#have you seen how beautiful the chinese version is????

[therosielord]

What's happening on Xiaohongshu (aka Rednote, the Chinese tiktok-like app) is legitimately so amazing and beautiful and has given me more hope about the state of the world than anything I've seen in years.

Things could have gone so badly. Americans very quickly flooded a Chinese app that previously only had Chinese people on it and wasn't even in English. The Chinese users could have rejected us and told us to get out of their space. The American users could have been super obnoxious and racist. I'm sure that's what both of our governments expected would happen in a scenario like that.

But the exact opposite has happened. The Chinese users are, for the most part, absolutely delighted to see such a huge influx of foreign users. Because they can't use Tiktok, they don't get to see nearly as much content from the rest of the world. We're bringing foreign content to them that they normally don't get to see. And many creators on Xiaohongshu woke up to find that they had gained like 20k followers overnight. They've been nothing but welcoming to the new American users and have been making jokes about how we're free to stay as long as we pay the cat tax (show them pictures of our cats) and help them with their English homework.

And Americans have been incredibly respectful. Most of the Americans I've seen on there have already started captioning their videos in both English and Chinese, and when people only caption their videos in English, other Americans show up in the comments to remind them to please caption in Chinese because we are guests here. It has become common practice for Americans to write their comments in English and add the translated version as well. Many Americans have started actually learning Chinese. We've been making jokes about how we are making sure to take our shoes off at the door of Xiaohongshu.

We have been learning so much about each other. Americans have learned that a lot of the things we've been told about China, like their social credit system, are made up. And they've been learning a lot about us, like how our healthcare system is awful and Americans aren't actually all wealthy like the movies make it seem. We have a lot of struggles in common. College graduates in both countries are having a really hard time finding good jobs right now. Housing is expensive and hard to find in both countries. We are both dealing with censorship from our governments, although it takes different forms.

And of course, we love so many of the same things. Food, travel, fashion, crafting, cat pictures, music, etc. All of the things that most humans enjoy. Both of our goveernments have tried to convince us that we are so different from one another and that we should be enemies, but it's so clear that when people from across the world come together and can speak freely, the natural human instinct is to bond over the things we all love.

There is so much kindness and genuine curiosity and willingness to learn about one another happening there. I've literally been brought to tears multiple times seeing the types of things people are saying to one another. One video that really got to me was this Chinese woman explaining that in many Chinese schools, they would do English homework assignments that had the prompt "Pretend your name is Li Hua and you are writing to your penpal in America." So there have been millions of these letters from "Li Hua" written to imaginary American penpals over the years. And she said that after all these years, Li Hua is finally starting to get letters back.

Even if tiktok doesn't get banned, I'm staying on Xiaohongshu as well. Who knows if our governments will allow this connection to last. The Chinese government apparently showed its support for the Americans coming to the app to learn about China, but who knows what our fascist government will do. But even if this doesn't last, this moment has been beautiful. It's proven to so many of us that the Chinese and American people are so similar and that we have a genuine desire to connect with one another. In a time when so much of the world is full of hatred and fear, this completely organic connection between the people of two countries that are supposed to be enemies just blossomed overnight.

To me, this is proof that the natural instinct of many, many people all across the globe is friendliness and curiosity. We have such a strong desire to connect with one another. We will find each other wherever we can. I'm so happy to have this.

[twig-tea]

GL odds and ends 6 October 2024

I haven't been as good at posting about shows as I wanted to be, so I'm trying a round-up format instead because it feels like a lot of GLs skirt under the radar. It's exciting that we're in a time when there's enough GL airing that it's worth doing a round-up! This was a great week for the lesbians to figure themselves out, so it feels like a good week to start. No idea how regularly I'll do this, need to figure out a cadence that makes sense.

Currently airing (with thoughts up to Oct 6):

Reverse 4 U 5/8 (Thai, Tuesdays 1:00 PM EDT, Netflix / YouTube) This week the girls finally sorted themselves and we got set up for the main plot to start next week. I was initially really stoked about this one and then a little bummed that it's not taking it's very cool premise and the stakes it establishes as seriously as it could be, but I'm still hoping it will start to have real stakes in the main plot stretch.

The Two of Us s2 ep 6/6 END (Thai, 29 Aug-3 Oct 2024, YouTube) It was so great seeing women in their 40s being romantic together but I did not love the plot of this one; I find their romantic conflicts too juvenile (lots of easily-triggered jealousy). The moments they're being sweet are great though.

Unlock Your Love ep 4/8 (Thai, Wednesdays, GagaOOLala / YouTube [cut version]) This is the first episode that this series felt a little more assured; I liked the series this production company produced with a short run time, it feels like this series has been worse off for its longer episodes. That being said, when these couples get to do their thing like in this episode, they have good chemistry.

Chaser Game W s2 ep 3/8 (Japanese, Thursdays 12:30 PM EDT, GagaOOLala) @lurkingshan is already doing a great summary of this week to week in her JQL weekly round-up!

Affair the series ep 6/8 (Thai, Fridays 11:15 AM EDT, iQIYI/ YouTube) Finally! I liked that it was Ek pointing out that Wan was unhappy the entire time she was gone that finally got Pleng to give in to her desire to be with Wan. This show is so melodramatic but the emotional threads follow and the character motivations are clear and consistent; I'm enjoying it in spite of not loving melodramatic storylines in general. It helps that the acting in this one is excellent.

The Loyal Pin ep 10/16 (Thai, Sundays 12:15 PM EDT, YouTube) Glad we finally got confirmation of Patt's history! And I'm relieved Anin knows she has an ally, though I feel like it's given her false confidence that worries me. These two are stressing me out by how bad they are at being careful but I do love how desperate they are for each other, as well as how beautiful this show is.

Red Whisper ep 2/8 (Korea, Wednesdays and Sundays, YouTube) Starting with cheating is not my fave but is par for the course with these SukFilm short series; my fave so far has been their first GL so if you haven't seen that yet I'd honestly recommend that instead.

Recent One-offs

Out of Breath (re-release in a bingeable version; Korean, YouTube) Highly recommended! Also the creator, Soo not Sue, announced she's working on another series to hopefully air before the end of the year, which I am super stoked about.

The Suffering of Xiqing Mountain (Chinese (censored), YouTube)

Sastra film app YouTube channel has several short Cambodian GL series that come out weekly Honestly they are not to my taste but I don't like gatekeeping GL especially from smaller markets. I check in on these time to time and if there are any that I think are great I'll give them a shout-out

Ditto above with JPC media YouTube channel for Thai GL shorts if there are any that stand out to me I'll say so

Recently ended that I haven't had the wherewithal to write about:

Hoshikuzu Telepath (fansub) Thank you to @yuiyuihan for your hard work making it possible to watch this series! I I haven't read the original manga but I do know they changed the kiss communication to a forehead rest; Unsurprised that this adaptation, starring idols in the same group, would be left ambiguous in terms of whether their feelings are friendly or romantic. I liked what this series was trying to say, but in all honestly didn't love the execution. It's too bad because I absolutely love the concept of an alien being helped by girls obsessed with building rockets.

The Secret of Us 8 eps [complete] (24 Jun-15 Aug 2024, YouTube) I first included this in my recommendations from the summer and then retracted, but I ended up liking this series and then never updated again. So to set the record straight: Though it lost me in the middle, the ending on this series won be back over. I really appreciated the way this series handled filial piety and balancing that against personal happiness. I appreciated SO MUCH that the main characters decided together how to handle Lada's situation with her mother. I finally understood too late that Earn believed the lies Lada's mother told her in ep1, and that affected some of their decisions in the middle of the series. I still think the execution was wobbly, but the acting and chemistry between the two leads carries this series through. This has some of the best domestic fluff in any GL, as well as my favourite GL counter lift to date. And it's gorgeous. Tentatively recommended with the caveat that you do have to either enjoy or power through the melodrama in the middle.

Starting soon:

Apple My Love, Thai, 12 October, GagaOOLala

Pluto, Thai, 19 October, VIU

The Nipple Talk, Taiwanese, 1 November GagaOOLala

My Ex's Wedding [in theatres in Thailand 14 November]

Petrichor, Thai, 23 November, TBD

[wlwcatalogue]

Chinese GL Webseries & Shorts for the Wuxia-Uninclined

Have you ever wanted to venture into the world of Chinese GL webseries and short films, only to find yourself at a loss about where to begin, or intimidated by the unfamiliar tropes and terms of the wuxia genre?

Well, worry no more! Here's a selection of non-wuxia webseries and short films curated by yours truly. Now you too can enjoy the lavish costumes and location shoots of these Chinese productions, so rarely seen in F/F works outside of feature films and the occasional TV series~

By the way, these are all translated and subbed by the inimitable Douqi (@douqi7s), whose immense contribution to the English-language baihe fandom is surely in breach of anti-monopoly laws. Offer up your thanks at her Tumblr and Twitter!

At-a-glance list

Webseries:

Ye-Mu Season 2 (1 hr 20m total, 2023) - standalone

The Vampires (41m total, 2022)

Ye-Mu Season 1 (27m total, 2022) - standalone

The Lost World (1hr 5m total, 2023)

Short films - order corresponding to the pictures above:

A Tale of Yearning (5 mins, 2022)

"She Brought Colour Into My World" (2.5 mins, 2023)

"I'm Her Weapon" (3 mins, 2022)

Miss Shen and the Woman Warlord (6 mins, 2023)

Women's Script (5 mins, 2023)

The Caged Canary (5 mins, 2023)

The Beauty of the Law (6 mins, 2023)

Flowers Bloom; Flowers Wither (9 mins, 2022)

Commentary under the cut!

FYI, I've opted to link directly to the subtitled versions since they're probably more difficult to find than regular anime, TV series, movies etc. If a link is broken, please refer to Douqi's blog directly.

