#bl trivia

[ineffable-opinions]

MAME & BL Literacy Part 1

Another MAME show is airing and I thought it was good time to discuss what makes that author controversial.

As usual, critiques and corrections are welcome.

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For those who don’t know MAME is a unique Thai BL creator. I have discussed in a previous post (that can be found here and here) how Thai BL is lacking in BL literacies. MAME is one of the exceptions. This is because:

she is a BL author & hence, one of the creators of BL literacies

she studied BL and its production academically [you can find her research output by searching her name: อรวรรณ วิชญวรรณกุล]

then she started producing live action BL.

In an industry which is lacking in BL literacies, what she brings to the table is fu-culture (BL fan culture) in all its glory. Unfortunately, the live action audience who are fans of sweet BL, have a hard time adjusting.

This is an exploration of response to her works, starting with the review of Love by Chance @waitmyturtles discussing all the ships in that series: AePete, TinCan, TarTum and KengklaTechno. This pretty much ties up what I identify as the first issue with BL literacies deficiency and MAME’s knowledge.

Here are some typical narrative progressions for a (Japanese) BL:

あまあま – sweet

ユニーク – unique

シリアス – serious

邪道 – evil road (Jadō)

王道 - royal road (odo)

Any theme/one-line plot can choose to take any of these narrative progressions. Moreover, Thai BL usually originates online which allows for innovation in narrative progression.

AePete

In Love by Chance AePete follows the typical sweet BL narrative progression. Sweet BL is characterised by an overall sweet flavor (characters, mainly the pairing, would be sweet in behaviour and motivation) and relationship progression is pretty smooth. This is the narrative progression that GMMTV sticks to. I have discussed their reasons as well as why it might not be a good thing in the long run here.

KengklaTechno

Their story follows jado narrative progression.

Quick note about Jado BL & Kengkla as a kichiku seme

One or more characters in a ship being emotional aggressors, physical abusers, sexual predators or outright villains is a very common trope in BL genre. These are popular sub-types (most notable: brute kichiku 鬼畜) of seme/uke/riba with these specific attributes and they have dedicated fans who thoroughly enjoy such characterizations. But these are clearly not everyone’s cup of tea. Some BL fans find these themes unbearable. That is why GMMTV and other BL live-action producers who don’t want to upset any of their audience members usually:

avoid such characterizations all together especially with sweet narrative progression

tries to soften such characters into more universally palatable forms

tries to redeem those characters by getting rid of those with odo – this is what currently airing My Stand-In would do.

make them villains – never making them the protagonists who gets any kind of happy ending

This is done not to trouble the average audience’s worldview (世界観) and is clearly a low effort and low skill (in terms of BL literacies) approach. But since a lot of audience don’t appreciate villain-like characterization, it is clearly low risk, no chance of a backlash from angry audience and the best method for assured money making.

Occasionally BL live-action producers venture into the risky terrains, especially with jado. The Japanese does it a lot, usually in movie format. China and Taiwan also delve into jado fairly regularly. But live action Thai BL seldom does anything commercially dangerous.  

In a jado BL, a character might do terrible things and manipulate the other character(s) in the ship. But won’t feel remorse, apologize and improve for better. This is a violation of the expectation placed on characters on sweet narrative progression. Sweet BL audience do not expect characters in a ship to be anything but good to each other, especially after they have become a couple. While audience don’t mind characters making mistakes, in this narrative progression audience also expect characters to learn from their mistakes and to grow closer by earning and giving forgiveness.

In jado BL that focuses on characters being villains, there are no such expectations. These BL work within the confines of their own worldview which don’t necessarily match with our IRL worldview. Characters are allowed to act in ways that goes against our everyday perception of what is right and what is wrong. Neither the characters nor the audience expect the characters to right their wrong, to apologize or to get punished, through judicial procedure or otherwise. Happy endings are not after reparations and resolution of issues, it would be in spite of those. Bad endings aren’t necessarily punishments for bad actions committed throughout the narrative, that’s just the ending of that story. Unlike with the BL with sweet narrative progression, these BL are not necessarily stories of two or more guys falling in love. Neither is their love (if at all there is love) expected to be healthy and wholesome. (It can be wholesome but it is just as well if it is not.) There are expectations from such narrative progressions too and resolution to most issues aren’t among those expectations. Clearly not everyone’s cup of tea, especially if they expect BL to be didactic like fables.

Problem getting papered over is the expected approach in jado. When characters get together/get back together with “problems” never really dealt with, it is proper meriba (merry bad ending). Plain bad ending where there is no resolution is also typical in jado BL.

Moreover, it is difficult to sell BL with jado and other narrative progressions. It becomes even more difficult to sell branded pairings when the characters they play are not impeccable. It is unlikely that actors playing bad guys can sell products for advertisers. (Imagine the characters from The Effect being in ads together!) It is even more unlikely that fans would go broke behind wicked characters and would want to attend fan-meetings and concerts featuring them in some way.

Kengkla is two-faced and an excellent yandere. He appears to be a cute and innocent junior in front of Techno. Audience also gets to see him in Machiavellian mode. This is something that Techno doesn’t have access to, at least in Love by Chance. Techno’s brother is his facilitator in the narrative, which in turn makes him two-faced too. Techno is not omniscient and Kengkla manages to trap him. And that’s where Love by Chance ends.

TarTum

There pairing is an excellent example of MAME’s skilled employment of BL literacies. TarTum is a sweet BL, complicated by them being step-brothers. While their pairing is barely odo, Tum as a character has a complicated odo progression. Horrors from his past haunts him. The journey is going to be complicated. It won’t be linear. There would be slip up on his part and that of others. But there’s light at the end of the tunnel. Those who love odo do so because of the pleasurable pay off, much more than sweet BL. It is a rollercoaster, and that’s why fans like it.

TinCan

This is another pairing with sweet narrative progression but with a rare dynamic: weak seme x weak uke, i.e., neither of them is strong in their pursuit. This is a notoriously tough dynamic to write, so much so that there are relatively few BL with this dynamic.

Multiple Pairings in a Piece

This is something I personally appreciate a lot. It is not often that we get a piece with different pairing with different types of narrative progressions. Authors choose this method and build universes so that they can reach the biggest audience.

A lot of people enjoyed Love by Chance because they could enjoy AePete. While I understand, I don’t relate to that. AePete was my least favourite pairing among them all. I enjoy dangerous characterizations over subdued ones and prefer a meriba over a happy ending. While there are plenty of BL media with those, they are rare in live action. In my first watch, I was constantly tempted to find fan-edits of every couple other than AePete. So, what is time wasted for some is actually really enjoyable moments for another. MAME gets that and I appreciate her for that.

Queerness, heterosexism and ‘Asian’ culture

@waitmyturtles also discusses “a kind of macro cishet perspective on AePete relationship” in relation to “Ae’s randiness and jealous tendencies” and Pete’s response or lack thereof as well as “Ae not being able to take Pete’s help, and Ae’s tendency towards stereotypically masculine POVs and behaviors” tied to “MAME’s story structure here is based in Asian cultural homophobia, in stereotypes of how the queer community should act by way of societal expectations in Asia.”

To unravel that:

I don’t know what “cishet perspective” means in relation to AePete, a pairing consisting of two androphilic male characters. I also don’t know what were the expectations on Ae and Pete in terms of randiness and jealousy.

More interesting I think is the question underlying the statement about Ae’s performance of “stereotypically masculine POVs and behaviors”. Now, what does that mean? In order to understand that it is important to figure out which type(s) of masculinity Ae would subscribe to based on his class, ethnicity and where he comes from (Thai masculinities show considerable variation with location). It will be meaningful to evaluate Ae’s behaviour with respect to: a) what he thinks is the “manly” thing to do b) what Pete does

Take “Ae not being able to take Pete’s help” for example. In their 2021 paper ภาพแทนชายรักชายในนวนิยายยาโออิ เรื่อง รักนี้บังเอิญคือคุณ [The Representation of Homosexual Men in the Yaoi Novel: My Accidental Love Is You] Phuwadech Doungmanee, Panunda Lerlertyuttitham & Natthanai Prasannam goes deep into this:

MAME employs four typical prejudices against male homosexuality perpetuated within the Thai society to create conflicts within the plot: 1) male homosexuality unacceptably deviates from the social norms 2) male homosexuality must not be “out” 3) male homosexuality brings disappointment and shame to the family, and 4) male homosexuality cannot earn true love; love must be purchased instead.

Pete trying to purchase Ae’s love is implied when he is offering ‘help’. This is a stereotypically masculine behaviour and an elitist one at that. As with other stereotypes listed above, this one too gets treated well (with Ae’s refusal to accept) even thought it might not seem so from a Western heterosexist lens.

Along with discursive clashes challenging earlier beliefs, those who hold the prejudices tend to be judged by poetic justice. The author thus educates the society and reading public on alternatives views in relation to male homosexuality. (source: The Representation of Homosexual Men in the Yaoi Novel: My Accidental Love Is You)

There is no one Asian culture. Here are the three popular types of masculinities in Thailand (these are very different from Malayali and Tamil masculinities I am personally familiar with):

Monk

secular male - chaai chatri (ชายชาตรี): embodies typical masculine features such as ‘authority, courage, self-assurance, physical and emotional strength, and sexual prowess’ as well as someone who ‘would under normal circumstances control his sexuality as much as possible and be loyal to his family.’

lower-middle-class - nak leng (นักเลง): ‘a man who is brave, daring, risk-taking but also fair.’ In more recent decade: ‘a man who is tough, loyal to allies and a playboy with numerous sexual affairs.’

Both Ae and Pete are very masculine in very different forms. MAME is not only familiar with different forms of masculinities and femininities, and their region-specific variations, but also plays around with it a lot. The male femininity is also achieved in both the characters in a similar manner. All of this might easily escape the audience members who have limited understanding of Thai masculinities and femininities.

Pete isn’t shown to be unsettled by Ae’s randiness because it is an interplay of two different masculinities done with grace. Pete not only plays the polished, prince-role to a kunlasatree (กุลสต กุ รี; a stereotypical good woman, defined as ‘proficient and sophisticated in household duties; graceful, pleasant, yet unassuming in her appearance and social manners; and conservative in her sexuality’), he is also an out-and-out chaai chatri.  

Physical Relationships and Explicit Content

One of MAME’s contributions to BL is in the toppling of certain beliefs, guided by sexism, BL live action creators were operating under prior to her.

Sathaporn Panichraksapong, an MD of GMMTV, a major producer of BL series, claimed that audience members who are mainly heterosexual women look for romantic relationships among the characters rather than sexual relationships.

We know that our audience are [sic] women. Women want to see only two boys having romantic moments together. They don’t want to see sex. Sexual relationships in BL are for a gay audience. That’s why in SOTUS the Series we have only two kissing scenes. With only these, audiences were already screaming. This is enough for them. (Interview with Sathaporn, GMMTV, 10 Aug. 2017)

Jirattikorn, Amporn. “Heterosexual Reading vs. Queering Thai Boys’ Love Dramas among Chinese and Filipino Audiences.” (2023).

As Jirattikorn goes on to highlight, this [wrong] perception about the audience (“women”) have changed ever since.

While early BL series tend to portray pure love without showing many sexual relationships, later BL series started to show more sex scenes between the two male lead characters.

Jirattikorn (2023)

Trauma & Porn

Itai Itai Itai (if you know, you know)

To claim that it is Asian cultural homophobia that MAME leveraged in Love by Chance through the inclusion of gang rape, incest, and unhappy ending is doing a disservice to BL and other queer genres including gei comi, all of which are well known for both trauma and porn. Aof Noppharnach and Cheewin’s lack of BL literacies is evident in their works. The way Aof Noppharnach shamed the use of the term เมีย ‘wife’ in Bad Buddy in spite of its usage by queer people, especially the little people among them, is evidence enough of the contempt and disregard he can bring in through his positionality as an “auteur”. To compare him to MAME is a little callous, especially when MAME constantly questions positionality and power through the stories she tells.

MAME’s trauma or lack thereof is none of anyone’s concern. So is what she does with it.

But the assumption that trauma in BL is a product of an author who themselves went through it is ludicrous and ignorant because BL from the days of tanbi (and its predecessors) have been engaging with it. There is already half a century’s history of BL with trauma and taboo themes.  

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you can find the review discussed in this post here:

This is Part 1

Part 2

Part 3

Part 4

[wackywatchdotcom]

knowing pomnis favorite color is red makes me emotional and also slightly more in love with her, for some reason

[fr-wiwiw]

lmao i lost it over this trivia

Hua Cheng is confirmed to have the best skills in bed by mxtx. Our virgin Crimson Rain is the best in bed lol I'm sorry I just find it so hilarious

[iguessitsjustme]

This is a highly westernized shit post. Context and fun facts under the cut.

I did a bit of googling and learned the "Nam" means water in Thai. Now, I'm not a native Thai speaker and I'm trusting what google has told me, but if I'm wrong, please feel free to let me know. Also I could not find what her full name meant, just Nam.

