視、溫柔與疼愛。「在這個世界上，沒有比你更珍貴的人，維霍爾。」阿德勒輕聲的呢喃。他們之間經歷過太多痛苦，最後才終於能夠走到這一步，打從維霍爾決定接受阿德勒給的愛的那瞬間開始，阿德勒就已經發誓這輩子不會再讓他承受任何一點痛跟悲傷，維霍爾已經痛苦了太久、他被傷害太深太痛，而最讓阿德勒自責的，是造就這一切根源的人正是自己。

所以現在的維霍爾值得所有最好的一切，阿德勒給他的疼愛完全超出維霍爾的預期，甚至有的時候反而讓維霍爾感覺相當彆扭。畢竟，在這漫長的人生路上，他獨自跌跌撞撞，身上的傷多到後來已經不會疼，維霍爾曾經以為再也沒有任何事能讓他感受到痛，但最後最痛的反而是在阿德勒幫他療傷的那段時間、他重新拼湊起已經支離破碎的自己，一針一線一字一句把已經破碎的心重新縫合回去，傷口直到這一刻才開始滲血劇痛，阿德勒的溫柔讓維霍爾留戀、同時也讓他痛不欲生，維霍爾痛到感覺自己要死了、所以再一次瘋狂的嘗試逃離，但這一次阿德勒沒有再放開他、再也不放了。

然後阿德勒意識到——維霍爾根本不懂什麼是溫柔、什麼是被愛，而這全部起源於自己對他的背棄，但維霍爾卻仍無法恨他，最後只能讓自己滿身傷，好忘記曾經深深愛過他的那個自己。

於是，時間跳轉到現在，阿德勒面對著眼前略微無所適從的維霍爾，緊緊握住了他的手，吻著那個與自己同款的銀色婚戒，幸好他們終究走到了一個好的結局，現在的阿德勒除了維霍爾以外，完全不在意其他事，為了他，阿德勒甚至想著自己可以親手毀滅世界。

不過，現在那些也全部不是重點，現在的重點是——阿德勒確定了維霍爾走在路上確實是有可能會被搭訕的，雖然維霍爾一直認為自己相當平凡，但事實卻並非如此，他意外的相當有魅力，一些無意識下的行為舉止總會讓人忍不住想多看他幾眼，不過通常這種時候，那些偷瞄維霍爾的人都會接收到阿德勒充滿殺意的目光，隨後便會嚇得逃開原地。

於是，阿德勒冷冷瞪著一名年輕男人逃開的方向，那個不怕死的小伙子剛才用一種貪婪的眼神盯著維霍爾的臀部猛瞧，阿德勒必須很努力才能克制住衝出去揍他一拳的衝動。

「你又在幹嘛？」注意到阿德勒正眼神陰鬱的望著遠處，維霍爾抬起頭，對著他露出不解的神情：「你從剛才到現在到底在看什麼？」

「沒有，沒什麼。」阿德勒對著維霍爾露出微笑，而正想順著他剛才的方向看過去，就立刻被阿德勒托著臉頰轉回來。「就跟你說沒有東西了。」他勾起一個淺笑，看向對方有點不滿的目光：「別分心，你知道我不喜歡你看別人。」

「在分心的是你吧？」維霍爾忍不住抱怨，揮開了阿德勒的手，然後繼續往前走了幾步。這時維霍爾抬起頭，正好瞧見了有一名女性正盯著自己瞧，對方與維霍爾對上眼神之後，便向著他露出一個微笑。

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是的我斷在一個奇怪的地方了（欸

沒辦法就剛好只寫到這裡，有空再說（不負責任

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