Important note for the uninitiated:

It’s a bit difficult to talk about canonicity in relation to live-action works made in the PRC, as things which would normally be used as evidence of canonicity all fall under the censorship regulations— explicit references to romantic relationships or queerness, declarations of love, kissing etc. are all off the table. So while these may not look canon in the most traditional sense, they are intended to be read as such and should certainly not be dismissed as queerbaiting or yuribait. Also, the creators can get very imaginative, so this is less of a problem than you may think – see the entries on Ye-Mu Season 2 and The Lost World in particular!

1. Ye-Mu Season 2 / 叶穆 2 (32 episodes / 1hr 20m total, 2023, dir. Zhang Zhiwei) - MyDramaList

(Note: Despite the name, Ye-Mu Season 2 is completely unrelated to the first season; the only thing the two share is the cast, crew, and focus on Penthouse-style melodrama.)

Determined to take revenge for her mother's death, Xu Baiqing (Sheng Wei) marries a wealthy and much older businessman in the hope of finding evidence to put him behind bars. But first she must assuage the suspicions of his cheerily hostile second daughter, moody youngest son, and estranged eldest daughter (Ye-Mu Zhixia, played by Wang Laoji), the latter of whom Xu Baiqing dated in university and who is currently seething at the sight of her former girlfriend marrying her father...

If you want to get a sense of the potential breadth of Chinese GL webseries, this is a pretty good place to start. It does a decent job of matching the tone and presentation of a melodrama you might catch on TV (and in fact looks higher-budget than some I can think of), while committing to something that can’t be done on TV yet— namely, featuring an F/F exes-to-stepmother storyline and delivering on the drama inherent in such a premise. Of particular note is how the framing and behaviour of Ye-Mu Zhixia is very much consistent with that of a male romantic lead; thanks to some clever writing, it’s basically impossible to deny the nature of her relationship with the main character. They don’t even lean on the plausible deniability afforded by the label of “friendship”— in fact, in an early scene she is incensed when the protagonist refers to her as “[her] only friend”. There are a few caveats – the main character ends up in a lot of scrapes that her ex-girlfriend has to save her from, the reveals are often rather unsurprising, and the story shifts more to a mystery focus around halfway – but it’s still worth checking out if a Korean-style melodrama with an F/F take on a romantic storyline sounds appealing.

 (CW: violence, murder, attempted sexual assault)

Note: See The Lost World (below), from the same creative team, for an even more impressive example of Chinese GL pushing the limits of censorship.

Links: MEGA / Internet Archive (compilation)

2. The Vampires / 吸血鬼鬼盲盒 (7 episodes / 41m total, 2022, dir. Zhang Zhiwei) - MyDramaList

(Note: Spoilers for the first 15 minutes or so, because otherwise the summary would be “They end up locked inside with the monsters on board”, which wouldn’t tell you much more than the title already does)

Every night, Tianyue (Ye Miao/夜喵) has been having dreams about the mysterious cruise ship docked at the pier. Convinced that there is treasure hidden inside, she and her exorcist-cultivator girlfriend Xiao Ling (Wei Miao/微渺) sneak on board only to find that they are trapped there until the sun comes up. Things don’t seem too bad at first: although they run into two vampires – the cute, cheeky Xingming (Yang Fuyu) and her elegant mistress Su Tanya (Sheng Wei) – they are able to call a truce, on the condition that the humans help search the ship for the latter’s beloved (Fu Cha, played by Wang Laoji). But when Fu Cha wakes up without her memories, it is clear that something is terribly wrong, and that the ship and its inhabitants harbour more secrets than expected.

For a webseries, The Vampires takes a while to get started— it’s a bit difficult to tell what kind of story or indeed what kind of tone it’s going for just based on the somewhat campy and comedic first section. But after that wobbly beginning, it manages to pull itself together to tell a compelling – and sometimes genuinely tense – tale about a motley band of humans and vampires, and the truths they have to face together. While the ending is no happily-ever-after, I found it satisfying and hopeful, and surprisingly affecting. Also, a bunch of the characters have real polyam energy, and this is reflected in the narrative beyond mere flirting!

(CW: abusive parents)

Links - MEGA / Internet Archive (compilation) / YouTube (compilation)

3. Ye-Mu Season 1 / 叶穆 (12 episodes / 27m total, 2022, dir. Zhang Zhiwei) - MyDramaList

(Note: Ye-Mu Seasons 1 and 2 are standalone stories; each season is entirely self-contained and the second season is not a continuation of the first.)

The head of the Ye-Mu family has died, leaving the next generation to squabble over the inheritance. It's a web of secrets, lies, and hidden resentments, as the characters dig out old grievances and fresh accusations in a desperate attempt to one-up each other. They're tangled up together to an almost incestuous degree, and indeed, the F/F subtext here is the ambiguous relationship between eldest daughter Ye-Mu Nanzhu (Sheng Wei) and second daughter Ye-Mu Nanmo (Wang Laoji) (rest assured that they are at least not biologically related).

Those who prefer darker stories and don't mind the pseudo-incest or other content warnings will find a melodrama which makes good use of its short runtime to deliver on twists, turns, and an explosive - if tragic - conclusion. That being said, the story is about the family drama in general, so do note that while the relationship between Nanzhu and Nanmo is narratively important, it is not fleshed out in great detail and certainly not the focus of the series.

(CW: suicide, ableist trope (spoiler – disabled character turns out to have been faking it), ableist language)

Links - MEGA / Internet Archive (compilation)

4. The Lost World / 夏夜知道风的甜 (1hr 5m total, 2023, dir. Zhang Zhiwei) - MyDramaList

(Note: Spoilers for the purpose of flagging triggering content, as it’s particularly easy to trip into for this show. Also, some vague spoilers for later episodes in order to highlight in order to highlight the themes etc.)

This webseries feels like two shows smushed into one: apart from the very beginning, the first half is a gritty, bullying-focused take on university life, while the second is a true-blue romantic comedy (aside from one blip – see the note below for details). But even if you’re wary of the bullying, I would still recommend watching the back half – which is basically standalone – as it’s a very funny and heartfelt story about two childhood friends finally getting their act together. Without further ado, here’s two blurbs!

From episode 1 onwards: After saving a classmate from the class bully, popular college student Xia Huaichu (Yang Fuyu) is subjected to a lengthy harassment campaign by the latter. She is suddenly faced with having to protect her reputation in the face of false allegations and fake nudes– despite the fact that all she wants to do is focus on reconciling with another classmate, a high school best friend whom she had previously lost touch with (Mu Qingfeng, played by Wang Laoji). From episode 14 onwards: Childhood friends Xia Huaichu (Yang Fuyu) and Mu Qingfeng (Wang Laoji) are caught in a weird gay purgatory where each has feelings for the other, and suspects that the other has feelings for them too. But both are exceedingly stubborn and want the other one to take the initiative in confessing, leading to ridiculous displays of I-don’t-care-isms and lots and lots of UST. (Does anybody use that term anymore??)

As you may have guessed, I’m not too keen on the first part of this show, nor the decidedly unnecessary attempted rape segment, though that’s partly on me for not checking the content warnings beforehand. And yet I’m very glad to have stuck with it, because the second half is not only hilarious, but also a masterclass in censorship-dodging that needs to be seen to be believed. Not just in terms of the suggestive scenes, of which there are many, either— the story is literally about two women starting a relationship and having to reckon with parental disapproval, homophobia, and other obstacles which platonic friends wouldn’t have to deal with. I honestly don’t know how this ever got approved, and can only applaud. Bravo.

Note: For those who want to avoid the triggering content, I’d recommend starting at episode 14, but make sure to skip episodes 19 and 20 as there is a foiled rape attempt.

(CW for entire series: bullying (incl. violence, fake nudes), sexual harassment, attempted sexual assault, fatphobic language, homophobia

CW for episodes 14-24: attempted sexual assault in episodes 19-20, homophobia)

Links - MEGA / Dropbox

SHORT FILMS

Quick note: Click on the English titles for the subtitled versions, and the Chinese titles (which are really just the video titles) for the originals. And yes, although the majority of these are shampoo commercials, they really do hold up as short films in their own right. Give them a try, you might be surprised!

A Tale of Yearning / 一见误终生，不见终生误 (5 mins, 2022, dir. Liu Yun Rui/流云蕊) – A bittersweet story about a literature-minded young woman (Sheng Wei) and a Chinese opera performer (Ai Ye) who bond over their love of fiction, only to be torn apart by harsh reality. Tragic ending, but I liked the more literary turn of the dialogue. Shampoo ad. (CW: homophobia)

“She Brought Colour Into My World” / “她走后，我的世界又失去了颜色” (2.5 mins, 2023, dir. Zou Hui Qu Le/走回去了) – A very restrained short film (actually, more like a music video) set during the late Qing era, wherein a sheltered young woman (Xiao Yu Za/小宇咂) falls for her female neighbour, recently returned from studying abroad (Sheng Wei). Lovely use of music and visuals to create a dreamlike atmosphere. Tragic ending. Not a shampoo ad.

“I’m Her Weapon” / 我是你手里的一把刀 (3 mins, 2022, dir. Liu Yun Rui/流云蕊) – A moody, interior piece about an assassin (Ai Ye) who yearns for some sign of affection from her handler (Sheng Wei), only to be left devastated by her new assignment. Surprisingly not a shampoo ad.

Miss Shen and the Woman Warlord / 我们是孤独行走的钟，但也要做敲响希望的钟 (6 mins, 2023, dir. Liu Yun Rui/流云蕊) – I’d like to describe this as being inspired by the story of Mai Jia’s novel The Message and the aesthetics of Kawashima Yoshiko (1990), but most Tumblr users would probably find those references deeply unhelpful. Basically, a female spy (Sheng Wei) disguises herself as a male soldier and infiltrates the mansion of a Republican warlord. There, she meets the warlord’s daughter (Ai Ye), who quickly realises that there is more to the promising young officer than meets the eye. Shampoo ad.