ANYWAY. April showers bring May flowers and all that.

I also learned about the origin of the phrase. It comes form Chaucer's The Canterbury Tales:

"When April with his showers sweet with fruit The drought of March has pierced unto the root And bathed each vein with liquor that has power To generate therein and sire the flower"

But the phrase we use today should be credited to Tusser in his poem Five Hundred Points of Good Husbandry:

"Swéete April showers, Doo spring Maie flowers."

[rarepears]

Oh! MBJ "bridenapping" SQH, it sparked an ~idea~

What if instead of MBJ bringing his husband to rest, it's an INJURED MBJ, looking for his Qinghua because he always heals and protects him. But since he's injured, he doesn't really have the cognitive thought process to realize SQH's aura isn't in a safe spot in his internal GPS and doesn't think to go to SQH's house. Just straight to SQH. In the middle of a meeting with most of the Peak Lords, excluding LQG because I agree, nothing would be able to happen if he was there since he'd kill an injured MBJ in an instant.

SQH has a split second to think.

Save MBJ or himself?

SQH tears a reserve teleport talisman he had MBJ make for him so writers choice if anyone knows if SQH did it himself or if the injured Demon Lord did.

Anyways, MBJ tears open a portal, covered in blood and SQH doesn't have much time to think and catches his husband King and has a split second to choose.

EITHER WAY THE GOSSIP!! The An Ding Peak Lord was kidnapped out of a meeting with the Sect Leader and multiple Peak Lords present by a demon.

That'd be terrifying just at first thought. A demon made it past Cang Qiong's wards and Qiong Ding's, all the extra wards in that meeting room alone, faster than all present Peak Lords could react.

Then we have the 2 main gossip chains. Why was SQH taken? Logistics and Love

Logistics for all the info the An Ding Peak Lord has access to since he maintains it all. Prime target for a surefire way to do a lot of damage. If SQH talks, the Demon Lord can get past all the wards and kill, pillage and raze anything in a high profile area.

Love because if they hear he did this super injured, just to collapse onto SQH and spirit him away? The screams from the BL lovers. I bet LMY could belt out a few chapters pretty quick about it lol.

She writes the next love epic, countering HHP's propaganda by accident lol.

Prominently, both SQH and MBJ now know that SQH would save MBJ even when he might/is declared a traitor.

MBJ would feel so much more secure knowing that. Maybe even becomes forward enough that SQH can't mistake the interest.

And SQH just cut off his own path to safety by not letting his sect kill his King.

So now they both get to live with this neat bit of trivia.

Don't really have any other thoughts besides HHPM ends up dead and SQH is Queen in the North by the end. Maybe TLJ gets let out and hears a whisper about a child on the Luo River.

Would be hilarious if Cang Qiong found out that there's a loophole in the Cang Qiong wards to allow in demons that meet very specific conditions... like being a peak lord's spouse, so they don't even realize that Shang Qinghua modified the wards to let in Mobei Jun (and Shang Qinghua doesn't even realize that he could had hacked the wards by getting married instead of spending 6 months painstakingly learning the wards and then learning how to crack the wards.)

Somehow it doesn't even require the peak lord to know that they have a demonic spouse.

[ineffable-opinions]

Adaptation of Hagio Moto's The Heart of Thomas.

Since The Heart of Thomas is one of the progenitor shonen ai, Shusuke Kaneko's 1988 movie 『1999年の夏休み』 Summer Vacation 1999 is arguably first ever live action BL.

It has been recently restored.

Don't know if this is a spoiler…

… Summer Vacation 1999 has an all girls main cast playing schoolboys.

Summer Vacation 1999 (1988), Shusuke Kaneko

[jinnaizaemon]

There it is, the Big Tsudoi Post!

I reordered by theme and translated claims that were originally compiled on this page. Said page was edited with time, some info reworded or removed, so I used the wayback machine to make it as exhaustive as possible. I've read more facts browsing boards, and I might add them to this list in the future. But this page is the most well-known, and the facts listed here are what comes up most often in discussion and fanworks.

What is tsudoi? It just means meet-up, and it refers to the fan gatherings with the author of Rakuran, Amako Soubee, which used to occur every 2 years. What's relevant here is the Q&A and discussions with the author that led to plot points, trivia, bits that she hadn't included in the story yet or can't include at all, being mentioned during those meets. None of these meet-ups were recorded, so all the info we know about them comes from word of mouth, forum messages, and blog reports. As such, these facts should be taken with a grain of salt, and while a lot of them turned up to be canon (either in the manga, anime, or musicals) in the long run, they are not canon. Consider them food for thought for possible development and lore for the characters if you want, or just context for discussion and fanworks you might encounter in the fandom. There haven't been any such meetings in a good decade, so you'll notice a lot of that info is obsolete or eventually became canon. Additionally, while there's a lot of overlap with the anime, these concern the manga.

Under the cut, you'll find my translation. The text in black is directly translated from the people who reported those facts, and I tried to offer context and additional information in blue text.

Ninjutsu Academy

In general

Among the students of Ninjutsu Academy, there are orphans other than Kirimaru.

In Ninjutsu Academy, students keep the same class and same teachers for six years.

Uniform colors do not depend on the year, meaning that the 1st year will keep the criss-cross and circles patterned uniform until graduation. This was retconned / not true for the anime and musicals. Flashbacks showed the current sixth years wearing the blue patterned uniform in their first year, and the purple one in their fifth year.

Tomesaburou, Sakubei and Kazuma were established as mob characters at first, but the author made them join the main cast after a group of fans begged her to. It’s funny when you look up discussions about this, there’s a lot of anti-fujo sentiment going on because it seems those fans were from a BL doujin circle. Some people claim they nearly harassed the author about giving these 3 bigger roles.. err… I assume Amako Soubei is grown up enough to decide by herself…

There are kunoichi upperclassmen too, but these characters won’t appear or the cast would get too out of hand.

The family situation and number of siblings of upperclassmen (except for Takamaru) hasn’t been really decided yet. Nowadays Tomesaburou, Koheita, Heisuke, and Shuichirou’s family situation are known in canon. Saburou’s family background is mentioned within tsudoi, and his name implies he has two older brothers. (the characters in ‘saburou’ means ‘third son’) 

It’s a coincidence that “Taira” no Takiyashamaru and “Minamoto” Kingo ended up in the same P.E Committee. Sensei said she didn’t think about it at all. “Taira” and “Minamoto” are two major clans from Japanese history, whose rivalry would cause the Genpei War, concluding with the fall of the Taira Clan, the victory of the Minamoto Clan, and the end of the Heian Period and beginning of the Kamakura Period. 

Classmates share a bedroom in the dormitory. Monjirou and Senzou, Chouji and Koheita, Tomesaburou and Isaku, Saburou and Raizou, Kihachirou and Takiyashamaru are roommates. Has been canon for a long time now! 31-69 explains why Saburou and Raizou are rooming together without their classmate Hachizaemon.

1st years

Rantarou is kind, so he won’t be able to perform assassination and such, and won’t become an elite ninja.

Just like his father, he will become a half low tier ninja-half farmer in the future.

Kirimaru lost his parents in the war, and was picked up by a certain monk who raised him until he entered Ninjutsu Academy.

Kirimaru used to have an older brother.

Kirimaru’s spring clothes were originally Doi’s. Doi cut his clothes and patched them up to fit Kirimaru.

Kirimaru is 140cm tall.

Shinbei’s future is not decided yet.

He might drop out in the 4th year because he has to take over his family business.

In a more recent meet-up, Shinbei dropping out was retconned, and instead all of the 1-ha class will graduate together. (Since Doi-sensei and Yamada-sensei are in charge of them!)

Shouzaemon will become an anaushi ninja, acting like a relay of information for everyone. Anaushi refers to ninja infiltrating a given space by living a regular civil life with a regular job, gaining information by earning the enemy’s trust over a long amount of time. This is why ninja have to learn many skills and crafts, to assume different identities and work different jobs. Senzou takes a pottery class because of this in 18-43, and there is such a ninja in 24-66.

Rantarou, Kirimaru and Shinbei always make sure to give the best seats to the teachers, because “it’s more important to be a polite person than a top student.” This refers to an aspect of Japanese etiquette where everyone is expected to know their seating positions in a given room based on social hierarchy. The most important people will sit the furthest away from the entrance door into the room (or into the most comfortable seat). In a tatami room of feudal Japan, this would be the warmest place, and also safest in case of attack. I assume this works as Rankirishin’s justification for sitting closest to the door in the classroom!

The “The lord who visited me last night~” song that Rantarou and the others sing is actually pretty suggestive, but they still sing it since they don’t understand the meaning of the lyrics :

From volume 42. Doi-sensei is blushing and saying “Come on, now…” Phonetically, the kids are singing: “Yufubekita yobahidono akai fundoshi otoshita Otoshitayara wasuretayara Mata koyouto oitayara” Written properly, it becomes, and is translated as the following: 昨夜来た夜這い殿 The lord who visited me (a woman) last night, 赤い褌を落としていった Dropped his red loincloth. 落としたやら、忘れたやら、 Did he drop it, did he forget it, また来ようと置いていったやら Or did he leave it behind so he can come see me again?

Danzou does not usually wear pants, but he carries a pair around with him.

Maybe due to the influence of his parents, Sanjirou might have some sixth sense when it comes to the supernatural.

Tsurumachi Fushikizou’s “So thrilling!” catchphrase comes from a pair of older sisters being suspected of a crime in Agatha Christie’s Hercule Poirot. This doesn’t specify if it’s from a novel or the script of a TV adaptation, and older sisters being suspected of a crime in a Hercule Poirot story does not ring a bell, sadly. 

The 1st years’ uniform is flashy so that in case of emergency, the teachers can find them easily. Contradicting the retconned fact that uniforms don’t change by year.

The Equipment Committee stinks of pee because the 1st year members often pee their pants. In the anime, Heita is the sole responsible of this. I'm pointing fingers.

Underclassmen

Shirobei is stupid enough to get yelled at by even Koheita. (ow)

Tounai’s front bangs aren’t curly, it’s bed hair.

Because of bad luck (and being forgotten), Kazuma’s name wasn’t properly introduced. In the anime, he introduces himself in 16-11 after his fellow committee members ask him “Who are you again…?”

4th years

Kihachirou thinks of Takiyashamaru as trash. Kiiiind of retconned with 32-61.

Kihachirou’s grades are average.

Takiyashamaru will find an early death.

5th years

Hachizaemon’s quirk of going “Oho!”, comes from a line spoken by Mifune Toshirou’s character Kikuchiyo in the movie Seven Samurai, pronounced as he was watching approaching enemies. Timestamp is 2:29:55. I think. Kikuchiyo makes a lot of funny noises.

Hachizaemon is a natural optimist.

Heisuke was modelled after what Doi Hansuke would be like in his younger days.

Heisuke is 165cm tall, the same as Monjirou. Hachizaemon has a bigger build than Heisuke.

Heisuke is an airhead. The original text says 天然キャラ tennen kyara, literally an “airhead character”, but when a real person is called a tennen kyara it means they are Pretending to be an airhead for attention/to be cute/etc. I assume OP meant it as in a character who fits the “tennen” trope. Tennen evokes an airhead personality but also someone who goes at their own pace, is eccentric, has trouble reading the room, etc.

Heisuke has “excellent grades”, a “sharp mind”, and is “accomplished at both the pen and the sword”.

Heisuke is a better student than Kanemon, but Saburou is a better student than Heisuke.

Raizou and Saburou will find work in the same castle as sounin, showing effort and success. 双忍 sounin, literally “a pair of ninja”, or ninja working together! Love wins.

Saburou’s actual hair is silky straight. On day offs, he walks around town maskless, and no one recognizes him.

His father is alive and well, and is also a master of disguise, apparently even more skilled than Saburou.

Even though some of them weren’t introduced into the story yet, some 6th years sneak out at night to meet with girls. They get in trouble if teachers catch them. 

Sensei looks disappointed that Hachiya Saburou’s name is spelled 蜂屋 hachiya in the anime, and would like it to revert back to 鉢屋 hachiya somehow.

Hachiya might be a discriminating word against burakumin in some regions?