Women’s Script / 纵使“科考”无女子，无碍红袖书香，星辰有光 (5 mins, 2023, dir. Liu Yun Rui/流云蕊) – While sailing down a river, a girl (Zhi Chun He/至春禾) catches sight of a woman writing poetry on the riverbank (Sheng Wei), and is fascinated by both her beauty and her flaunting of the rules against women’s literacy. Shampoo ad. (CW: domestic violence)

The Caged Canary / 如果这是一场骗局，那我也只愿意输给你 (5 mins, 2023, dir. Liu Yun Rui/流云蕊) – The protagonist (Ai Ye) is sent by her parents to beguile a wealthy young man into marriage, but ends up developing feelings for his modern-woman sister (Sheng Wei) instead. Shampoo ad. (CW: attempted sexual assault)

Flowers Bloom; Flowers Wither / 她们一个被铁链禁锢，一个被男装束缚，直到救赎彼此 (9 mins, 2022, dir. Qian Li Min/千里明) – Takes the romance between a cross-dressing noblewoman (Du Ruo/杜若) and her supposedly-mad stepmother (Rou Lian Cheng/肉脸橙) to tell a story about the restrictions placed on women in historical times, and how resistance, even when futile, can still have meaning. Tragic ending, obviously. Not a shampoo ad. (CW: domestic violence, misogyny, accidental misgendering, gender dysphoria)

[isabelawritesthings]

Mortal Kombat 1 dialogues with Loki reader

characters included: Liu Kang, Raiden, Johnny Cage and Shang Tsung

notes: The dialogues will be with both the male and female versions of Loki, and since Loki is a canonically gender fluid bisexual character, there will be flirting in both forms.

a/n: Loki and women are my new obsession, maybe I'll do more dialogues with Marvel or even DC characters.

Liu Kang

MALE VERSION –

Liu Kang: You're causing a mess in the timelines!

Reader: What? Is it so wrong to travel through the multiverse?

-

Reader: Are you as powerful as He Who Remains?

Liu Kang: Who is this, Loki Laufeyson?

-

Reader: Do I remind you of a sorcerer?

Liu Kang: Unfortunately, yes.

-

Liu Kang: Make peace with Thor.

Reader: Why? Isn't it enough to live in his shadow all my life?!

-

FEMALE VERSION

Reader: You're quite handsome for a Fire God.

Liu Kang: Focus, Loki (Sylvie).

-

Liu Kang: You need to stop with the time travel!

Reader: Why? Are you afraid I'll break your perfect timeline?

-

Liu Kang: Shang Tsung is seduced by you.

Reader: Tell him I won't be a concubine!

-

Reader: Does Johnny Cage know there is a difference between flirting and sexual harassment?

Liu Kang: I'll talk to him later.

Raiden

MALE READER –

Raiden: Does your brother have lightning powers too?

Reader: Believe me, creating illusions is more impressive!

-

Raiden: Have you allied yourself with the sorcerers?

Reader: Come on, Raiden, you know I'm greedy.

-

Reader: Is your amulet your mjonir?

Raiden: What is a mjonir?

-

Reader: Come back to Fengjian, farmer boy!

Raiden: Not while you're out there causing chaos!

-

FEMALE READER –

Raiden: Is Shang Tsung jealous of me?

Reader: He thinks you're my boyfriend or something like that.

-

Raiden: How many gods are there in Asgard?

Reader: Our pantheon is as numerous as the stars in the sky.

-

Reader: What does Hela want with you?

Raiden: I don't know, but I hope it's nothing bad.

-

Reader: Very handsome for a shaolin

Raiden: This isn't going to... Wait, are you flirting with me?

Johnny Cage

MALE READER –

Johnny: Thor is more badass!

Reader: And why should I listen to the opinion of a mediocre actor like you?!

-

Johnny: That Sylvie has no right to be so hot!

Reader: You know she's technically me, right?

-

Reader: You're a womanizer, right? Have you ever tried something different?

Johnny: Look, I respect people with different tastes, but that's definitely not my case.

-

Reader: I also had problems with my father.

Johnny: This isn't going to make me sympathize with you, superhero movie villain!

-

FEMALE READER –

Johnny: Are you sure Hela is the goddess of death? Because you can kill with this look!

Reader: It's not too hard to see why your wife left you!

-

Johnny: I bet Asgard doesn't have gods as beautiful as me.

Reader: Please, have you seen my brother?

-

Reader: Who is this Madam Bo?

Johnny: You would have to go to Fengjian one day to know, do you like Chinese food?

-

Reader: I think Liu Kang is mad at me.

Johnny: Of course! You and your variants have wreaked havoc on the timelines!

-

Shang Tsung

MALE READER –

Shang Tsung: We could both benefit from an alliance.

Reader: HA! I am a God! I make no alliances with mortals who came from poverty!

-

Shang Tsung: *laughs* shall we start, God of lies?

Reader: As you wish, sorcerer...

-

Reader: I invaded Earth once, it will be easy to dominate Outworld!

Shang Tsung: Good luck facing Liu Kang and Mileena's forces!

-

Reader: You are as evil as I am.

Shang Tsung: Correct statement, Loki.

-

FEMALE READER –

Shang Tsung: Think, Loki (Sylvie)! You could-

Reader: Be your consort? May Odin protect me from this cruel fate!

-

Shang Tsung: Your body, so beautiful I could-

Reader: Ewww... Keep your perverted thoughts to yourself, sorcerer!

-

Reader: What did you see in me?

Shang Tsung: Power, beauty and cunning... Everything I admire in a woman.

-

Reader: You took advantage of Sindel's desperation to manipulate her!

Shang Tsung: *laughs* and the idiot fell right into my plan!

-

[transmascutena]

Bird Symbolism in Revolutionary Girl Utena

There is quite a large amount of bird and bird-related imagery, symbolism, allegories and metaphors in Revolutionary Girl Utena, and i think all of them are very interesting. Here is a ~2000 word essay about the topic.

The Birdcage Garden: Anthy and Ohtori Academy

This is perhaps the most obvious of the bird symbols in Utena. It is literally Anthy's cage. It is where she, as the Rose Bride, is supposed to spend her time watering the flowers. Touga talks about never letting her out of it once he wins her, and calls her a "lovely little bird." And doesn't that just sum up what so many people's idealized version of her is like? A pretty thing to be admired, only in captivity.

I think the birdcage can also be seen as a sort of microcosm of Ohtori Academy as a whole. Akio does call the school "a garden where people will never become adults," after all, and Anthy is not the only person trapped there, nor is she the only character associated with birds.

According to this analysis, "Ohtori" as a word can mean "big bird" in japanese, and is also a Japanese term for the Fenghuang bird in Chinese mythology, said to be "beautiful, immortal and rules over all birds." Sounds a lot like a certain someone in charge of this place, doesn't it? Which would make every person in Ohtori a bird, symbolically speaking, trapped in the cage that is the academy and ruled by Akio (who, despite being the biggest, and the one with the most control, is also a caged bird.)

Additionally, the statue on the gate to the dueling arena is in the shape of a bird, before it transforms into a rose when opened. I am not sure exactly what this means, but I assume it is in some way symbolic of Akio, Anthy and Ohtori.

The Bird and the Window: Shiori and Juri

The bird that flies into the window during Shiori and Juri's conversation in episode 17 is a Java Sparrow. Despite its name, it is a part of the Estrildid Finch family, but I think the symbolism for sparrows fits the context more, as they can represent love, devotion and compainionship, all of which are very relevant for Juri and Shiori.

The bird is also the symbolic item for Shiori's black rose duel, which means we should associate the bird mainly with her. What, exactly, is the window, then? I think it is symbolic of Shiori's feelings for Juri, Juri's feelings for Shiori, or most likely both. The bird hits the window directly after Juri says "Is that all you have to say to me?" and turns to leave. The bird hits something it could not see in its flight, just as Shiori hits against something that hurts her, even if she doesn't understand it, in her conversation with Juri. The bird is shown to be lying still, presumably dead, after Juri reveals that she was never in love with the boy Shiori "stole" from her.

The bird is shown again after Juri throws her locket in the lake, and before Shiori finds it in her dorm. I've heard it discussed that this implies the bird retrieved the locket (probably through Anthy-as-Mamiya), and if the bird is symbolic of Shiori and the locket is symbolic of Juri's feelings for her, it would mean Shiori is the one to bring them back after Juri tries to rid herself of them. This makes sense.

The Bird Nest: Kozue and Miki

The bird nest that Kozue rescues from the tree that is going to be cut down is symbolic of her and Miki. Or, at least they are symbolic of how Kozue views the two of them. The comparison is pretty straightforward; Kozue projects her and Miki's feelings of abandonment onto these baby chicks, who have been left behind by their parents, just like the two of them were when their parents divorced. I think she projects her protectiveness over her brother moreso than her own feelings about the whole thing, as Kozue likes to think of herself as very independent ("a wild animal") and very unaffected by it all. As seen by her attempt to save the birds in the first place, she is very willing to put herself at risk, and is less concerned with her own feelings/safety.

Now, I don't want to get too much into speculation, but I have to wonder if there was more going on in the Kaoru family than just the divorce and the too-high expectations for the "twin prodigies." Miki's uncharacteristic cynicism in saying "adults who tell you something is for your own good can never be trusted," as well as Kozue's total disregard for authority and her tendency to use her sexuality as a tool both concern me. Although Miki and Kozue's parents are not explicitly shown to be abusive, I do not think it is a stretch to say that there is a possibility that they were. It explains some of Kozue's behaviour in regards to Miki as well. It's not just posesiveness but protectiveness. She has needed to protect him before, and she feels she needs to protect him still (pushing the predatory teacher down the stairs, saving the birds she sees his innocence in.)