The name 鉢屋 Hachiya was taken after the real life Hachiya-shu ninja clan. The original poster seems unclear on this, so let me add context even though it’s a bit long. This is a huge speedrun and burakumin has a complex history which deserves better than being taught through ninja cartoons, so I really urge you to read about them.  In the anime, Hachiya is spelled with the characters 蜂 hachi (bee) and 屋 ya (seller, store, house). Hachiya with that spelling is also the name of a variety of persimmon. In the manga, Hachiya is spelled with the characters 鉢 hachi (bowl) and the same 屋 ya (seller, store, house), and has a richer history. Burakumin are historically stigmatized people in Japan. Back in Muromachi, they would live separately from the rest of society in their own settlement, and were considered lesser due to the jobs they occupied. These mostly involve work deemed “unclean” by Buddhist teachings, relating to blood, rot, and death: they were famously executioners, butchers, and leather workers. It also includes popular, “vulgar” entertainers, opposed to noble entertainment such as noh theater. 鉢屋 hachiya (with the “bowl” character) in relation to burakumin refers to followers of Kuuya’s teachings. Kuuya was an itinerant monk involved in “unclean” practices, such as burying the dead or praying while dancing for the people. His religious dance, nembutsu odori, found more practitioners in the San’in region (North-west of Hyougo Prefecture), living secluded in their own villages called Hachiya. These people worked with bamboo to craft items such as tea whisks, but were marginalized due to their dancing performances. They went door-to-door chanting prayers and making sound by tapping a bowl, and this gave them the nickname 鉢叩き hachitataki (who hits a bowl) or 鉢ひらき hachiaraki(who presents a bowl). Like this, hachiaraki became synonymous with “to beg for money”. 鉢屋 hachiya (still with the same “bowl” character) also refers to a group of entertainers in the same region turned ninja associated with the Amago clan during the Sengoku period. They’re famously known for taking Gassantoda Castle (Izumo Province, nowadays Shimane Prefecture) with an extravagant scheme involving a spectacular parade of dancers and musicians passing through the main gate of the castle, with weapons hidden under their clothes. The ninja who led this attack was named… Hachiya Yanosaburou! 

6th years

According to the meet-up in 2006, all the sixth years except Isaku come from a background of the Koga school of ninjutsu. When this was stated, Tomesaburou was still a background character and not properly established, so his background is unclear. The school of Koga is a type of ninjutsu from the Koga region (now Koka City, Shiga Prefecture). The Koga region had sou, villages that were allowed to self-govern (sou are mentioned in Nintama movie 2) in exchange of helping out the local Rokkaku Clan during wartime. They specialized in guerrilla warfare and handling of medicinal herbs and poison, and after retaking Koka Castle from Shogun Ashikaga to the Rokkaku Clan, they started working as ninja for said Rokkaku Clan. This would be pretty modern history by the time Nintama takes place, making the sixth years’ family, except Isaku’s, having a recent history of being farmers/samurai mercenaries recently turned “professional” (in Nintama terms) ninja. Interestingly, we don’t know the sixth years’ family situation in canon, except for the fact Koheita has an army of siblings living in a household large enough to belong to the samurai class (31-65), and that Tomesaburou has two older brothers that are warriors, making him likely to be samurai as well (30-34)

6th years ranked by height:Chouji > Koheita > Tomesaburou > Monjirou > Isaku = Senzou.

Even though some of them weren’t introduced into the story yet, some 6th years sneak out at night to meet with girls. They get in trouble if teachers catch them. 

Senzou is the most popular among the town girls. Isaku is the most popular among kunoichi, because he’s easy to deceive.

Among the 6th years, Senzou has the best grades. Isaku has the worst ones.

Koheita is so bad at studying people wonder, “how did you even make it to the 6th year?”. But because of his bad luck, Isaku’s grades are still worse overall.

Koheita has had that kind of personality since the second year. Kind of retconned? He’s shown being his cheery ikedon self back in 1st year in 30-33.

Chouji used to laugh a lot as a kid, but gradually stopped as he got wounded while practicing using the jouhyou rope dart, because the scars on his face hurt him. Also shown in 30-33.

Chouji might be an eccentric person, but he’s kind.

Monjirou has been acting as a hardcore gingin ninja since he was little.

Monjirou’s left and right eyes are different shapes. One is pine-nut shaped, the other almond shaped.

The speech Monjirou makes before and after his meal to pay respect comes from Enryakuji Temple on Mount Hiei(?) or some other very famous temple (I[OP] can't remember exactly). This refers to vol 42 of the manga. In the anime, he recites this speech in 16-56. OP says they don’t remember well, but Enryakuji is a very likely candidate as it’s the head temple of the Tendai sect, and this speech comes from Tendai meal etiquette. As found on Tendai’s website, here’s the complete speech: われ今幸に、仏祖の加護と衆生の恩恵によって、この清き食を受く。つつしんで食の来由をたずねて、味の濃淡を問わず。その功徳を念じて品の多少をえらばじ。いただきます。 I am now blessed to receive this pure food, granted by the divine protection of the Buddhas and the grace of all living beings. I will humbly reflect on the origin of this food, regardless of its rich or mild flavor. I will pray for its merits without thinking about the quantity. Thank you for this meal. Monji omits the “granted by the divine protection of the Buddhas and the grace of all living beings”, but otherwise recites it word for word! 

Monjirou and Tomesaburou often disguise themselves as Rokubu (I[OP] don’t know the kanji spelling, but it’s pronounced rokubu), itinerant monks who travel to offer copies of the Lotus Sutra in 66 different temples. But even while in disguise, they can’t stop bickering. Over things such as whether to take the right path or the left path, etc. OP spelled it right, it’s 六部 rokubu. As they explained, they are monks going on a pilgrimage across the country to offer copies of the Lotus Sutra, the most important scripture in Buddhism, to 66 temples, looking to expiate their sins.

Monjirou and Tomesaburou make good teammates, and when push comes to shove they are able to work together like in the Sonoda Village arc.

Tomesaburou is regarded by fans as handsome, but Sensei didn’t particularly try to draw him in a cool way. But while trying to keep his face consistent with the profile that appears in volume 22, he ended up looking handsome.

Tomesaburou might be manly and handsome, but he’s stupid.

Tomesaburou gets caught up in Isaku’s bad luck because they are roommates.

Tomesaburou and Isaku’s bedroom is split in two. The front of the room is Isaku’s area (that is turning into a small infirmary), the back of the room is Tomesaburou’s (that is turning into a small equipment storehouse).

Their room is the most cluttered with their respective luggage, so it has been divided in two.

Since Tomesaburou’s side of the room doesn’t have an entry door, there’s a little corridor made with a partition screen on Isaku’s side at the front of the room, leading to the back.

As a consequence, Isaku’s area is smaller than Tomesaburou’s. His part of the room being more narrow is also because of his bad luck.

Whether other students partitioned their room the same way or not is unknown. (Or rather than unknown, she worded it more like “it’s not decided yet”.)

(Seemingly from a more recent report.) All the sixth years seem to have a lot of clutter due to their respective committee, so their room is partitioned as well.

Isaku’s name comes from the baptismal name of one of Sensei’s friend, “Isaac”. 

Someone asked why Isaku often trips on his feet or into pitfalls, and was told that “He might have a bad leg.” 

In the first drafts, instead of being known as the Unlucky Health Committee, it was known as the Poop Committee, so Isaku wasn’t the Unlucky Committee President but the Poop Committee President.

Isaku caring for others comes from an instinct typical of those involved in medical care.

After graduation, faithful to the mentality of the Health Committee, Isaku becomes a “battlefield doctor” who treats people without taking sides. Kinda like Doctors without Borders. 

Isaku’s weapons are drugs and poisons, but he can use weapons like swords. He doesn’t seem proficient at using any specific weapon (apart from drugs), as he’s shown using different ones in every fight scene ; swords, bandages, …pebbles…… But he’s also shown having interest in getting better at the sword in 27-13.

Staff

Doi-sensei’s personality is unfit for a ninja. Same for Isaku.

To Doi-sensei, cheese feels the same as nerimono (fish paste products), so he can’t eat it. After the Heian period, due to the rise of the samurai class, the need to transport people and supplies, and war in the larger sense, raising horses became a priority over raising cattle. People didn’t consume dairy anymore until the late Edo period where it was regarded as medicinal food, and it only became an everyday food during Meiji. Who the heck tried to feed Doi cheese? Castella-san’s cheese harassment episode when…

Doi-sensei is 175cm tall. Studies of remains from the early Edo period suggest that the average height of people was 157cm for men, and 145cm for women. Since Nintama takes place before Edo, it makes Doi an exceptionally tall person for the times. 

Yamada-sensei recommended Doi-sensei as a teacher to Ninjutsu Academy. Shown in 32-64.

Doi is from a powerful family in the Seto Inland Sea, which fell in the war.

Doi's father was named Tokikuni, and he was a person of character.

He was killed in a sneak attack by someone named Sadaakira.

Just before passing, Tokikuni told Doi “Do not avenge me”. Doi’s backstory is based on Hounen, founder of Jodo Buddhism. It ended up being explicitly mentioned in vol 50. Hounen was born in a powerful clan in Mimasaka province (now Okayama prefecture), and his father, Uruma no Tokikuni, was a military chief who was assassinated at night by a warrior named Sadaakira, sent by the emperor to govern the province. In the manga, Doi’s backstory is merely referred to through Hounen’s own story. It’s kept vague how similar the two actually are. In Ninmyu 12, the father entrusts baby Doi to a servant, so there is no “do not avenge me” bit. The servant runs away but is killed by Kaentake ninja, who pick up Doi and raise him under the name Yogiri. Later, when he learns Kaentake killed his family, Doi runs away, and the story becomes similar to the anime where he is found by the Yamada family. 

After the current 1-ha class graduates, Doi will quit teaching and open an orphanage.

Kirimaru, now independent, will sometimes come to help care for the kids. 

A Komatsuda fan once told the author “I’d be happy to see him return as an office worker [for the school] or something”, to which the author replied “That sounds fun” and eventually made it canon.

Tasogaredoki Castle

Currently, Tasogaredoki is the strongest antagonistic ninja army.

There’s a ninja village in Tasogaredoki Castle.

Zatto is 180cm tall. Like I said earlier with Doi, that makes him Extremely tall for the time period.

Zatto has between 50 and 100 men under his command. (At first, Sensei said 100 men, to which a fan reacted like “Huh?! So many?!” in surprise, so she lowered it to 50.)

While doing his bandages, Isaku saw Zatto’s unmasked face.

“He might be covering burns?”, Sensei said. Confirmed in volume 50. 

After the accident that caused Zatto’s burns, his engagement was called off.

That accident happened when Zatto saved Sonnamon’s father.  Shown in 32-63.

Zatto is deaf in his left ear. This is reflected in the second movie, when Zatto reports information to his lord on Jinbei’s right side, but then has to turn to his left to listen to Jinbei’s reply.

Kousaka was Zatto’s chigo. Chigo mostly refers to children left in Buddhist temples to receive an education from monks. Because of the sexual exploitation they could be subjected to in exchange for that education, they are portrayed in art and described as graceful, attractive young men often dolled up like little girls. As far as we know Zatto doesn’t come from a specifically religious background, so his relationship to Kousaka might have been that of chigo and master in the secular sense, so that of a wakashuu (“young folk” ; prepubescent boys considered genderless/not men yet) and a samurai master who offers him apprenticeship, be it in academics, religion, martial arts, etc. Those were purely contractual relationships, supposed to end once the boy comes of age, and weren’t necessarily sexual. …But sexual relationships were prevalent enough that the samurai’s sexual practices with young boys has a name, wakashuudo. As for the nature of Zatto and Kousaka relationship, nothing is specified canonly.

Zatto’s subordinate, Moroizumi Sonnamon, got his name when Sensei told herself “Isn’t something like that good?” Sonnamon’s name is spelled with the kanji characters 尊奈門 sonnamon, individually meaning 尊 son, respect, 奈 na, quince fruit, and 門 mon, gate. I already explained the etymology of his name in another blog post. “Sonnamon” spelled in the phonetic hiragana alphabet, そんなもん sonnamon, means “that’s how it is”, “that’s like that”, “that’s it”... So when she said “Isn’t something like that good?”,  it sounds like そんなもんでいいんじゃないの, sonnamon de iinja nai no?, or “Isn’t “sonnamon” good?” .

Sonnamon is 19 years old.

Sonnamon is Zatto’s subordinate number two, and Zatto’s favorite. 

Hyougo Navy

The Hyougo Navy crew is modeled after the real Murakami Navy. They were devoted to war lords and close to the samurai class. Suigun directly translates to “navy”, but is an historical term. It refers to groups of pirates robbing goods meant as official taxes, who eventually gained enough power and influence to control a given area at sea. They became sort of “samurai of the sea” when daimyo (feudal lords) contracted them to provide security, transporting goods, set up checkpoints, collect fees, etc. The Murakami Navy operated in the Seto Inland sea, the body of water separating the islands of Honshu, Shikoku and Kyushu. 

Atoi is tall because he’s Gilyak. His name comes from the word “atuy” in Ainu language, which means “sea”. Gilyak, or Nivkh people, are an indigenous ethnic group living in the northern Sakhalin Island (north of Japan) and the adjacent Russian coast, by the river Amur. In the Muromachi period, they traded with the Chinese, Japanese, and Ainu people. Ainu are another ethnic group inhabiting the north of Japan, Kuril Islands, and southern Sakhalin Island. The Ainu language is written either in latin characters or Japanese katakana alphabet, making the word for “sea” spelled atuy or アトゥイ. Atoi’s name is written 網問 in Japanese, the kanji characters are used for phonetics rather than meaning: 網(a), 問(toi).

 Suiren, the dedicated swimmers/divers of the Hyougo Crew, also perform during battle. This ended up being shown in 31-57, Shige and Miyoshimaru dive to stick explosives under enemy ships.