Interestingly enough, Anthy interacts with these chicks as well. She advices Miki on how to feed and take care of them. Utena even comments on how unusually straight forward she's being about the whole thing. This might just be another instance of characterizing Anthy as a person who is fond of animals, and that is certainly part of it, but i think there is more to it as well. If these baby birds are symbolic of (Miki and Kozue's, but also a general) feeling of abandonment by parents/adults, as well as their potential abuse, what does that mean for Anthy not only knowing how to take care of them, but being eager to talk about it? Could it perhaps be that she, like Kozue, sees herself in them? Like Kozue, Anthy herself is symbolically a bird, but a caged one in contrast to Kozue's claims of being a wild animal. Could it be that Anthy has had to become an expert in taking care of those (herself) that have been abandoned or failed or abused by the adults in their lives? Rememeber that this is the same episode where she says that Akio is more like a father to her than a brother. A parallel is indirectly being drawn between him and the Kaoru parents.

If Miki and Kozue's parents were abusive, this might be a rare moment of Anthy empathising with other victims, telling them through metaphor how to take care of themselves. Although, it doesn't keep her from continuing to manipulate them, as she goes on to say her line about returning the chicks to their mother, which is what sets Kozue off. Anthy also says that she's never actually raised chicks before. Maybe she's not very good at taking care of them (herself) after all.

There's also what looks like two caged parakeets in Miki's flashback of their childhood. I assume this has similar meaning to Anthy's birdcage, as a feeling of being trapped, in this case by their parents' expectations for them. Kozue used to be a caged bird, but now claims to be a wild one, despite still being inside the birdcage that is Ohtori.

Brood Parasitism: Nanami and Touga (and Utena)

The Kaoru's are not the only sibling pair in Utena to be compared to birds. In Episode 31, Her Tragedy, a pretty unique shadow play is put on in the Chairman's Tower about a cuckoo leaving its egg in another bird's nest, a phenomenon known as brood parasitism. It also references the fairy tale The Ugly Duckling by Hans Christian Andersen. Perhaps the most interesting part of this play is that it's done in the style of the ones in the black rose arc, with C-Ko playing all the roles, the return of the monkey-catching robot, and Utena's fourth-wall breaking commentary at the end. I won't get into what this means, as it doesn't have anything to do with the bird metaphor, but maybe in another post.

This shadow play is about how Nanami and Touga were adopted, and specifically about Nanami's feelings on the matter. Of course adopted children are not parasites, but it makes sense for Nanami to think along those lines, considering her fear of being compared to animals or aliens, and of being ostracized by the society she lives in. Nanami doesn't actually know that she is adopted, only that Touga is, which muddies that interpretation a little. Perhaps it is about Nanami blaming Touga's birth parents for "leaving him in another nest"? Something about her resentment of Touga at this point in time, thinking of him as a parasite in their family? Or simply her fear of what not being his blood-relative means.

I'm more confident about the Ugly Duckling reference, and it being symbolic of Nanami's worry of not fitting in among her peers. Nanami mainly copes with this by thinking that the reason she doesn't fit in, is because she is actually better than everybody else, because she's related to Touga (being a beautiful swan among the common ducks.) The play ends with the cuckoo insisting that it will become a swan one day, when really it can't. It will never be a duck that fits in, either. It will always just be what it is, a parasite (a space-alien. A girl who lays eggs.) This reflects Nanami's despair at the idea that she's "just another fly in the swarm" after her duel in the next episode.

And like all the shadow plays this one can be interpreted as being about Utena as well. She is an orphan who is now being raised in Akio and Anthy's "nest". Although she wasn't placed there by anyone but Akio himself, so it's more about her insecurities about feeling like an outsider in their family. And like the Ugly Duckling/cuckoo, she is also out of place among the rest of the students, and dreams of growing up to be something she can't actually become, in this case a prince. (credits to this analysis on the shadow plays for helping me piece together my thoughts on that. Always cite your sources!)

Cuckoos can also be symbolic of one-sided love, and is the origin of the word cuckoldry. Make of that what you will.

I should mention that Nanami also lays an egg of her own a few episodes prior. ...Or does she?

Her nightmare sequences show her fears of being compared to a chicken, a turtle, a frog, and of course, a space alien, but it is quite obviously a bird egg. And since we are later shown that Anthy has a chicken named Nanami, much like the cow with the same name, it can be assumed that the egg comes from there, and that Anthy brought it to Nanami's bed, perhaps via Chu-Chu. Could this relate to the brood parasitism of the cuckoo in some way? Is this not one bird (Anthy) laying its egg in another bird's (Nanami's) nest (bed) and getting them to raise it? is this what Anthy means when she tells Miki she has never personally raised chicks? Are all of these metaphors connected??? There's also the fan-theory that Nanami's egg hatched a reincarnated Chu-Chu, and in that case would he be the baby cuckoo while Anthy is the mother and Nanami is the duck? I'll be honest I'm not really sure what to make of it at this point. Draw whatever conclusion you want!

Last and probably least interesting is the third of Nanami associated bird imagery: the crow in episode 10. Crows can be symbolic of death, and it feels safe to say that this one is just here to set the mood of the scene, and as visual confirmation that the kitten did indeed die. Not too much to say there.

The Chicken and the Egg: The Student Council

I'd be remiss if i didn't mention the student council's chicken and egg speech in this post as well, even if it has been analyzed to hell and back by hundreds of people before me. It is a reference to Hermann Hesse's book Demian. It is about breaking out of childhood and into adulthood. It is about escaping Ohtori, which is both the egg and the cage (and interestingly enough, during the speech birds can be seen flying by outside the cage of the elevator.) In Nanami's version of the egg speech she mentions "the cage of freedom" and how it cares for the chick. This something that ideally should be true for schools. A place that limits children, but in a way that prepares them for the adult world. Of course, Ohtori as a system has no interest in this, as it is a cage in its most literal sense: a place to keep people trapped. Trapped in their harmful behaviours, in their lack of growth, in their idealized memories of the past, and most of all, in childhood.

And with that, we have come full circle back to Anthy's birdcage as a symbol for all of Ohtori. Thanks for reading :)

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: 山河令/Word of Honor.

Word of Honor is a 2021 adaptation of a novel by priest that tells the story of two beautiful murderers, their three kids, and their collective attempts to ignore the fetchquest madness that has taken over the rest of the jianghu.

Look, you know what Word of Honor is. Doing a rec for this is like doing my rec for Nirvana in Fire -- I am not introducing you to a new concept. Even if you haven't watched it, you've probably osmosed enough through the rest of Tumblr to have an opinion on it. At this point, if you haven't seen Word of Honor, I'm assuming it's for one of two reasons: either you haven't gotten around to it yet, or you haven't been sufficiently moved by what you've seen fandom do with it.

So I'm going to give you five reasons to watch the show, and they're probably not going to be the reasons you've seen already. Not to say that the other reasons are bad, but you've heard them already, right? What I've got for you are five somewhat more unexpected reasons that may just convince the fence-sitters that this nut-flavored morass of toxic relationships is worth your time.

1. No matter how gay you think it is, it's gayer

Okay, sure, you've probably been given the impression that this show is real gay. But I don't know if you know how gay it is. This show is so gay that we still haven't seen many of the other BL-flavored shows filmed around the same time period or since, because Chinese censorship gay-panicked and locked them all away before they could air, because Word of Honor was just too gay.

Zhou Zishu and Wen Kexing (L-R above) are in love. The story does not make sense if they're not. There is no story if they're not. Everything else in the show is set dressing to this incredible adventure story of two horrible people who fall for one another.

Oh yeah, did I mention that they're both bad guys? One's a fascist toddler-murderer and the other's a cannibal mob boss. These two deserve one another, in every possible sense of that phrase. In any other property, they'd be the villains -- and even here, they're still kind of the villains! It's just that the heroes are worse.

What's more, their two actors absolutely understood the assignment. They got the memo. They read the book. No one ever had to sit them down midway through shooting and explain their dynamic. They had it from the table read. When given creative freedom, they chose to double down and make the gay shit even gayer.

But the actors weren't the only ones who knew what they were doing! Everybody working on the production was pretty much in full-on Let's Make A BL mode. There are no gay accidents here. It's so gay that it's actually gayer than the version that aired. If you can do a little lip-reading (though beware of spoilers in those links), you can get at the original filmed version, which had a number of lines that were too homo and/or sexual for Chinese television.

No, they don't kiss. They don't have to. This is the TV version of the tweet about, what's gayer, gay sex or whatever these two have going on? The answer is, whatever these two have going on.

It's so gay that they're not the only gays. No, I'm not going to tell you who the other gays are, in part because spoilers. But trust me, they're there. Lesbians too! And a bisexual elderly polycule! And one pair of hets that we love love love, and most other heterosexuals are creepy and gross. And if that's not an accurate representation of how the world looks to queer people, I don't know what to tell you.

2. Go nuts!

You are not prepared for the product placement.

Word of Honor started off having a budget, so they went ahead and started spending that budget in the way you do when you're making a TV show. Unfortunately, circumstances changed, and their budget became much less, which meant they couldn't keep making that TV show unless they got more dollars. But where to get a sponsor for a fairly low-profile wuxia BL property?

Enter our hero: Wolong Nuts.

I have seen actors do bumper ads in costume for products from their various sponsors, and I have seen actors do bumper ads in character for the same. But the feeling of seeing a modern product diegetically hawked mid-scene by ancient fantasy characters is like none other.

Something like 40% of Word of Honor's total budget came from this nut sponsorship. And here the thing: It worked! It sold nuts! Hell, I’d buy them if they were sold anywhere near me; I like nuts in general, and nuts that support the queers in particular.