Whales were luxury goods, offered as a valuable present.

Whale fishing was used as practice for naval battles.

Yoshimaru has a woman in every port.

Kagerou’s eye was shot with an arrow, and when he pulled it out both the arrow and eye came out together.

Kagerou suffers from landsickness (oka-yoi) and vomits going bluuurgh (gerogero), so that’s why his name is Kagerou. 

Pirates who got landsick were an actual thing. It is an actual thing for sailors, yes. It’s called Mal de débarquement syndrome.

Kameko will inherit the Fukutomi family business.

Kameko admired Chouji, but will marry Onigumomaru.

Onigumomaru will manage the import and export of goods, while Kameko will work staying on land.

Sekibune are fast, but not sturdy. It can reach a speed of about 16.2 km/h when rowed by hand. Given that the current ships of the Japan Coast Guard can reach roughly twice that speed, achieving this speed with a hand-rowed boat is impressive.

Atakebune have high defense, but are slow. About 2 knots. Sekibune and Atakebune are two types of warships used during the Sengoku period. Atakebune is the larger one. 2 knots is about 3,7km/h.

The price to hire pirates as bodyguards is absurdly high. They’d ask for something like ⅓ of the cargo one is carrying, but there’s no substitute for safety.

In the Hyougo Crew, Yoshimaru is the first to attack during battles. Explained in 20-79, part of the Hyougo Crew Audition Arc.

Others characters

After Doi-sensei ruined the Yamada family’s picnic, little Rikichi felt “damn him!” since he was a cheeky kid. But later, just like how an elementary school student grows affection for his teacher, he became attached to Doi-sensei.  Doi-sensei crashing the Yamada’s picnic appears in 30-35.

Rikichi wasn’t a student of Ninjutsu Academy.

A long time ago in the rakuran doujin world, it was believed that Yamada Denzou gave Rikichi a spartan education, this fact being apparently written in an answer letter to a fan by Amako-sensei. 

But it’s actually his mother who taught ninjutsu to Rikichi. Shown in 32-62.

Rikichi goes through a seriously turbulent phase in his twenties. The original wording uses the verb 荒れる, “to become violent, out of control”, “to get wild”, “to come to ruin”, implying physical and mental instability.

Rikichi will leave a child he got from making a housemaid pregnant in Doi’s care.

That child will look a lot like Rikichi.

They had a talk kind of like, “That child looks a lot like you.” “...S/He’s an orphan.” 

Yoshirou and Kisanta are close friends. Initially, Yoshirou was designed with a short bun, making him look even more similar to Tomesaburou.

Back when the anime’s production started, Sensei asked the staff “Please make sure to give Shousei-san a cool voice, okay?”.

The reason why Shousei-san has such a sexy voice is that since he uses matchlocks regularly, the smoke that comes out of the fuse gets to his throat. Because of this, his voice became lower.　　　　　

Satake’s rifle corps will eventually go under, as every army will have their own rifle corps in the future.

Shousei knows this, but keeps silent as he watches over his men.

In the near future, Satake and Fukutomi will be in conflict, because Fukutomi will do business selling guns to every military commander for the war. While no specific date is mentioned in Nintama, we know it takes place during the Sengoku period, which overlaps with the Muromachi period. “Muromachi” is often brought up within the series, and this period corresponds to the Ashikaga Shogunate, which ends in 1573. The use of firearms, which will become even more widespread in the future of the series, seems to indicate we are near the end of Muromachi, when the matchlocks imported from Portugal in the port of Sakai were imitated and perfected by Japanese blacksmiths. Oda Nobunaga equipped his army with firearms in 1549, slowly setting a standard as they got further improved in the following years.Meaning the story is probably set after 1549 but before 1573!

Komatsuda Yuusaku is not married. He really wants to marry, but he’s still dealing with a recent heartbreak.

Kitaishi Teruyo’s age was a fan’s idea.

She is 19 years old. That makes her a mature woman for the era.

Kitaishi Teruyo is in a position similar to Fujiko Mine, except she always ends up making a mistake at a critical moment, resulting in failure. Not sure what their connection is…. Fujiko Mine is a femme fatale kind of character, from the franchise Lupin the III. A female character working solo amongst an overwhelmingly male cast…?

General setting stuff, misc info

The salary of foot soldiers was between 60~70 mon per day. Meaning that hiring 100 foot soldiers for a month would cost 300,000,000 yen nowadays. At war, one battle would cost 3,000,000,000yen, so Dokutake Castle is pretty rich.

Linen fabric cost 100 mon, making clothes very expensive at the time. As a consequence, laborers such as horse riding couriers wore little to no clothes. Characters like Seihachi or Danzou don’t wear pants when riding horses so as to not damage expensive clothes.

Couriers load heavy luggage on a pole they carry on their shoulder. When that happens, they’d remove their clothes to avoid damaging them. When that happens to Seihachi, he ends up wearing no pants and no top, leaving him looking all sexy. (lol. Oh... Seihachi.)

At the time, wood planks were valuable. Half of Rantarou’s house has bamboo flooring.

Because the wood plane wasn’t invented yet, wood planks would look uneven. The beams of Doi-sensei’s house have that uneven finish to them. Kanna, the japanese wood plane (the tool used to make planks even), has been developed mid-Muromachi, making it a new invention by the time Nintama takes place. Before that, yariganna, a curved blade attached to a handle, was used to work wood. The labor intensity came at cost, meaning advanced carpentry was first for samurai houses, temples etc.

The age of characters is expressed according to the western style of counting ages, not the traditional Japanese one. Rantarou, Kirimaru, Shinbei, and all the 1st years are 10 years old. The western way of counting age is what you’re familiar with: a just born is 0 year old, and will turn 1 after fully completing one year, etc. The traditional Japanese way of counting ages comes from China, and faded out of use after the Meiji era. A baby would be considered 1 year old when born,  and everyone would get one year older during the New Year. So for example, all the first years are considered 10 years old in modern times, but would have been considered 11 back in the days.

The pattern on Shou-chan’s clothes is called “suhama”. Literally "sandy beach". It’s a symbol representing a shoreline. 

The pattern on Kisanta’s clothes is called “shikiriki”. I couldn’t find any information about this, so I wonder if it was misheard. The “shi” part might come from 四 shi, “four”, the first letter in 四角 shikaku, “square”.

The pattern on Ooki-sensei’s clothes is called “karigane”. It refers to the clothes he wears in the manga, since it’s different in the anime. The twisty shape evokes the wings of a goose. Karigane is originally used as a family emblem, kamon, and it features the bird’s head on top of the twisty shape.

The screentone used for the 6th years’ uniform is “Tone No. 654 LETRASET JAPAN”.

And that's it for now! Phew! Thank you for reading this far!

[luthiest]

230608

life update: i have a pixie cut, my attendance lately has been atrocious, i saw a post about autistic burnout that made me reconsider my behavioral patterns and i am now looking into getting an asd assessment, i delivered a fatal blow to my scroll and had to start over, the 5 lbs of antique glass beads i ordered on ebay arrived, im working at a vintage clothing store part time, we finally found the class rubber mallet that went missing weeks ago and it was shoved in a cardboard box underneath the break table, my team won pub trivia for the 2nd week in a row, i watched top gun maverick and i can now confidently say i understand why there were murmurings about miles teller amongst bl enthusiasts, i finished my sazabi gunpla, andddddddd……. i’ve decided on fujita from dorohedoro for my next anime convention cosplay? i think that’s about it.

edit: also i got new double conch piercings. they’re cute i promise. believe me. over ear headphones only for the next year ish.

🎧 : like a raspberry - 宇宙ネコ子

[maybe-boys-do-love]

The Only Friends Conspiracy Corner

Welcome to my Only Friends conspiracy theory corner, where I lose my mind on the regular and explain why I believe Only Friends is a veiled commentary on the Thai BL entertainment industry and its relationship to Thailand's soft power economic model, especially Thailand's gay (aka pink money) tourism. As The Heart Killers gets relatively explicit about issues of structural political and economic power, now seems as good a time as ever to talk about Jojo’s last show that seemed to me to put so much of its political work in the subtext. This is just the starter pack. Hit me up with more thoughts anytime!

The Only Friends Hostel business. We have business majors in this show, a rarity in Thai BL, and for their class project they're opening a hostel. Each member of the friend group has a business role to play--Ray provides the real estate, Mew takes on leadership of finances and accounting, Cheum provides PR, and Boston's tasked with creative direction--but the value of the individuals, their roles in the business, and their willingness to collaborate with one another is the tension that drives the series. The characterizations, dialogue, and events in the series ought to be viewed in light of this. Mew, for example, partners off with Top, who encroaches on the friends' trivia group to answer for them a question about Thailand's first hotel, The Oriental, which two Americans established for sailors in Bangkok shortly after the opening of the Kingdom of Siam to international trade in 1855 and later two Dutch business partners reestablished after a fire. A single answer links Top to the influx of Western capitalism in the form of a hotel in Thailand! To count up the economic references in Only Friends would take a massive spreadsheet.

Artistic Passions. Each boy in the Y.O.L.O. bar friend group is associated with one artistic medium. Boston with photography and visual arts more broadly, Ray with music, and Mew with books (lol there's a scene in the last episode in which the translation has Force use the word force in a sentence immediately followed by Book as Mew mentioning his "books"). These are the components of the television and film medium: visuals, sound, and writing. Their romantic entanglements are also colored by their preferred medium and the narrative styles associated with them. Boston has his sensual dark room developments *wink wink,* Ray hooks up with a musician to visit record stores and concerts like a romantic movie couple, Mew makes his ideal seme court him in bookstores and dates straight out of a BL romcom novel. Even Cheum’s girlfriend, April, makes indie movies that go over our token lesbian’s head.

Atom, Cheum, and Mew’s BL Fantasies. It’s not surprising Cheum’s not about those art house flicks. Her, her brother, and Mew all espouse some BL tropes with harmful consequences. The most blatant is Atom’s stated belief that he ‘turned gay’ because of Boston, which he’s corrected on, but Atom, Nick, and Mew all commit to the BL (and broader romance) trope of equating first affections with true love. And Cheum sorts the gay men of her life into simplified categories of red flags or green flags, predators or cinnamon buns. Not all BLs are so simplistic with their trope usage and characterizations, but Only Friends highlights damaging tendencies that occur in the genre and among its fans.

The Pairings. Speaking of fans, one of the key strategies for creating fan interest are the pairings. While not unique to the BL industry entirely—Hollywood’s been pairing actors for publicity and dollars from pretty early on—BL pairs have a pretty distinct flavor, and Only Friends’ casting takes advantage of that. For our pair associated with the most fluffy BL narratives, we have ForceBook, a CP only ever paired together who have known one another since kindergarten. The maturer second love romance goes to FirstKhao, who both worked in other pairings before landing in their current contractual partner relationship. The situationship to end all situationships goes to two actors who, at the time, were not in a CP, something that Jojo has specifically mentioned as relevant to his interests when casting.

The Boeing of it all. Named after a fucking airplane manufacturer, with multiple references to his dreams of traveling internationally (concerts with Sand), flight (he's working to be a airline attendant), and flightiness (both his flightiness toward his bf’s and his encouragement of others to fly away from their partners). In a show explicitly about the hospitality industry? In a genre dependent on international viewers??? In one name, we get such a fountain of economic insight!

Begin Again. In the finale episode, Ray tells Sand he always wanted to wander around listening to music like they did in Begin Again. In fact, Mew and Top’s silent disco moment plays homage to the same sequence. Begin Again, however, is not a romance, despite what the marketing and weak reviews (from critics who expected a swooning repeat of indie gem Once from its director) implied. Instead, Begin Again uses romantic expectations as a trojan horse for an insider portrait of the music industry as the streaming industry changed its operating models. The leads are Mark Ruffalo who plays a has-been alcoholic producer (an important reference to even better understand Ray’s role in the hostel business) and Kiera Knightly, playing a singer-songwriter betrayed by her rising star boyfriend (acted by Adam Levine from Maroon 5). Spoiler alert: If you imagine something more between Knightly and Ruffalo’s characters than the deep relationship creatives can form making art together, you’ll be sorely disappointed. Ruffalo’s character goes back to his ex-wife (a bad omen for SandRay stans since the characters spend the time preceding their romantic walk in the last episode arguing about whether they still have feelings for their exes). Knightly’s chanteuse gets her former boyfriend to apologize and sing her song without pop theatrics on stage but she chooses not to join him and stick to her own independent path. Importantly, the film by the end respects both the popular and auteur artistic sensibilities, reserving more ire for the business models. No one character or method is completely demonized or sanctified. I can’t help but recognize a similar spirit in the portrayal of the three gay romance narratives in Only Friends—Boston’s queer tragedy, Ray’s tear-jerking gay romantic drama, or Mew’s BL comedy. The show acknowledges the formative role of those storytelling modes in the BL industry and even touches on some economic realities of choosing one mode over another. Some exemplary dialogue from the Begin Again: 

“I just think that an A&R [a record label’s artists and repertoire representative] man telling an artist how they should dress or come across is total bullshit. People don’t want that. They want authenticity”

“Authenticity! Give me the name of one artist that you think passes your authenticity test…I’m not saying you can’t be a real bona fide motherfucker in this business but you’ve got to do whatever it takes and get people in to see your shows where THE MUSIC can start to do its real work.”

Personal Hygiene Lessons. In the last two episodes, we witness Ray’s community service teaching children about hygiene. “Once upon a time…” he begins, which immediately alerts me to television writers depicting the act of storytelling. It’s a story attempting to encourage daily toothbrushing to protect from plaque, but Sand steps in and scares them with the threat of a bug crawling into their body if they don’t brush their teeth—suspiciously more similar to issues of sexual health than teeth brushing. The next clinic presentation is about washing out your nose. Either Thailand’s got some hygiene practices I don’t know about, or Jojo’s writing team snuck in a sneaky reference to douching. Watching, I was reminded that Jojo and his good friend and fellow director Aof Noppharnach (Bad Buddy, ATOTS, so many other huge GMMTV series!) began their careers writing and directing a series directly about sexual health for GayOK Bangkok, produced by an HIV testing organization. After the first presentation, Sand explains, “I’m approachable to all ages and genders,” a prime marketing demographic if I’ve ever heard one! Just like Sand, Aof, who is now the senior director of content production at GMMTV, has made inroads for himself and others into a massive market by developing a writing, directing, and producing strategy for integrating queer content (here’s my post about his recurring motifs around HIV treatment) within family-friendly BL shows, often with a romantic fairytale-like quality hearkening back to Ray’s “Once upon a time…” 

The Politician. The parents included in the series have distinguished economic and political circumstances they're associated with. Bear with me on the political-economy history lessons here. Boston, most prominently, has a father running for political office, and we meet him for the first time while Boston's wearing a 1998 t-shirt, the year the Thai Rak Thai (Thais Love Thais) party was founded by Thaksin Shinawatra, telecom billionaire and Thailand's first prime minister to lead a democratically elected government through a full-term in office beginning in 2001. He led key initiatives to promote tourism, make healthcare accessible, and, controversially, crackdown on drugs. Essentially, he provided the vision for the government that kick-started Thailand's move to its current project of soft-power. In fact, his youngest daughter, Paetongtarn Shinawatra, (who describes herself as a "socially liberal capitalist") is the current prime minister partly responsible for overseeing the equal marriage bill into law. Thaksin was ousted by a military coup in 2006 following his family's decision to sell its shares in major Thai telecom group to a Singaporean company and, faced with corruption charges in 2008, lived in exile (until September 2023, less than a month after Only Friends started airing). Ousted for not playing his part in supporting a Thai business? Boston, is that you? There is also a comment in the first episode about the massage parlor Boston's father built his financial success off of, and there's a conversation to be had there about Thailand's Thaksin-led shift away from and crackdown on its sex tourism industry. (The Department for Communicable Disease Control shirt on Style's shirt in episode 3 of The Heart Killers is a government organization in Thailand, not Alabama as the shirt says, which among other things monitors direct sex workers for STDs.) How might a focus on constant financial and moral improvement harm those who fail sanctions against promiscuity? What I find so artful about Boston's potential linkage to Thaksin is how he's constructed as Thaksin's parallel--in his journey toward exile and the over-consumption that led him there--and his antithesis. Boston's the victim, at least in his emotional well-being, of a neoliberal legacy. Thaksin's policies, similar to those of Rudy Giuliani and his predecessors in NYC, promoted family-friendly tourism and industry growth by supporting the corporate partnerships and broken window policing to price out and criminalize those unconventional populations who had taken refuge or even just found themselves in these locales after being marginalized elsewhere. In the same vein, the privileging of monogamous pairing in both BL narratives and BL fan-service expectations serve important goals encouraging breadths of people to accept and embrace gay love socially and politically—Thailand’s upcoming marriage rights bill, more expansive than most western countries, certainly has the BL industry’s influence to thank. Without further input, however, they neglect queer experiences beyond the realm of the first love or marriage plot. They neglect greater issues of equity, compassion, and freedom due to each individual human being (both actors and the general population), which the LGBT population, among others, has historically had an intimate experience with being denied or limited. 

Nick’s Digital Underworld. Nick’s our little tech wunderkind in OnlyFriends. His character fixes phones, hooks up cameras and recording equipment, makes digital campaign posters, you name it! And I personally love that he’s both a skeevy pathetic tech wizard and radiantly beautiful. His cute-factor almost lets us forget about his voyeuristic tendencies. He’s just a content enjoyer, and Boston loves creating content—he just doesn’t want himself recorded…So why doesn’t Nick just get off to some porn instead? Only Friends didn’t name itself so closely to the amateur adult content website for no reason! In fact, we got an OnlyFans reference in The Heart Killers episode 4. Imma have to thank this post for noticing an OnlyFans sign in the background of Addicted Heroin Th and pointing out that it’s illegal in Thailand, cuz I had never considered anything about the country’s pornography laws or internet censorship. I’ll try to restrain myself from blabbering too much about the history I found here and here, but the important part: Thaksin’s once again our guy kicking it off. The Thaksin government censorship focused heavily on antipornography and the 2006 military coup brought in a more Orwellian political flavor to the proceedings, both of which have basically proliferated with continuing regime changes. In 2020, mainly because of increased censorship of adult websites (which is a current global conservative trend—I’m looking at you Project 2025—so don’t hate on Thailand too much), Thailand dropped to the third-lowest tier of internet freedom, according to the company Comparitech (which focuses on cybersecurity and online privacy), only above North Korea, China, and Iran. Both content creators and consumers can have some harsh punishments under the laws. With that in mind, it’s hard to imagine Jojo’s team giving us Boston’s pornographic art and Nick’s digital pornographic consumption as mere character dressing. The fact that they are the two excluded from the friend group at the end, excluded from the local business, from acceptance! Meanwhile, having censored the “deviant” contingent out of the equation, romance is alive and well at the OnlyFans—I mean, Only Friends hostel. As one kind of gay content is uplifted, another is suppressed and banished. No, Boston and the pornography industry he seems to signify are not perfect, but neither are his friends, nor the entertainments and political-economies with which they’re equated. 

Without too much moralizing, these are the sorts of observations and hypocrisies Only Friends highlights. In my reading, at least, it depicts these media and economic trends through its characters, allowing them to play out and contend with one another as they have in reality. Sometimes the allegorical tensions or pairing of genres and capital occurs in the dynamics between characters. Other times, as I pointed out with Boston and his Thaskin connection, the tension exists within a single character. These strategies allow the show to engage with political issues while under the government’s censorship laws, but this is also just what great literary political writing looks like! It speaks to its time, but it will stand much longer as simply a character-driven story about the contentions that arise between money, sex, love, and friendship. I cannot wait for Girl Rules to give us Jojo’s GL perspective on related issues and for Only Friends Dream On to explore this territory in the context of an actual BL production! Let the chaotic theorizing ensue!

[alectoperdita]

there’s a scene in a bl i’m reading where one guy is texting his love interest trivia questions and the other guy never gets them right even though two buddies are frequently present. so imagine kaiba texting jou trivia while he, otogi, and honda deliver L after L.

Kaiba probably not expecting Jou to get any of them right and if he does, he'd accuse Jou of looking up the answer. Of course, Jou also takes these as challenges from Kaiba. It's possible there might be a few Otogi knows the answer to, but he chooses to give incorrect answers because he finds it funnier that way.

The combo of Jou, Honda, and Yuugi giving incorrect answers over and over again would also be funny. (These three had some of the lowest scores in their class in the manga after all.)

Eventually, Kaiba will make a bet with Jou. If Jou ever genuinely gets one of them right, Kaiba will treat him to a nice meal.

(No... It's not just a ploy by Kaiba to get Jou to go on a date with him... 😳)

[0vergrownruins]

cannot BELIEVE I forgot to post the pass the yaoi ribbon I picked up at the BL trivia game at isshocon. My team got second by a very close margin but that’s okay because they had fish danmei and the corporate slave isekai in there

[weeb-cheese]

I submitted 4 panels to the next big anime convention I'm going to, and I really hope all 4 get accepted!!! I've never hosted a panel before, but also the panels I pitched are in line with the kinds of videos I make, and I did flex the youtube channel in hopes it shows I know how to present information and analysis. Also this con gives free weekend badges for each accepted panel (so if all 4 get accepted my entire core group can go for free) the panels are: 1 bg3 trivia game panel, 1 black butler multiverse panel (that talks about the different media adaptations that are not canon adaptations so the ds game, musicals, live action movie, first 2 seasons ect.), 1 jjk panel that's all about satosugu and how the ship impacts the narrative, and 1 panel that's just the history of bl manga I think these seem interesting enough, and based on last year's schedule, and the schedule at a similar big con in the same area, there's no one else doing panels like this. BUT there are panels related to Black Butler, BL, and JJK. (bg3 is the only one I haven't seen fan run panels for at all, it's just been cast panels, but there were 2 bg3 fan photoshoot/meet ups last year so here's to hoping)

[somedaylazysomeday]

SomedayLazySomeday's Masterlist

Hey, friends! Here is the collection of everything I’ve written up to this point. Fics have their own page to keep things neat, and those links are posted under the media to which they belong. 

All fics feature a female reader with minimal physical description and no use of ‘Y/N’. All of these works are rated mature or explicit and are not intended for minors. Please take note of the warnings listed on the chapter links for each fic.

Thanks for reading and enjoy!

- Ink 

Arcane (2021) 

Good Intentions - Silco x fem!reader. - 54.7k words. Reader runs a charitable organization, the Haven, which seeks to help people overcome their Shimmer addiction. Silco soon takes an intense interest in the Haven and the woman who operates it.

Noisy - Viktor x fem!reader.  - 7.2k words. Reader is a student at the Piltover Academy and lives in student housing, one floor below Viktor. He’s a bit of an insomniac… and a noisy one at that.

Avengers (2012) 

Cold - Loki x fem!reader. - 3k words. Reader is in a casual physical relationship with Loki. When she attends a party at Avengers Tower with someone else, he’s bothered by the idea that she’s ashamed of him. Themes of jealousy and minor monsterfucking.

Beetlejuice  

A Deal with a Demon - Beetlejuice x fem!reader. - 13.3k words. Reader is a witch who’s a little down on her luck. She summons a demon for help, but he turns out to be very different from what she expected. Themes of magic, desperation, and monsterfucking.

Black Sails  

Captured - Captain Charles Vane x fem!reader.  - 9.1k words. Reader disguised herself as a man to cross the ocean, but her ship was captured by pirates who brought her on as a member of their crew. Vane eventually figures out the truth. Dub-con themes in Part One; mind the warnings!

The Boondock Saints 

Na Buachaillí - Murphy MacManus x fem!reader, Connor MacManus x fem!reader. - 13k words. Reader is a high school science teacher working temp jobs over Christmas break to help pay for her divorce. 

Ex Machina (2015) 

Winner Take All - Nathan Bateman x fem!reader.  - 11.6k words. Reader knows Nathan from MIT, and they constantly run into each other during trivia night at a local bar. Enemies to friends to lovers vibes.

The Gray Man (2022)

Paranoid - Lloyd Hansen x fem!reader. - 9.7k words. Reader runs into Lloyd and he takes a liking to her. She can’t say the same for him. Dark!fic with themes of non-con. Mind the warnings on this one!

The Hobbit 

Dexterity - Thorin Oakenshield x fem!reader. - 14.6k words. Reader sells wool at Erebor’s markets and is familiar with the king, handsome and aloof. But Thorin rapidly warms up when a storm forces her to stay in Erebor overnight…

A Boon - Elvenking Thranduil x fem!reader. - 20.2k words. Reader owns a bar in Lake-Town and is very unimpressed with the Elvenking, even as he slowly works to win her over. Enemies to lovers vibes.

Labyrinth 

Dreams - Jareth x fem!reader.  - 7.7k words. Reader wished away her college roommate, beat the labyrinth, and resisted the Goblin King. But he isn’t done with her yet… Themes of dark fae, magic, and predator/prey.

Random Jareth Fics - Jareth x fem!reader - 6.8k words. Reader is a teacher who was wished away by a young student. She becomes Jareth’s eyes and ears in the human world, working to keep his legend alive. Over time, she becomes less human, but an occasional need still arises.

Narcos

Informant - Javier Peña x fem!reader. - 2.3k words. Reader has some information about Pablo Escobar and ends up making a different sort of deal. (Similar in tone to Oaths, but I hadn’t quite figured out how to write Javier Peña’s character yet.)

Oaths - Javier Peña x fem!reader. - 11.5k words. Reader is a nurse who treats the Escobar family. She turns information over to the DEA, though she doesn’t care for the agent assigned to her case.

Matter of Perspective - Captain Horacio Carrillo x fem!reader.  - 9.6k words. Reader works for the DEA in Columbia and accompanies the Search Bloc to prove one of her theories. Enemies to lovers vibes.