I'm including this as a selling point because, come on, it's funny as hell. But it's also a good place to warn you that Word of Honor has what we're politely going to call a spotty use of its funds. Some things, like everyone's outfits and the score, are lavish and beautiful. Other things, like some of the sets and a lot of the CG, are janky and sad. Crowd scenes are thirty humans and a bunch of Blender assets. I've never seen so many fake plastic trees together in one place before. There's a lot of visible hairnets. Like, a lot.

The show was originally planned as being 45 episodes long. It wound up being 36 + a tiny epilogue. That's a huge cut! I’ll say to its credit that you mostly can’t feel the seams; the production team did a heroic job killing their darlings (in many senses) while keeping the narrative coherent. If you know about the original vision, though, you can identify pretty quickly where the excised material should have been. Don’t be surprised when the last two episodes in particular smack you like a hit-and-run.

They blew a truly unwise amount of the budget on costumes in general, and Wen Kexing's costumes in particular, and thank goodness. (@canary3d-obsessed has done a noble job of cataloging everyone's wardrobes, and some of the details are just stunning.) See that red outfit he's wearing there, with the elaborate, delicate embroidery? That apparently took two people literal months to hand-sew. It's a terrible use of limited funds, and I am living for it. Even when Wen Kexing looks awful, he looks stunning -- especially when you put him side by side with Zhou Zishu, who is wearing the jianghu equivalent of slutty yoga pants and a thrift-store dollar-bin t-shirt that says IT'S WINE O'CLOCK SOMEWHERE.

So if, while you’re watching, you’re ever disappointed by the quality of the production in front of you, just console yourself by thinking: That’s nut money, baby.

3. The ghosts (and everyone else) doing the mosts

This is a show that somehow managed to accumulate a tremendous supporting cast of actual grown-ass adults, then had the wisdom to make them play a wide variety of balls-to-the-wall bonkers roles.

You can't throw a rock in a crowd scene without hitting a dozen actors with resumes as long as their arms, who have been acting since before you were born. Apparently they poached a couple veteran film and stage actors from other contemporaneous productions and had them come over to film bit parts on their days off. If you see a character played by an older actor who's getting more lines and face time than you think their character strictly deserves relative to their importance to the plot, and you're like, hm, I wonder if this older actor has a career that includes roles in several dozen other shows and/or stage productions, the answer is yes.

I've seen the tone of the show described as melodramatic, but I don't think that's quite it -- it's more operatic. People speak to the middle distance and play to the back row. Several actors have the body language and line delivery that makes it seem like they're always about three words away from breaking into song. Several of my favorites are downright camp. It's magnificent.

Statistically, everyone in this show is a bad guy. There are the respectable people who don't mean to be bad guys, but wind up being bad guys anyway because they support bullshit systems. There are the morally grey folk who are willing to become bad guys because they think they'll be the good guys when all is said and done. And there are the bad guys who know they're bad guys and are going to chew every piece of scenery in the vicinity about it, so watch out.

My favorite collection of scene-stealing weirdos is probably the clutch of freaks that make up the ghosts of Ghost Valley. They're not actual ghosts -- this is not a supernatural show. They are instead living people who call themselves ghosts because they've found themselves on the margins of society for one reason or another, and have created their own little society! With hookers! And blackjack! And also a little murder, as a treat!

These ghosts are so extra that they actually have a Top Ten List, where all the ones that have code names and specific costumes hang out. How do you get on the Top Ten List? By killing one or more of the people already on it, of course! I told you these guys are villains! They're not even the only villains! They're not even the only villain organization! It's wall-to-wall bad guys around here! And oh my goodness, the actors are clearly having a ball with it.

When the screenwriter came to adapt Faraway Wanderers (the novel) into Word of Honor, she realized that there weren't a whole lot of ladies in the book -- so she invented/adapted some for the show and made most of them sinister! (In fact, if you watch Legend of Fei -- and you should watch Legend of Fei -- you can see a lot of the inspiration for said ladies.) Some of the female characters in the show were men in the book, while others weren't even in the book at all. They all feel organic, though, and not like someone was trying to get Strong Female Character Points. It's the good representation you get when there's a lot of representation, so nobody has to be The Girl, and all the girls can just be people.

...Alas that another casualty of the budget cuts is that several of the lady characters did not get to live up to their full ass-kicking potential. But that potential is still there! The badassery may be implicit instead of explicit, but you don't doubt that many of these women would eat your heart at the slightest provocation, and you would thank them while they were doing it.

This show is perfect food if you're the kind of viewer liable to get sucked up into the worlds of villains, NPCs, bit parts, optional side characters, and other narratives going on outside the main storyline. Because there's a lot going on outside the main storyline. I mean, that's kind of the running joke of the whole novel, that there's this whole complicated political plot happening, and yet our dudes are over here studiously trying to not know what the hell is going on. Obviously that's harder to preserve in a show, but it's still a key feature of the narrative. Most of the Big Power Play What-Not is always happening a few towns over from where the main party is at any given moment. I know people who've watched the drama several times and still can't explain whatever's happening with all that. That's fine. You roll with it for the sake of everything else.

So! Do you like gazing upon delightful character actors and having imagination adventures about the unexplored workings of a bunch of tantalizingly mysterious and often very sexy weirdos? Great! This will keep you busy for a good long while.

4. The juciest pining in the jianghu

I said I wasn't going to tell you about all the gay shit going on here, and I'm not. What I do want to cover, however, is how much gay shit isn't going on here -- and by that I mean just how much of the show's gay longing is unrequited. If you like it when the boy yearns for the other boy, friend, you will feast well tonight.

You have likely already, through fandom, been alerted to the existence of the biggest gremlin in the land and an understandable number of people's favorite character, immortal grandpa Ye Baiyi. What may not have been conveyed, however, is just how tragically gay this bitch is. The ultra-condensed, scrubbed-for-spoilers version of his backstory is that he was in love with a guy who got injured because of him, so he decided to stay and live on a mountain with that guy and the guy's wife and coparent their son with them, all the while never once telling the guy how he felt.

This is not me with slash goggles on. This is canon. Well, okay, the "in love with" part is only confirmed in the book, but Huang Youming, Ye Baiyi's equally gremlin-like actor, has also clearly done the reading and understands how to break your heart with it. Ugh, it's so good.

Shidifuckers, rejoice! Zhou Zishu has Han Ying, his devoted little dumpling who would -- and does -- do anything for him. Back in Zhou Zishu's regrettable (but very fashionable) fascist days, he had a bunch of little underlings; one of them was Han Ying, who still works for the same evil empire. Problem is, Han Ying isn't evil. He was never loyal to his job; he was always just loyal to Zhou Zishu. It's cute the way Wen Kexing hisses like a cat upon meeting Han Ying and immediately identifying him as a rival for Zhou Zishu's affections. If you like OTPs that occasionally roll in a service-top third, please consider that adorable muffin boy up there.

And speaking of quitting your job, have you ever had the problem where you had to orchestrate your own death to get away from your toxic boss who won't stop sexually harassing you, and that motherfucker still expects you to show up for your shift next weekend? Meet Prince Jin, who has refused to accept Zhou Zishu's resignation letter with extreme prejudice.

Zhou Zishu isn't even the only ex he's mad he drove off! But that's just a namedrop in the show; see my bonus selling point for instructions on how to get into that whole gay-ass story. [insert obligatory "Prince Jin is not Helian Yi" disclaimer here]

...Nope, uh-uh, we're not going to get into what's going on with Scorpy. Suffice it to say, this is one of those cases where the show can't outright call a thing gay (though uhhhh it sure can imply a lot of it!), but it can set up an unspoken Gay Bad Idea as a direct, textual parallel with a canon Straight Bad Idea and be like, see? see? Anyway, daddy's boy there has deliciously terrible taste. This is the one that'll have you screaming crying throwing up etc.

And then there's this handsome jackass, who isn't doing the pining, but is the unfortunately heterosexual object of the often confused and misdirected longings of his friends. About the first thing you know about Rong Xuan is that he died before the series begins, so you only see him in a few flashbacks. The precious few times you do, though, you're treated to scenes of him holding court among his besties (many of whom are the spectacularly cast younger versions of major older male characters) while they all wrestle with varying degrees of homo longing for his cocky dreamboat self. You ever wanted to fuck a straight guy so bad you got both him and his wife killed about it? Because somebody in this drama sure has!

I sense you think I'm making this all up, that I'm just a fujoshi looking at the world through rainbow-colored glasses and telling you about her favorite slash pairings. Friend, I am not. Okay, I am being a little cheeky about the last one, but I swear that everything else I have listed in this selling point is about as textual as the show could make it, if not outright straight (ha ha) from the books.

(I have a whole separate theory about how priest herself is a real-life queer, based on how basically everyone in her works is either queer-coded or a token straight who's on thin ice, but that's a subject for a completely different Tumblr post no one's ever going to read, so save us both the time and imagine I already wrote it.)

I cannot stress to you enough how much this show knew what it was doing with the queer stuff. I love how amazingly toxic so much of it is, too, because one of the big themes of the show is that secrets will destroy you and everyone you love. If you have gay longing in a society that forces you to hide that gay longing, yeah, you're going to be extra-vulnerable to making some shitty decisions because of it! You're either going to suffocate yourself by keeping silent, or you're going to open yourself to intimate partner abuse you can't reveal to anyone else, or you're going to do some murders about it! Or some combination of the three! Either way, it's not good!

Also, tell your partner about your chronic health conditions, whether they be Can't Remember My Past, Would Eat A Guy If I Had The Opportunity, Stuck Some Nails In My Chest And Am Now Dying And Also Can't Get A Boner, or Whoops Took The Nails Out Of My Chest And Still Can't Get A Boner. Oh, and tell your partner if you're about to run off and go confront your dangerous ex. And absolutely tell your partner if you're about to fake your own death. Just ... learn to have conversations with the people who love you, okay? Avoid huge amounts of narrative suffering with this one weird trick!