Southern Vampire Mysteries/True Blood

Blood Donor - Eric Northman x fem!reader.  - 2.4k words. Reader is a were-animal working for the vampires of a town Eric is visiting. You are sent to feed him. 

Star Wars 

Target Acquired - Jango Fett x fem!reader. - 9.6k words. Reader is a bounty hunter who often finds herself in direct competition with Jango Fett. They have a deal: whoever catches the bounty sets the terms of their night together.

Pursuit - Boba Fett x fem!reader.  - 6.5k words. Reader is a bounty Boba finds, but she must convince him to let her go… even if they both know it’s only temporary. 

Star Wars: The Bad Batch 

Hunted - Hunter x fem!reader. - 7.3k words. Reader works with the Bad Batch. She has a crush on Hunter that seems one-sided… until a chance encounter with a mysterious substance on a mission. Sex pollen and themes of predator/prey. 

Aim - Crosshair x fem!reader. - 9.9k words. Reader works with the Bad Batch and gets stranded with Crosshair after a mission. They won’t make it back to the Havoc Marauder without blowing off some steam. Enemies to lovers vibes in both parts. 

Experiment - Tech x fem!reader. - 3.5k words. Tech thinks he can’t be distracted from his work. Reader bets that isn’t true, and she’s willing to prove it.

Stretch - Wrecker x fem!reader.  - 13.5k words. Reader and Wrecker are a strong couple, but there are some challenges that come with dating someone so physically large. 

Different, But Still Good - TBB!Echo x fem!reader.  - 3.4k words. Reader is a sex-positive asexual, unbothered by the ways Echo was changed during his time with the Separatists. They’re both a little surprised when he volunteers to help on an unusually needy day. 

Star Wars: The Clone Wars

Bitten - Commander Wolffe x fem!reader.  - 13.4k words. Reader has a crush on Broadside, a pilot with the 501st. When it isn’t returned, a helpful stranger encourages her to let Wolffe provide a distraction.

Tied Up in You - Commander Fox x fem!reader. - 9.8k words. Established relationship between Fox and Reader. Sickeningly sweet glimpses at a loving, unlikely relationship.

Misbehaving - Commander Cody x fem!reader.  - 9.2k words. Reader is in a relationship with Cody. Their relationship is one of control and boundaries, but they’re both willing and ready to test each other.

Star Wars: Legends

Bodyguard - Alpha-17 x fem!reader.  - 9.2k words. Reader is a Senatorial aide, assigned to work for a hated senator who endangers both of their lives with his politics. Fortunately, Alpha is sent to keep them safe.

Gar Cyare Spice Fics - Alpha-17 x fem!reader. - 6.8k words. Assorted spicy chapters of an ongoing fic on my main blog. (Gar Cyare by WanderingInkSplot) Established relationship between Alpha and the fem!reader.

The Boys

Hooked - Billy Butcher x fem!reader. - 8k words. Reader is a tow truck driver sent to tow Butcher's car. He's less than pleased.

The Walking Dead 

Arm Candy - Negan x fem!reader.  - 18k words. Reader is a Savior and a prospective wife. Negan likes to show her off at meetings, but he is easily the most distracted person in the room.

[ineffable-opinions]

I finally got around to listening the Ep.01 - The Origins & Boston Deserved Better 2024 and here are my thoughts.

I must admit that I didn’t like the characters from the get-go and abandoned the series at episode 4 because I could see the pairings ready to be shipped and the (non-BL) route the series was ready to take. I didn’t want to go down that path.

I didn’t like the making style. In my opinion, it was not a BL BL and borrowed heavily from western queer shows (Verbotene Liebe, Queer as Folks, Os Nossos Dias, etc.) that I watched while growing up and got tired of (so much so that I barely ever revisited any of them). These are not problems per se, just things that got me less and less interested in them. It had a flavor of what I call Channel V type series that has young adult/new adult characters acting without much rhyme or reason and very little connect to their immediate surroundings or social context, clearly inspired by western entertainment aimed at similar demographics. These were a mainstay of Hindi language entertainment aimed at youth for a while until Channel V went under, until they were swept under the new wave of entertainment that was more grounded and survives in pockets, catering to a specific class of audience.

Now on to the content of the podcast…

The discussion highlights a bunch of interesting issues and here are my thoughts on those:

khujin (actor CPs; popularly known as "branded pair") – it was obvious from the get-go that the series isn’t going to stray too much into the intense BL territory. Not was it going to go queer the way western shows do. Also, it is the farthest thing from other Thai queer media products. They had actors who are part of a pairing and pairings rather than shows are the money-making parts of GMMTV’s entertainment biz. Series are basically just another activity actor CPs participate in.

2. Formulaic BL – GMMTV usually sells a particular type of BL: those with a soft and comedic tone (傻白甜 storyline) and aimed at an audience interested in feel-good BL (source given above). The audience is there to cheer their beloved characters on as they navigate manageable issues. The BL formula or narrative progression exists to offer comforting familiarity for its audience who want to relax watching them. Another reason, I think, is the lack of knowledge of BL literacies among directors who never took the time to delve into the genre deep enough to learn other narrative progressions.

Only Friends don’t fit into the narrative progression GMMTV usually employs. But it could have fit into other narrative progressions.

Here are some typical narrative progressions for a (Japanese) BL:

あまあま – sweet

ユニーク – unique

シリアス – serious

邪道 – evil road (Jadō)

王道 - royal road (odo)

Any theme/one-line plot can choose to take any of these narrative progressions. Moreover, Thai BL usually originates online which allows for innovation in narrative progression. Consider KinnPorsche which led KinnPorsche on odo while VegasPete ventured on jado. Only Friends could do that, but only with a script written by those who are well-versed in different BL forms. MAME is probably the only one who ventured into BL making business in Thailand with knowledge of BL literacies. Most BL creators are basically working on products (novels) by authors (producers of Bl and BL knowledge) with limited knowledge of their own.

In case of GMMTV, its BL formula or preferred route of narrative progression is the first one – the overall flavor would be sweet and relationship progression is pretty smooth (SOTUS, Together, Bad Buddy, My School President). If not, then it would be royal road progression wherein characters have to go through troubles but end up with each other through hard work and perseverance (Never Let Me Go). Moonlight Chicken is an example of a BL with “serious” narrative progression, I guess. Eclipse may be regarded as having taken "unique" route, at least by GMMTV standard. Seems like Only Friends unintentionally took the evil road.

Let me try placing the characters in BL set-ups:

Boston is just a yarichin (playboy) riba (versatile character) who is osoi (sexually aggressive) uke (襲い受け) when it comes to Top. Top on the other hand is a black-bellied (腹黒) character who is set up to fall for Mew, only for him to be exposed (incorrectly to an extend) as a brute seme (鬼畜攻め) and that relationship to involve groveling and “wife-chasing”. Nick on the other hand is a yandere obsessed with Boston.

The series could have taken evil road deliberately. That would mean leaning into Nick’s yandere-ness, making him do some more reprehensible things and then reveal it all to Boston, mind-break to meriba (merry bad) ending. Or develop an isolation and codependency plot for Boston with heartbreak from unrequited love (involving Top), alienation from the friend group and overall despair, leaving him with super-Machiavellian Nick as his only solace. Or take the classic BL dark plot of confinement, breaking leg(s) or removing tendon and Lima syndrome with a bat-shit crazy Nick. This would be asking too much of GMMTV and its average audience.

* I think this warrants a disclaimer: making a (yarichin or otherwise) character go through mental/physical hardship in BL is not understood a punishing that character (like in Western media analysis). It is basically employing pain to elicit feelings of sympathy and doting from audience or for catharsis. If not, it is for a kind of perverse moe. In all cases, it is purposeful (in relation to traumas and various anxieties) since the days of June magazine and draws from tanbi lit (where in it was part of the overall melancholic aesthetics), even when the execution fails.

3. Virginity, NTR (infidelity both as a fetish or an element of a relationship), NP (ships involving more than 2 people; 3P, 4P, etc.), & open relationships – these are minority interests in BL. There are hardcore fans of these and therefore there is no dearth of these themes in BL. There are authors who specialize in these. Some occasionally focuses on these themes. Similarly, audience who are not especially interested in these themes also occasionally enjoy them. (Cornered Mouse Dreams of Cheese, which contains NTR as a main theme, enjoys super-popularity.)

Another treatment: These themes also appear as issues in BL relationships that often involve punishing characters for infidelity – rupturing of trust, loss of innocence, etc. In case of virginity - as a source of anxiety and distance which has to be dealt with for the relationship to flourish.

It is also one of the preferences/fetishes/specific interest for at least some of the audience members to indulge in – you can find BL fans asking for recommendations with both characters being virgins & first times in forums and such.

There has to be clarity as to what these themes are supposed to do in a narrative for it to resonate with the audience.

Also, new queer media (some given below) feature many of the same themes as Only Friends. Clearly, there are differences and similarities in how BL and the following shows treat those themes. It might be interesting to compare how Asian queer media (other than BL) treat those themes with how Only Friends did. It would also be fascinating to look at the treatment of the same themes in shows from elsewhere, such as the west.

Cheers by Cheers 짠!하면 알 수 있어

Breakfast by 想再見你

Sesame by 百里屠伕

Shimbashi Koi Story by SHIMBASHI TUGBOAT

Will they; won't they about infidelity is the main source of drama in the last arc of Tugboat's Shimbashi Koi Story season 2.

Have an unpopular opinion about a BL? Don't worry, we probably do too. Saying all the things you do or don’t wanna hear Part 5 (of 4) is here to engage with BL media from Japan, Thailand, China, Korea and more. We're talking film-making techniques, narrative analysis, fandom woes, while asking questions like, hey why don't the bottoms move their arms? We may not be experts, but we are loud, chaotic, and full of opinions.

In today’s episode we’re discussing the origins of our hosts De and Sinna’s friendship and Only Friends! Mainly Only Friends cause, whew, is there a lot to talk about. Anyone else still salty over that ending? Or just us?

Show Description: Mew, Ray, Boston and Namchueam; a group of business students running a hostel together-blur the lines between friendship and romance.

Where to Watch: Only Friends

Check out the read more below for further reading resources on topics we discussed in today's episode like framing devices, and color theory in film. Along with a list fanworks we loved from the fandom! Add any fanworks you loved as well, give the people their stars.

Listen to this podcast on: Spotify | Soundcloud | Youtube

References:

Framing Devices

EVERYTHING YOU NEED TO KNOW ABOUT FRAMING DEVICES

A Story Inside a Story: Using Framing Devices in Fiction

10 Films that Utilize a Frame Narrative

Color Theory in Film

Color Theory in Film — Color Psychology for Directors

What Is Colour Theory In Film?

Color Symbolism in Literature: Examples and Meanings

Stain: Phenomenal and Literary Approaches to Color Studies

BL Budgets

The Storyboard: Interview with the Dee Hup House director Tee Bundit - Original Interview | Translation

BL Production Info from Strongberry - Original Interview | Translation

Fanworks We Loved:

ONLY FRIENDS as SZA Lyrics 2/? -> SMOKING ON MY EX PACK by @firelise Run away fast as you can by @iwantoceans GIF Set BostonNick by @taeminie Boston GIF Set by @khaotunq Top x Boston | Only Friends | Crazy in Love by stb Boston & Nick | Angels like you can't fly down hell with me by Scodders sand x ray | ''i need somewhere to begin by thanxxjessie “Compared to Boston, you're a saint” by @rabbiitte If Boston has a million fans by @no2tinngunshipper Only Friends FMV | Cardigan | BostonNick by @technicallyverycowboy Told You So by CaffeineAddict94 You’re On Your Own by technicallyverycowboy “Boston was ostracized, isolated and berated to the point that it completely shattered his sense of self” and “Boston and his “friends”” by @neuroticbookworm “Dear Boston” by @lurkingshan "go for it." by @gunsatthaphan

Goodbye Forever (Until Next Time) by Anonymous

Credits:

Chaotic Hosts: Dé & Sinna Beloved Editor: Bones Creative Kingpin: Libby

Support the podcast

[ineffable-opinions]

MAME & BL Literacies (Part 4)

Other parts: Part 1 | Part 2 | Part 3

Contents:

MAME’s queer characters and their lives

Fetishization of queer men and profiting off LGBT community

Why other queer genres like gei comi struggle to get live action adaptation?

(bonus) What Did You Eat Yesterday sexy times

BL and rape culture

Everyday ethnocentrism & BL

-

This is the last part of this essay series. In this part, I want to discuss the response this review of TharnType by @waitmyturtles generated. As always, corrections and criticisms are welcome.

-

Here are the points @solitaryandwandering raised:

1. fans will get SO rabid for MAME’s stuff yet resist tuning in for more queer-friendly Taiwanese BL or lower heat fare

I think that the BL MAME creates is "queer-friendly". Moreover, her BL focuses on the intersection of queerness with local forms of gender, patriarchy & heterosexism, class, race, skin color, age, employment, location & regionalism, abilities and disabilities, education, health conditions and access to medical care, urban-rural divide, migrant status, culture, etc.