5. Putting his whole Zhang Zhehussy into it

See, Gong Jun (playing Wen Kexing) is not what I'd call a great actor. This is more of a case where you take a guy, you cast him as a character whose motivation can be summed up as "I want to fuck that man in half," and then you cast opposite him a man that the guy in question clearly actually wants to fuck in half. And you let the magic work.

Zhang Zhehan (playing Zhou Zishu), however, legitimately knocks it entirely out of the park. Whenever the camera's on him, it's hard to take your eyes off him. He holds his own in a sea of veteran actors. He can do comedy and tragedy with equal panache. It's lucky he's such a beautiful crier, because Zhou Zishu cries so much. I have never seen someone more perfectly portray the mood of "in love and absolutely furious about it."

As the story goes, when he auditioned, he actually wanted to play Wen Kexing -- but the director told him, look, while you'd be great at that, I can find another Wen Kexing, but I'm never going to find another Zhou Zishu.

Zhou Zishu is bad man who has done terrible things and resigned himself to suffering to atone for his crimes, and he is so mad to find himself at the end of his life suddenly having a reason to keep living. Zhang Zhehan does a pitch-perfect tsundere right up to the point where he breaks. I'm not going to call it an understated performance, because nothing in this show is understated, but it is often times subtle and always complex, and fuck does he have a good crazy grin.

One of the first things you find out about Zhou Zishu is that he's got just a couple years left to live, over which time all his senses are going to deteriorate. In fact, they've already started going. And as the show goes on, you can watch Zhang Zhehan play it so you can tell when he's missed something he should otherwise have picked up on, reacting to noises and touches a split-second late. It's a testament to what a thoughtful job Zhang Zhehan's doing, keeping track of how much of Zhou Zishu has already slipped away.

There are, if you've read the book, legitimate complaints to be made about the adaptation's interpretation of Zhou Zishu's character, and I get that. But you can't say that Zhang Zhehan isn't pulling off exactly what he means to here. I say this too as someone who loves the novel: I think it works. Given the constraints of Chinese television in particular and cinematic adaptations in general, the show made the right choices when it came to figuring out what were the more filmable, actable options, and Zhang Zhehan plays every one of those choices within an inch of his life.

Also did I mention he's like the most beautiful man to ever exist? Holy crap. You're going to be so mad about what they do to his face for the first several episodes.

Don't worry, it washes off eventually.

caveat: Kind of a bummer!

You may have been warned that this one's got a sad ending. Well ... yes and no. On the "no" side of things, there's a "secret" mini-episode 37 that rolls back one of the major points of tragedy. (It's also clearly the first version that got shot, and then they shuffled around and redubbed some material to make the aired end of episode 36.)

But oh man, not all of them. Plenty of characters we love do not make it to the end. Like ... kind of a shockingly large number. Some are dispatched offscreen, some have tragic onscreen deaths, some are probably dead given the circumstances we last see them in, and a couple aren't dead yet but are almost certainly going to be soon.

(It's also kind of a meta-bummer! I mean, I don't recommend falling down the rabbit hole of what happened with Zhang Zhehan's career after the show aired, but tl;dr, it's not great.)

So yeah, it's not an outright pain simulator, and if you've got the mettle for Nirvana in Fire or Guardian, you should be okay here. But hoo boy, don't just blunder on in expecting a cheerful romp from start to finish, because ... yeah. I said it before: This is a story about a bunch of bad guys. Bad guys don't live long lives, nor do the good people who get tangled up in their shit. Just be prepared!

bonus selling point: black and white husbands

Okay, I will tell you who one of the other pairs of gays is. You'll see the two of them show up near the tail end of the show, and then you'll decide you want to know more about what their whole deal is, and then you'll read Qi Ye, which is a novel entirely about gay pining, and then it'll be all over for you.

Ready to wander this way?

There's a number of ways to watch this one! Viki, Netflix, YouTube, and Amazon Prime all have you covered -- but Viki's the only one that has the epilogue at the ready, so I'd go there if you can.

And I get it, if you're enough of an aging hipster that you don't want to play in the same sandbox everybody else is playing in. Believe me, I understand that impulse on a visceral level. After all, this is not a small fandom -- 7718 works on AO3 (at time of writing) isn't Untamed levels of content, but it's nothing to sneeze at. Maybe you want to leave this one for a little while longer, until the hubbub dies down a bit more and people's attention is redirected by a different gay and shiny thing. That's valid. I get it.

But if you do, I still encourage you to get around to it someday. For all its flaws -- and yeah, it's got flaws -- it's a good, solid story that makes you feel lots of feelings about some fascinating characters in some beautiful costumes, running around being real queer (and okay, occasionally straight) to beautiful music. This, to me, is television.

Fun fact! There is also a Japanese dub, if you feel like taking it at that speed, and the guy who voices Zhou Zishu is the voice of Kaworu from Evangelion, and the guy who voices Wen Kexing is the voice of Victor Nikiforov from Yuri on Ice. See what I mean???

I'm telling you, everybody ships it.

[rhysdarbinizedarby]

How ‘Our Flag Means Death’ Became the Funniest Show on TV

Creator and showrunner David Jenkins breaks down the new season of TV’s most adorable star-crossed pirates.

Our Flag Means Death debuted in March 2022 to respectable viewership numbers that grew. And grew. And grew some more. With each week of its 10-episode run, viewership increased, eventually tripling its original audience. The little gay pirate workplace and romantic comedy-cum-historical fantasy that could is back for a second season on Max, and fans will be glad to know that piracy power couple Stede Bonnet (Rhys Darby) and Ed Teach, aka Blackbeard (Academy Award winner Taika Waititi) won’t be parted for long.

The first season of Our Flag Means Death introduced viewers to fictional versions of the real historical figures Stede Bonnet (aka The Gentleman Pirate) and Blackbeard, as well as their respective crews. The two captains instantly forged an unlikely connection. Stede, who decided to exorcize his midlife crisis by abandoning his family and taking to the seas, despite being at best a piracy novice, hero-worships Blackbeard and is thrilled to make his acquaintance. The fearsome Blackbeard, who among friends goes by his real first name, Ed, is taken with Stede’s commitment to enjoying the finer and frillier things in life, marveling at his new friend’s on-ship library and massive, beautiful wardrobe.

While the two captains are an odd couple, each of their crews regards the other as an entirely different species. Aboard the Revenge, Stede reads bedtime stories to his crew and encourages them to use their words when conflicts emerge, while on Blackbeard’s ship, Ed’s first mate Izzy Hands (a deliciously scowling, jealous Con O’Neill) rants that his captain is now a shell of the terrifying legend he used to be. Over time, Blackbeard’s crew begin to appreciate the healthier work-life culture on the Revenge, where there’s room for romantic and collegial dyads to form and pair off.

Of course, the path of true love never runs smooth even for a couple as invested in each other as Stede and Ed. At the end of the first season, the crews are split between ships and land, and Ed believes Stede has permanently abandoned their relationship for his original family, causing a heartbroken Ed to revert to his fearsome Kraken persona. As the second season opens, Stede is frantically trying to get back to Ed and explain that he’s all in on their relationship. Ed’s behavior has been swinging erratically from depressed to murderous, even toward Izzy, and when the two captains and crews meet again, there’s an extra twist: Stede and company have been co-opted by the far more capable and successful Chinese Pirate Queen, Zheng Yi Sao (Ruibo Qian).

On the eve of the second season’s three-episode premiere, creator and showrunner David Jenkins reflected on the series’ approach to workplace dynamics, male friendships and romance, and the character arcs he’s most excited for fans to see.

The first three episodes of the season premiere feature a bunch of breakups and reshuffling of romantic and work relationships—not just Stede and Ed. Were you chasing anything in particular, narratively, by splitting up so many dyads?

Definitely. To watch the effects of Stede and Blackbeard’s relationship reverberate through everybody's lives is so interesting. Their separation doesn’t just happen to the two of them, it’s happening to all of them, because they’re a family. Just as the breakup reverberated throughout both crews, getting back together is going to do the same thing.

That makes sense.

The goal was just being true to the character beats and finding ways to make them ring true. Oluwande (Samson Kayo) and Jim (Vico Ortiz, they/them) are friends who got romantic. It rang true to me that they’d watch each others’ lives move forward, and then come back together to find that they still care about each other, and each of them is also happy for the other person. I've seen that happen in real life a bunch of times, but I don't see that dramatized a lot. I think there should be a lot of different flavors of relationships in this show. And there's so many different pairings that you get a lot of chances to be like, “Oh, how are these two different from Stede and Ed?”

How does that relate to your interest in exploring tenderness and vulnerability in male characters? In previous interviews, you’ve referred to Our Flag Means Death as examining the burlesque of masculinity. What does it bring to your work to be exploring it over the course of many hours of storytelling?

That’s an area where Taika’s and my interests overlap a lot. There’s something so understated about his sensibility—I think some of it derives from his New Zealand accent, actually—that suits asking questions about masculinity. And it's fun to look at pirate stories, to play against that genre’s whitewashed, heteronormative conventions. Growing up as a guy, you get a lot of pressure to be just one type of a guy, the guy who refuses to feel things. Men are in terrible trouble in that way. We’re getting better about talking about feelings, but there’s so much more to cover—body dysmorphia, vulnerability, not just talking about feelings, but understanding them and having this whole range of emotions—those are always the things I want to watch.

Do you have favorites among on-screen stories that make room for a broader emotional palette?

Heat and Midnight Run are two really lovely Robert De Niro movies where characters have these very big emotional lives. It’s a similar thing with Robert Redford and Paul Newman in Butch Cassidy and the Sundance Kid. I like extending that. We can push it further, because there's so many different ways to be a man! Not everything has to be a shoot ’em up action thing where people don’t have feelings. A lot of men feel like they need permission to just be their weird selves, to be funny, to dress differently. Try some different things! Maybe wear a color! Put some product in your hair! Don't worry about it, it's gonna be fine. You're gonna be fine.