MAME's BL have aspects of Thai queer culture and praxis that are otherwise overlooked. Here's an example.

Through Techno’s interaction with Tharn in episode 1 of TharnType, MAME highlights an important issue: invisibility of androphilic “man”. Techno comments that Tharn is the first masculine presenting androphilic male he has met, even though he has several queer friends.

This is in part due to skewed presence of androphilic male characters in mainstream media. In Thai soap operas and movies, androphilic men are 'presented as effeminate, overreactive, with a passionate but unrequited interest in men'.

Countering this perception is the hegemony of masculine aesthetics in urban Thailand’s queer culture. 'The English word “man” has been borrowed into Thai gay-speak to denote acting in a masculine way. Man describes a masculine presentation of either gay-identified or heterosexual males and contrasts with the Thai term phu-chai, which also translates as “man” but is used in the specific sense of denoting the gender role of a heterosexually identified male.

'Many Thai gays believe that effeminate gay men, or gay sao, will experience discrimination and prejudice because of their feminine characteristics and behaviours. Thai gays also think that performing gender-normative forms of manhood are useful in establishing sexual and romantic relations with other gays. These expectations are associated with the culture of images, known in Thai as phap-phot, by which many homosexual men feel compelled to act in accord with normative male gender roles.'

This is in contrast to Techno’s queer friends who blur the lines between the masculine and feminine domains. His use of the word kathoey is case in point.

Moreover, the need for social conformity for Thai gays in terms of their gender performance is an urban phenomenon. Ethnographic study by Wijngaarden traced the rapid adoption of more masculine gender performance by gay men who moved from rural setting to urban for the purpose of education and employment. Ambiguity in gender performance is more accepted in rural setting where there is gender-based understandings of homosexuality. Also, gay dating scene in urban areas seem to assign value to masculine presentation.

source

I don't really know what @solitaryandwandering mean by "queer-friendly" in the context of Taiwanese BL.

Support of fu-people (BL fans) for queer works in Taiwan is well-known. When the play 《愛情生活》 Life of Love by Xu ZhengPing was staged, they had BL version shows too.

The play has a short film adaptation which is available for free on GagaOOLala.

Fu-people have also shown their support for series like Breakfast by 想再見你.

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@solitaryandwandering gave valuable response to this post which I am adding below.

I had to go back and re-read what I said in the post for more context. I think though we may disagree on a couple points (what people consider "queer-friendly" is somewhat subjective) your criticisms are totally valid. I think in my first point I was making a really broad generalization and my description of overall Taiwanese BL as being "more" queer-friendly largely rings false to me now. I think what I was frustrated with was more with what I've seen of BL fandom's response to the series and other works. The popularity of high heat and "problematic" themes (I'm using that pretty liberally) like abusive relationships or rape is pretty massive in comparison to Taiwanese stuff in general. But that's not to say Taiwanese stuff don't utilize the same tropes or themes. Hence why I think my comparison wasn't accurate.

In comparing Taiwanese BL I had seen at the time and MAME's stuff (specifically TharnType) I probably felt that Taiwanese BL didn't so heavily utilize themes which made me uncomfortable or angry at the way MAME was writing it. And I still do largely think that at least for her earlier stuff MAME needed to work on her characters and plots. I did not see Tharn or Type or the other characters or the story as appealing or positive representations of… anything. In my view at the time Taiwanese BL liked to play with similar themes but still (mostly) didn't leave me with a bad taste in my mouth. I don't really agree with what I think was a bit of a limited view at the time. Reading your post has given me a bit of a different perspective, too.

I don't think everyone making Taiwanese BL particularly cares about the response queer fans have haha. And MAME has shown she does, at least from my perspective.

And again lumping an entire country's slant on the genre against MAME's creations is a bit disingenuous. So I appreciate you criticizing that.

And I don't inherently think lower heat stuff is inherently more queer-friendly of course - queer people fuck! Queer people can do terrible things! But the gulf of popularity between high heat stuff versus lower heat at least in international online spaces is pretty large. That concerns me for the reasons I stated in my comments - why is fandom more eager to engage with one over the other? Do these fans see queer men as people or as things to fetishize? And how does MAME's writing encourage or discourage those damaging readings? Largely I think what I was referencing in my response was fandom response rather than what creators at large do.

I think we may disagree on how effectively MAME writes her shows but I do think my perspective on her as a creator has changed quite a lot. Her writing certainly has with each show. It's important to interrogate my own ethnocentrism as you point out in your post. Acting like I'm the arbiter of "good queerness" in stories just because I'm queer is not a practice I want to encourage.

and yes, I do think there is quite a bit of critical consumption of BL, and it has only been growing! I was concerned about those who do not critically consume, a more direct criticism.

But I did communicate it as a large generalization… One of the reasons why my response to stuff like TharnType is this way is because I have a background in domestic violence prevention, so the lens I look at that kind of material through is highly critical. But it is also a white American lens.

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And here is my contribution to that discussion. I am very grateful for to @solitaryandwandering for engaging with this post.

What each think as “queer-friendly” is subjective. I wanted to be clear about what I thought as queer (since LGBT+ form is a little too narrow from my perspective). I wanted to place BL in the context of Taiwanese tongzhi (queer) culture and wanted to showcase the similarities and their connection. Life of Love by Xu ZhengPing, the tongzhi work I mentioned, has both "high heat" and "problematic" themes (it deals with infidelity) while addressing what it means to be tongzhi in post-marriage equality era. The BL versions’ ad is very funny. Please check out that link if you haven’t.

About abusive themes in BL, I really wish BL audience will pay attention to media consumed by queer people that are made by queer people in BL producing countries and realize how meek MAME is in comparison, both in terms of influence as well as themes. That is why brought up erotic treatment of rape aka rape for titillation – rare in BL but very common & celebrated in queer content from the region such as gei comi and gay pinku cinema. I think that answers the issues you raised – popularity of high heat stuff, queer men as fetish and damage it causes. I have been consuming gei comi and BL for years and when the live action boom happened, I was hopeful that gei comi will also start getting live action adaptation. Instead, there was a deluge of sweet BL and concerns about damage anything problematic can cause, not to mention the kind of critique authors as mild as MAME was getting. When female BL creators were getting bashed (not only about live action but also about comics and novels), I thought the criticisms would extend to gei comi. I was confused when it didn’t. I was even more confused when it seemed like no one was ever mentioning gei comi. It was as though those who were criticizing BL creators don’t know about gei comi.

To be honest, I don’t really know what damage everyone is talking about even now. I mean, what’s the basis of those claims? Gei comi always had those themes, a great deal more than BL. What harm did it ever perpetuate? Whom did it harm? I couldn’t find any evidence (empirical or anecdotal) no matter how I searched. (I will be grateful if you can direct me towards some research or something on the matter.)

Only damage that I know of is linked to the tangible impact of gei comi on the popularity of hairy, gachimuchi aesthetics of queer men [and associated physical manifestations of protest hypermasculinity] in East Asia that I discussed in part 2 of this essay series [as well as in my post on masculinities with special focus on Chinese androphilic men]. This is one area I think a lot of skinny queer men in East Asia would have found themselves at a loss. So I think BL exclusively having skinny dudes is a good thing.

I know that I can wish all I want but audience won’t accept live adaption of something like Fisherman’s Lodge much less Pride (my introduction to the genre and the reason why I fell in love with it). My Brother’s Husband sort of solidified my belief. Then Sei no Gekiyaku [Dangerous Drug of Sex] live action happened, and my worlds collided. All of a sudden androphilic men were discussing a BL like never before. It was such a hit on Netflix Japan. That’s when I discovered The Shortest Distance Is Round and then its sequels. By then it was clear that there is escaping the difference in wavelength.

I would like to make a small addition in light of Heavens x Candy (a 2024 Japanese BL movie, pinku adjacent that is available for streaming on Gagaoolala).

I now have greater hope for "hard" BL and even gei comi getting live action adaptation from OP Pictures (albeit without hairy, gachimuchi aesthetics. I mean the only actor doing such roles in BL is Kaji Masaki who acted in both KabeKoji and Smells like Green Spirit.) I plan to do a longer post on Heavens x Candy when I get time to rewatch it.

2. Fetishization of queer men in yaoi

By that standard, is Minamoto Kazuki fetishizing straight women through his works?

source

Minamoto Kazuki is a gay mangaka who creates straight romance and smut.

Arguably, his most famous manga, at least in BL fandom, is Wall Circle’s Doujin Artist Nekoyashiki-Kun’s Desire for Recognition Grows which got live action adaptation: KabeKoji in 2022.

Apart from creating commercial BL and yaoi (self-published BL like the ones in the image given above), he has also authored an autobiographical work titled Shoujo Manga Artist Minamoto-San Comes Out and a manga exploring queer life and homophobia titled The Gay Who Turned Kaiju.

Moreover, many scholars, mangaka, fans, etc. from Asia and elsewhere have already spoken/written plenty about the issue of fetishization. Here's a compilation of resources.

3. zero critical consumption and leveraging of abusive concepts

I wonder why it is assumed that BL is consumed without critical thinking. It is true that BL, especially MAME's BL, are not didactic. TharnType is a BL with odo (royal road) narrative progression. It is not one of the sweet BL that GMMTV produces. Due to a general lack of BL literacies, there are off-the-mark expectations associated with BL, particularly Thai BL. Hence, odo BL seems to violate a lot of these misguided expectations.

TharnType is a well-done odo BL, in my opinion. "Leveraging of abusive concepts" is not a failure but a feature.

When it comes to depiction of abuse, there are those who think that it always gives the wrong message. There are variety in opinions on what is the right way to go about it. BL being an accommodating genre has space for all sorts of treatment. Even in live action, there is good variety in terms of how the theme is treated. But nothing is everyone’s cup of tea. This being the case it is understandable if someone like how MAME handles abuse, just as it is understandable if someone doesn't.

Assuming that fans don't engage critically with the theme and are mindlessly consuming it, have the implication of infantilizing the audience - as though they are without faculties of discretion and are incapable of making judgements. It also has the added implication of demonizing all media concerning queer people that deals with abuse. If MAME’s approach is deemed “unsafe” for queer population, based on that judgement, where does BL and gei comi that offer erotic treatment of abuse fall? What about queer people producing and consuming them?

That brings me to the points @nieves-de-sugui has raised.

4. how much all of these tropes where used (and still are). I believe that when things are made for tv they should take all the things you mentioned into account more than they do.

I believe that makers of live action queer content are very cautious. Thanks to that we are yet to get live action adaptation of any gei comi.

I have seen mainstream media ignore Gengoroh Tagame (probably the most popular gay mangaka creating content aimed at androphilic men) and his works for years in spite of his tangible influence on East Asian queer men. And then suddenly creating a live action adaptation of his all-ages manga My Brother’s Husband.

Who will dare to adapt his works Gunji or Fisherman’s Lodge or Pride? How can we show rape, trauma and taboo involving queer people on screen? What message will it give to the queer population? To the non-queer population?

A scene from Fisherman’s Lodge. Image courtesy of @finalatomicbuster.

If MAME was not involved in producing her BL, it is doubtful if it would have ever happened the way it did. Almost all BL adaptation is a censored adaptation, with notable exceptions like Sei no Gekiyaku. Recently, 25 Ji, Akasaka de (2024) removed complicated sexual content (including a dub-con episode) from the volume 1 of the manga, which was critical to the story and the couple’s development, in adaptation. Sukiyanen Kedo Do Yaro ka (2024) went as far as removing the more sexual second couple from the live action adaptation probably because makers thought it was better not to go anywhere near cruelty.

The first ever anime adaptation of a gei comi, Shin Yaranai ka based on Junichi Yamakawa's Kuso Miso Technique, is *sigh* disappointing to say the least.

I wanted to quickly mention What Did You Eat Yesterday yaoi version since @waitmyturtles mentioned the series.

5. What Did You Eat Yesterday

I want to highlight that What Did You Eat Yesterday was not a BL in publication. It was published in Morning, a conservative magazine for middle-aged men. This is what got a live action adaptation.

Fumi Yoshinaga has created a proper BL doujin series that includes content that couldn't be part of publication in Morning.

Here are some panels from the two latest volumes of the yaoi. I wonder if audience would have had the same impression of the show if they had incorporated the doujin bits too.

6. One piece of the puzzle that's missing here is Thai rape culture that blankets all of their society.

This is an important point @yousaygoodbyeandisay raised and it applies not just to Thailand.

Sexual assault as a theme in BL, handled in a myriad of ways, has been the case since the inception of the genre. I have discussed the history in the context of Japan here.

It was during the publication of JUNE magazine that the importance of depiction of sexual assault in BL became clear to the editor through response letters from readers.

June is a place of therapistic rehabilitation for those women who had experiences of mental and physical abuses as a female. Mr. Sagawa said that he cannot ignore that there are not a few readers who had such experiences during their childhood.

source

MAME studied BL and its production academically (you can find her research output by searching her name: อรวรรณ วิชญวรรณกุล) before she entered live action production. She not only know what she is writing/creating but also is willing to deal with difficult themes without taking sweet, fable-like route.