Our Flag Means Death is not a casual show. It’s very funny and playful! But there is not one single frame of the show that plays it cool. As an artist, what’s the significance of qualities like sincerity and earnestness?

I hate coolness, it’s so ungenerous. And I like that you said that it’s not casual. I’m not a casual guy. This is a deeply uncool show. There’s something so special about seeing comedic actors like Rhys or Taika, who are so used to coming into a scene, being incredibly funny and destroying, and then leaving, having to use their earnestness, and not using their weapon of immediately diffusing it by going for a laugh. When I see that, it makes my heart leap. There’s something particularly special about seeing a comedic actor do it.

It’s really fun to watch comedic actors dispel the notion that dramatic acting is 180 degrees away from comedic acting.

Characters that call for that type of performance are a lot of what I love about Robert Altman, Christopher Guest, and Harold Ashby movies. They’re comedies, but those characters really grow and they experience pain, and the pain they feel is real. And then the funny shit that they do is even funnier because of it. Those are the things that bring me the most joy.

Tell me about Zheng Yi Sao, the Pirate Queen. She’s such a good foil for Ed and Stede—her ambition, competence, and leadership style are all so distinct from theirs.

Zheng Yi Sao is the most competent pirate captain on our show, and was the most successful pirate captain in history. She lived about 100 years apart from these fellas, and she was so successful that China had to cut her in and do a treaty with her so she would move on to some other field. She wound up making another fortune in gambling!

One thing that jumped out at me in these first three episodes of the season is how much therapy-literate dialogue is used—where did that come from?

I just think it's funny. The thing about a workplace is that they all see everything that’s going on with others, because they're all on top of each other all the time. I don't want to go l too far with it, but it’s fun that some of these characters can see that one of their friends is in a weird relationship with his boss, and then say “hey, you might want to look at that.”

Where do you think that comes from for the characters themselves?

There’s a level of care on that ship that Stede almost infected them with in the first season, and now those ideas are more alive because of how Stede built the Revenge’s culture. You can see that that spirit is still kind of alive when Jim tells the story of the wooden boy to Bang to calm him down. That’s a little bit of Stede’s kindness being alive in the world still, and of Jim needing and being able to call on it now that everything’s so dark. For them to go from an “every person for themselves” ethos to thinking “there was a time when life meant something on this ship, it doesn’t have to be this way” is interesting growth for the character, and is true to Vico as a person. There's a real kindness to how they carry themselves—they’re one of those people that just makes everybody feel safe. It’s nice to see some of those character traits bleed through to Jim.

Without getting too spoilery, what’s coming up over the rest of this season that you can’t wait for viewers to see?

I’m really excited for Izzy’s journey. Con O’Neill did such beautiful work, and getting to see where that character goes and how he grows, I think is one of the most exciting things of the season. To see where Ed and Stede’s relationship goes is gratifying—to see how they navigate each other and find, hopefully, a more mature way of being together.

Jim's relationships with Archie (Madeleine Sami) and Olu develop, too, and more broadly, the crew coming together as a new kind of family, now that Mom and Dad are getting back together. I also like that Lucius (Nathan Foad) is back, and has an angry young man thing going on that he has to process. For Lucius to go through something really harrowing and have to grow up with it is so interesting, because he had all the answers in the first season.

We can’t not talk about the mermaid sequence at the end of the second episode. How did that come about?

We really have to pick our shots on the show, so that was very storyboarded out. I knew I wanted Kate Bush’s “This Woman’s Work” for the scene, so that was incorporated in it. Unfortunately, Rhys had had a really bad near-drowning experience shooting in a tank before, but I didn’t know that until we were working on the stunts! But when Rhys saw the gorgeous tail, and it looked so cool and beautiful, he decided to go for it. He knew the scene was going to look awesome. So he navigated that costume, which is basically a big flipper that he needed to move his entire core to make it work, and Taika’s there with all this glue to keep his wig on underwater all day. When it’s humming and all the departments are working, everyone feels safe. It gives everyone a feeling of “let’s do it—let’s jump in!”

Speaking of jumping in, what degree of pressure did you all feel coming into the second season, knowing how high the expectations were from the show’s incredibly passionate fan base?

I don’t feel pressure from the fans, I just feel unconditional love and acceptance, and I think that the writers room feels that too. We all want it to be good, and we want the storylines to be cool. But it’s less pressure, and more just the level of freedom that it gave us, knowing somebody’s watching. It makes doing all the hard work a joy, because you know it’s going to be appreciated. Some people will have critiques, and that’s fine.

I just know that this—the fan reaction to this show—will be the honor of my career. The fan community is so kind and nice and talented—it's just a good vibe, and it’s been safe and affirming for everyone.

We’re all basking in the glow of the adoration of the show from our fanbase. It’s infectious—when we all get together, it saturates every element of the show, and it's a very special thing for all of us.

Source: The Daily Beast

[maybe-boys-do-love]

Aof Noppharnach writes some my favorite openings I've seen across all genres. They open like musicals and fairytales. He writes these beautiful monologues that set everything up while romantic scores roll out and the camera floats across the settings. For real, watch the fluid camera work in any of his openings; it's one of the way he snags you. I just swoon.

Look at the opening lines of He's Coming to Me: "It was as simple as that. My heart stopped beating and I died. I have the same dream every time. You must be wondering how a ghost can dream." Call me Ishmael, who!?

And like, the way after the title sequence of Dark Blue Kiss, though, that the music and camera instill a magical fondness on the main characters as it establishes them in their natural habitats--swimming at pool, tutoring at Sun's cafe, etc.--with partial shots that reveal their confident faces in quick and steady succession!? Like, oh yes, all my old Kiss Me Again friends are glowing and tryna make the best of it all.

1000 Stars monologue about second lives in video games might be cheesy except we're cutting between a slick moneyed boy at a roulette table, an earnest girl on a bus, and a group of rangers scouting the forest in pitch black, and wondering who's about to die as mentioned in the voice-over and why are these randos living worlds apart being braided together like this!?!?

And then Moonlight Chicken is just *chef's kiss* using a post-Covid news segment to invite us into a struggling Pattaya neighborhood. And we hear about the economic hardships, the intentions of joy, the Chinese lanterns hanging outside, and see shots of the staff and late-night customers in bright warm light. Then we cut away to people watching the clip at a much dimmer version of the diner as business gets underway. Complaints and arguments and interruptions all occurring within A SINGLE SHOT until Jim walks out onto the street as the music just fully swells, and I'm passed out from the CINEMA of it all!!!!

The comparison I jump to quickest is the opening of Disney's Beauty and the Beast as we are told through stained-glass images the tale of the castle's enchantment and then toured about the small-minded town and its inhabitants as they gossip about Belle. By the end of the two sequences we have learned about every main character and their motivations with a smooth, inviting flow across the physical space and conversations. I honestly wonder if Aof studied the Disney Renaissance openings (majorly influence by another gay visionary, Howard Ashman)?

When it's an Aof script, you just know the viewer within the first fifteen minutes has everything they need to be prepared and excited for the ride they're about to take. Tone and Rhythm: established. Setting: explored, Characters: I already love them more than life itself.

[operafantomet]

Hi there. Idk if this question has been asked before, but where do they find the fabric for the mandarin coat?

I'd say there are as many answers as there are versions of the costume. But some pointers:

Many of the early versions were made with partly antique embroidered textiles from the Qing dynasty. These were a popular collector's item in the 19th and 20th century, to the point where some of them were never intended for use in China, they were made as souvenirs. The original design by Maria Bjørnson suggests antique Chinese fabrics, with a hem showing the classic water-and-mountain motif, the collar being a cloud collar usually seen in women's attires, and the hat a decorated winter hat.

Even if all these costumes are made from scratch rather than bought, I thought it could be interesting to compare it to a similar authentic Chinese robe - without the collar - dated to the 1890s and sold by Augusta Auctions some years ago:

This robe has a badge - an insignia of rank and position of a Mandarin official in the Qing dynasty. These were used both on the chest and back, and the bird or otherwise animal told onlookers all they needed to know, if the person was a civil or military employee, and how high up in the system they were. The badge is not featured in Bjørnson's design, but it has showed up in a few costumes. Maybe most proninently in Michael Crawford's original West End costume, which Bjørnson would have supervised:

To my eye it looks like many of the elder costumes (up until c. 2005) used a lot of antique or vintage fabrics, but used on a new base. Details to look for is distinct gold couching, re-used badges, special dragon embroideres, antique collars and tabards, fringework etc. I am quite convinced some of these are antique or vintage details, like the China blue tabard with water and mountain motif used by John Owen-Jones in West End c. 2002:

The cuff and details on one of the original Australian robes, and continued to shine in the World Tour up until 2015 or so:

The tabard of the Swedish/Danish version, first made in 1989 and still in use in 2019 (maybe not too visible in the stage photo, but definitely when seen up close backstage!):

As a contrast, newer costumes tends to be brassier and bigger, with less embroidery and more appliquées and trims. It looks to me like they mostly rely on new fabrics and materials, maybe with some elements of elder embroidery. This collar made for Ben Lewis in West End is a good example:

And the recent German version, here seen on Mathias Edenborn in Hamburg. It's a costume I got to study up close and I couldn't spot any particular details that looked old:

And this Broadway robe with what looks like a very new firefly pattern brocade and embroidered gold trims appliquéed on:

So why this change? I guess it depends on what is available. Qing textiles has become more rare on the open market, and more expensive. Elder textiles are also more fragile, while new textiles will handle wear and tear, dry cleaning etc. better. Some of these costumes are used on stage up to eight times a week, after all.