Now onto the points @mikuni14 raised.

7. my shock seeing so much SA related stuff (the show covered just about every problematic sex thing there is, and finally forgave the heinous criminal instead of putting him in jail. I don't know how MAME can create for example AePete and also somany vile things

For those who don’t know, MAME is a unique Thai BL creator. Thai BL creators on average lack BL literacies for various reasons. MAME is one of the exceptions. This is because:

she is a BL author & hence, one of the creators of BL literacies

she studied BL and its production academically [you can find her research output by searching her name: อรวรรณ วิชญวรรณกุล]

then she started producing live action BL

In an industry which is lacking in BL literacies, what she brings to the table is fu-culture (BL fan culture) in all its glory. Unfortunately, the live action audience who are fans of sweet BL, have a hard time adjusting.

Here are some typical narrative progressions for a (Japanese) BL:

あまあま – sweet

ユニーク – unique

シリアス – serious

邪道 – evil road (jadō)

王道 - royal road (odo)

Any theme/one-line plot can choose to take any of these narrative progressions. Moreover, Thai BL usually originates online which allows for innovation.

MAME employs different narrative progressions for different ships. AePete follows the typical sweet BL progression. KengklaTechno follows jado and TharnType odo.

TarTum is a sweet BL, complicated by them being step-brothers. While their pairing is barely on odo, Tum as a character has a complicated odo progression within their ship.

Since TharnType is an odo BL all wrong-doings are not punished. Take for example KinnPorsche, another odo BL, where the ending can’t be 'organized crime gets the main characters in jail'. In odo BL involving crime, most of the victims are usually cannon fodders. So, characters are not bothered much by the crime. But in MAME's universe, Tum is an important character, someone designed to make audience root for him. Hence the audience can’t dismiss the crimes against him. It is not wrong to want the narrative to have Lhong jailed. If TharnType was a sweet BL, it would have gone there.

8. selective memory

Selective memory is indicative of preferences and it helps to fine tune BL consumption. MAME's storytelling incorporates diverse elements. Those who enjoy her works also might find that there something or the other that isn't to their taste. This is an important part of BL literacies.

I enjoy dangerous characterizations over subdued ones and prefer a meriba more than a happy ending. While there are plenty of BL media with those, they are super rare in live action. So, I appreciate MAME for taking into account fans who want something different from sweet BL.

Here are the points @bengiyo raised:

9. What Did You Eat Yesterday v/s Old Fashion Cupcake

This has nothing to do with MAME but has to do with BL literacies more generally. Old Fashion Cupcake is more appealing to BL fans because it is a BL and hence not sanitized to continue run on a conservative magazine. So, it permeates moe (affect). Moreover, creators of Old Fashion Cupcake are better informed than creators of What Did You Eat Yesterday in terms of BL literacies. So, the direction and acting works better in the former than the latter.

9. The Effect feeling like the first huge volley leveled at BL from within the genre.

I am always amazed at the takes on the Effect. Somehow it is assumed to be a critique of BL genre. That's not the case. The Effect is a proper jado BL.

What audience are picking up on is the 'I can do it better' spirit that motivates a lot of BL creation. It is natural for audience to feel like the depiction of complex themes, such as sexual abuse, bullying, delinquency, identity theft, murder, infidelity, pregnancy, etc. are not dealt with well. Creating BL that fits one's taste better is one way authors and artists go about addressing the issue. That is how we end up with same theme dealt with in numerous ways. When that expands, we end up with sub-genres and BL categories.

Jado BL are rare, particularly in Thai BL.

It is difficult to sell BL with jado and other narrative progressions. It becomes even more difficult to sell branded pairings when the characters they play are not impeccable. It is unlikely that actors playing bad guys can sell products for advertisers. (Imagine the characters from The Effect being in ads together!) It is even more unlikely that fans would go broke behind wicked characters and would want to attend fan-meetings and concerts featuring them in some way.

This is also so as not to trouble the average audience’s worldview (世界観) and is clearly a low effort and low skill (in terms of BL literacies) approach. But since a lot of audience don’t appreciate villain-like characterization, it is clearly low risk, no chance of a backlash from angry audience and the best method for assured money making.

@respectthepetty has also flagged the next issue:

10. History3: Make Our Days Count.

Gays were being buried and put in prison in Taiwanese BLs in the same year it legalized marriage equality.

There is a lot of ethnocentrism in the hate that MODC gets, apart from lack of BL literacies. While I understand where that take is coming from given American media history in the context of Hayes code, AIDS crisis, etc., I wish media from elsewhere would be looked at independently.

Queer narratives everywhere have their own over-used tropes and historical issues. Malayalam media, for example, has the issue of having one of two queer characters having varathan vibe (Rosy in Ponnaranjanam, Kiran in Sancharram, Antony's boyfriend in Mumbai Police, Kiran in My Life Partner, etc.) that makes them look odd in Kerala's rurban landscape. Even Kaathaloram played into this trope. The problem is that it perpetuates the belief that queerness is an import of sorts.

Mindless application of media critique learned from the west leads to the brushing aside of pertinent issues with media of the region in favor of finding legitimacy via commonality with the west. That way we end up with crits accusing Moothon of employing bury the gay trope while ignoring that:

Moothon is a gangster action flick like Kammattippaadam

It is rare for romances irrespective of the gender of the main characters and genre of the movie to have happy ending in Malayalam. In fact, almost all great love stories in Malayalam movies are tragedies. This is unlike in Hollywood where heterosexual romances usually get happy endings.

more importantly, every queer character, including Latheef, is infused with varathan vibe.

Taiwanese BL has issues worth exploring. Issues of their own media - not varathan queer trope from Malayalam media or bury your gay trope from American media.

MODC was an dealing with well-established BL tropes (like any other show in the History franchise). It explored bereavement (a tribute to Lan Yu, first ever danmei live action adaptation) and substitute lover trope.

The series introduced a doppelgänger of Yu XiGu (Xiang HaoTing’s white moonlight), a perfect candidate for substitute lover trope. But instead of pursuing it, they subverted the trope.

History franchise, which was build to grow BL and BL literacy in Taiwan, ended up victim to prejudice since it failed to measure up to foreign standards. MODC offered something rare. The audience didn't appreciate it. They dismissed it for not measuring up to expectations colored by experiences which danmei is not connected with for historical reasons.

By that standard, would tongzhi literature from Taiwan too have to make amends for sins of the west towards its queers? Imagine stripping of death as a theme from tongzhi author Chiang-Sheng Kuo's works! Then there is also difference in how death is perceived in different societies.

Why must BL be arm-twisted to fit into norms from elsewhere and correct the wrongs of someone else?

11. BL profit off LGBT community

This is really interesting. There are many questions that I can think of that is linked to this take:

Is BL really profitable? Short answer is no. Long answer here.

Is it really LGBT community that BL profits off?

Probably not. It is moe that BL sells. That imo, is the main difference between BL and other queer genres.

Anyway, BL predates LGBT acronym. It predates de-pathologization of homosexuality in many BL creating regions. Fu-people were creating BL before mainstream media started representing queer people in media. Fu-people battled state and its censors everywhere along with queer people. Live action BL surely is commercialized. But that is capitalism reaping the dividends of decades of fu-people's labor of love.

@he-is-lightning-in-a-bottle raised the following point.

12. 2019 saw significant increase in quantity and quality of BL. Since then, live actions smoothed out the rougher edges of the source material (like what happened with Kinnporsche and Love in the Air).

While I understand the rational behind toning down dangerous characterization to appeal to the largest audience, I think that kind of censorship for commercialization limits potential of the genre. The impact is most visible in case of GMMTV BL such as Only Friend (where it could neither be sweet BL nor could it embark properly on jado).

Compare it with adaptation of the ero-BL Sei no Gekiyaku. It stayed true to the content and pushed the boundaries enough to bring about convergence between gay pinku cinema and BL. When BL is allowed to explore its potential freely, it not only imparts BL literacies but also makes it possible for other queer genres to gain new audience, which in turn encourages production houses to venture into different queer genres.

jjsanguine raised the following point.

13. I don't even hate toxic characters or plotlines, actually I love them. But like even if the characters don't know they're doing it, the show should. And it really really doesn't. And neither do the fans. Kind of alarming.

This is in relation to Lhong and San.

Lhong is a yandere in a odo BL. (for detailed discussion see Part 3) It is a matter of the world view and less about show's self-awareness (which I believe it has). If TharnType was an jado BL, Tharn could have ended up with Lhong and Type would be the stalking horse.

@jjsanguine later commented about how Lhong felt "goofy" by way of his over-the-top actions which made the show's convictions questionable.

San and Tharn's relationship was, to an extend, the most realistically depicted. I remember starting to learn about Thai queerness and realizing that a lot of elements in their relationship reads like ethnography. Consider for example Tharn being only fourteen at the time of sexual debut and San being older. This is not too different from the average age of sexual debut in Thailand. Despite it being a compoundable offense, average age of sexual debut is declining. Tharn's discovery of what he likes and dislikes and shedding cuteness (which San comments about) and adopting manliness (which Techno comments about) too is in line with what is observed among urban queer youth. Contrast this with Sky in Love in the Air whose sexual debut and exploitation are tied to his migration to urban landscape. Sky's backstory too read like ethnography and his vulnerability a reflection of the many others' in his society.

@absolutebl raised the following points:

14. Rape - as plot device - doesn't make good stories - lazy & bad writing: Feminist critique and modern narrative analysis.

Feminist and queer BL scholars from Akiko Mizoguchi to James Welker have discussed rape as a plot device in BL. Since experts have written plenty, I'll spare my effort discussing this misconception.

15. rape is an act of sexuality (or worse, sexy), it is NOT - it is an act of violence. But that is only the start to the way it’s chronically mishandled, especially in commercial fiction (of which romance makes the largest percentage). 

Akiko Mizoguchi's two decade of work have addressed this in relation to Japanese BL which I feel holds true for BL more generally. Moreover, BL is not a romance sub-genre. BL is a genre in itself. A lot of BL is romance. There is enough overlap between those genres to give the impression that BL is a romance sub-genre. But there are plenty of other works too. Like One Room Angel and Social Reform Season. Similarly, BL is not a porn sub-genre. A lot of BL is porn. But come on!

16. [MAME] produces consistent highly-profitable narratives by-and-about queer folks but utterly disingenuous to the queer experience and that defines exploitation in the ET industry... Right, just adding that yes BL does not represent (in any way) the reality of being queer in any of these countries.

I have already discussed how MAME's works are intersectional reflections of queer experience. BL has been reflecting different queer experiences in Japan even before the term boys' love emerged. But narrow, ethnocentric ideas of queerness doesn't lend itself to honest understanding of other forms and representation. Consider characters being addressed as เมีย ‘wife’. It is a Thai queer practice. One can always dismiss that since it sounds heterosexist in the culture one comes from as absolutebl does in this post. That, imo, is 'disingenuous to the queer experience' of Thai people.

The question is what are westerners missing in their own countries' queer media that they feel they must just judge everything with no care for the cultures and people producing content for themselves? Seriously, what have the westernization done to some in the audience that they emerge so desperate for queer content that they watch BL yet remain blind to the cultures (fu-culture in particular) that produce them and splooge vitriolic ethnocentrism?

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That concludes this discourse series. I want to sincerely thank everyone who contributed to and inspired this 🙏.

Other parts: Part 1 | Part 2 | Part 3

[29daffodils]

the problem with fk fanservice is that due to their bond it feels too real. the closer they will be in public the more still affirming they are just platonic friends might seems incongruous as they get teased. them being em friends who seems to have navigated it with some resolution makes me question if they would also or have to put distance

even jd tongue in cheek fs can feel very real.

in some ways it actually endears me for cp where i can think "comfortably" nothing is going on because they are absolutely 100% bro or taiwan over the stop paid performance on stage online lights off over.

In the end what we might perceive as fs is their lives and having made it part of their performance, can we really judge if their boundaries are so close they make the fans uncomfortable in their ambiguity? should or could they hide their closeness to make it less intense or should they share less or more?

hi non!

yes you're absolutely right! i think fkt's brand of fanservice feels too real because of how close they are.

I'm sorry, i didn't get this bit but do you mean taiwan does over-the-top fanservice on stage with lights on? haha, that sounds funny but i think the LOL concerts are pretty much the same.

also, regarding how much they should share : i think it totally depends on them. if you'd read my other answers to various asks about this, i have said that I don't actually mind any of it, in fact i love them as much. it's just that I wasn't aware that thai bl directors draw so heavily from their actors while they are filming. an example provided was yok , who's temperament could easily be carried by first. however i think with the northern lights trivia about the characters, bison doesn't feel like a character to me anymore, rather an extension of khaotung himself which made me question whether the tung we see is real or not.

anyway, haha, i hope i don't get any more asks about this because i've already answered so many. but thank you for yours! have a good day, non!