Due to the fragility of elder textiles, they may have to cover the embroidery with fine mesh. This dulls down the effect and makes the costume heavier, so it's not always ideal. Better then to use new stuff. Here's an early 1990 West End one covered with mesh, to protect the embroidery:

A last aspect is of course that by using elder textiles you may put specific meaning-bearing motifs on which ideally shouldn't be there. The beautiful embroidered Indian fabric with elephants and swastikas - in India a symbol of the sun and good luck - which appeared in an unfortunate Danish Elissa skirt is a good example. Luckilly the costume crew knew what they were doing by including the five bats - for good luck - on this Broadway Mandarin robe:

If you plan on making your own costume, I would say: Create the base of a Chinese brocade (silk or synthetic) with predominantely black or dark blue base and polychrome pattern. As an inspiration, here's the robe, collar and tabard - fairly undecorated - in making for Scott Davies (top) and Ben Lewis (bottom) in West End, with photos generously shared by head-of-costume Ceris Donovan:

For the back: Go for a main motif, and build everything around that. And layer! Gems upon trims upon embroideries upon fabrics. The more structure, embroidery, couching and details the various materials has, the better. And then add some on top of that.

Note that it varies if a production do both the robe, cloud collar and tabard. Some production only do two of these, some do all three. But whatever the case, the costume with hat should create angles, texture and lines that makes him stand out from the previous scene, where he wore black and white and tight-fitting clothes.

In West End I think they source it in the many amazing fabric shops in Brixton and Soho, including Borovicks, as well as antique dealers. For Broadway I know a lot was bought in the fabric district in NYC. Other productions may be equipped with fabrics and trims from these, or they may source their own materials locally. I also noticed that the Chinese (left) and Japanese (right) productions tend to use more red and purple fabrics for their versions, which I would think was also locally sourced:

So yeah. As many answers as there are versions out there...

[malottie]

after hinting in a conversation where polearms came up that i had a personnal ranking and obtaining no response, i've come to tumblr. tumblr has my back.

weapon side of tumblr; here we go

#5! : the Naginata

a very cool and classy weapon, however it looses point for being a 1-edged blade. not even 2 edges? not the best thrusting power either. slashing isn't great against armor, and though it can kill in a hit against bare skin, maybe even gambisons, it struggles against the most basic of chainmail. pierce and blunt superiority

contenders for 5th place were also the guan dao, the chinese version with sharp bits on the opposite edge, which should net it more offensive points but they make the weapon look less neat, and they barely add any functionnality

we also have the warscythe, inward-curving and lower-class cousin of these bad boys - a simple grass scythe with the blade turned for increased range, balance, slashing power and ease of use. while the wide availabilty and humble origins are great, i simply am not a fan of the design. notable though, for an improvised weapon, a farming tool, it works well, and is deadlier than it might look

#4! : the Partisan

a fairly straightforward polearm, barely upgraded from the base that is the spear/pike, with upward hooks on the sides to catch and deflect swords. perticularly good in defense, and just a neat shape

#3! : the Guisarme

often called Billhook because it's basically a billhook stuck on a spear, the guisarme is of this category of polearms i love called "more is better". to hit someone with that and not hurt them, you'd have to really try to. spikes everywhere isn't the cleverest design, but it's effective. the backwards-curving hook would have been used to dismount cavaliers off of horseback, although i like it best for the prospect of hooking on and pulling other weapons while clashing to try and disarm your opponent. notably though, said backwards hook makes for the perfect spot to be hooked and pulled on

#2! : the Halberd

yes, the classic, THE polearm, our beloved halberd. also a partisan of "more is better" (of which the Partisan is not) with its "axehead" and big spike, the halberd is more interesting than what its popularity might posit: as seen above, 'Halberd' describes a wider range of weapons than most terms. with or without a backspike, from a normal thrusting head spike to some of the longest ever seen on a weapon, from an almost Foulge aka a warcleaver, to basically a battleaxe on a stick, the halberd is an ol' reliable and has what you need, whatever it is. probably

#Honorable mentions!

i already mentionned the guan dao and warscythe, who didn't make it into the top 5, but how could i forget the most basic of polearms, forefather of our forefathers and original pokey stick;

apparently, whether it is named spear, lance or pike depends on its size and use. spear are for footsoldiers and can even be thrown like javelins in some circumstances, seeing how they're the lightest. lances are for horseback, while pikes, the longest, are used in tight formations to form a barrage of spikes, like against cavalry

finally, the closest thing to our top 1: the Lucerne hammer

used mainly for its hammerhead, the Lucerne is, for this reason and because of its less fancy, less french name, always in the shadow of my favorite polearm:

the Bec de Corbin

from the old french for "crow's beak", our beautiful corvid inspired weapon is used primarly with its sidespike, our namesake beak. an armor destroyer and danger from all sides, the bec de corbin can pierce and crush, with a thrust as deadly as its swipe. hack away at your foes in perfect serenity with the knowledge that a concussion and three broken bones is about the most unscathed you can get out of a confrontation with a bec de corbin. smash their helmet in with blunt force or pierce their chestplate with this XL warpick, the choice is yours. however, be mindfull of this heavy duty weapon, as its weight and force can be used against you, even moreso than with other polearms, with the thrusting spike the only part that remains deadly at close range

and that concludes this! please don't come for me. i am simply a weapons enthusiast and do not deserve to die for any mistakes, omissions or personnal opinions you don't agree with present in this post. please

[genericpuff]

I’ve seen some people try and defend Lore Olympus by saying that movies like Hercules and such aren’t accurate to Greek myth, yet they’re still loved. And I somewhat get where they’re coming from, i really do.

BUT- I feel like part of the problem with LO is the fact that if you replace the names, you’d almost be right to assume it takes place in a completely different setting. Meanwhile, if you take away the names from the Hercules movie, you can still tell where it’s supposed to take place. (And who’s who, if you know your myths). Plus the writing of Hercules is 100% better than LO.

The difference between LO and Hercules is that Hercules clearly has respect for the source material put into it. It might not be accurate to the source material - because it's being retooled as a Disney movie for children - but you can tell there's still a lot of thought, love, and effort put into it. The team behind that movie did research on the art and culture of Greece, and adapted it into a movie that was entertaining and recognizable as a Greek myth adaption.

They put our home boy Heracles/Hercules in a tunic! Do you know how shocking that must have looked to American viewers who didn't know a shred of Greek myth and wondered why the big buff hero was being drawn in a skirt? Still accurate though!

LO, meanwhile, writes Greek myth as if it hates Greek myth for existing. It comes across more as a white woman using these stories purely for profit and colonizing it with American-esque culture. The outfits have become noticeably less Greek since the beginning, the characters never eat Greek food anymore, and the locations are left as vague as solid color backdrops to indicate "The Underworld" and "Olympus" without actually showing any set pieces or understanding of how these locations would look and feel in a modern setting.

All of these examples I gave are things we saw a decent amount of in S1. But since then it's just become talking heads on top of flat color backgrounds, eating Chinese food and dressing in American-style clothing. When was the last time we saw a mortal? There's just nothing Greek about the comic anymore because either Rachel has gotten so complacent that she just defaults to what she knows without any research (so what she watches on TV and in movies) or she only bothered with her research in the beginning to get people hooked and convinced that she's a "folklorist" so that they'd keep reading the series and giving her money on good will alone.

Using Hercules as an example of "well it's not accurate to Greek myth either!" completely misses the point of what people are getting at when they say that LO is a bad Greek myth retelling. Guess what else isn't completely accurate to Greek myth? Hadestown. Hades (the game). God of War. Stray Gods. They all take creative liberties with the source material in order to adjust it to the medium and audience they're creating it for, but none of those adaptions are quite as disrespectful as LO's. And God of War literally has little angry man going around and brutally murdering the gods. It still respects the setting of Greek myth more than LO, but unlike LO, it doesn't try to constantly sound smart with its inaccuracies, it knows fully well that it's a video game first and foremost.

And that's the beauty of myths. They can be adapted across generations and used to tell new versions of the same stories. So it begs the question, why bother writing a Greek myth retelling if you're going to make it so non-Greek that you could have just as well just written a normal soap drama and have it still be virtually the same?

Compared to all of the other examples, LO is the definition of confidently incorrect. It should have stuck to just being Greek myth inspired, not a retelling.

[fourseasonsfigs]

Combined Six Harmonies Cultivation Method

I've been busy celebrating the end of my intensive Chinese class by binge-watching my way through Fox Spirit Matchmaker. I had planned to go back to posting about my figs right afterwards... but... during a big block of work travel fell into watching Mysterious Lotus Casebook (as excellent as everyone says and then some, highly recommend). After that, I figured I'd be back to posting about my figs. And THEN - well, then Gong Jun started showing up in some absolutely incredible behind-the-scenes-pics in his new role as Su Muyu. Dear reader, I had no choice (none! zero!) but to immediately binge-watch my way through all existing episodes of the Tales of Dark River donghua*, as well as start working my way through Blood of Youth. You understand. I know you do!**

BUT, in the meantime, I've also been slowly and steadily working my way through photographing my figs that continue to arrive in shipment after shipment. I have built up quite the backlog, so I'd better get to posting them!

Today we have Armory figs, from episode 36. These cute chonks commemorate this moment:

We've seen this armory scene before in fig form - quite a long time ago here and much more recently, in a building block version.

I remember watching this scene in shock - I had no idea what was coming. What a gut-wrenching, gorgeous scene. I love every bit of it.

These figs arrived safe and sound in their protective polystyrene box. I have to say I've had (crossing fingers, knock on wood) very good luck with this packing so far. Most figs I've gotten have arrived perfectly intact.

The figs came with the platform base and the figs themselves.

The paper cover peeled off from what turned out to be a sticker. I had thought it was going to be a magnet or something, so I was a bit surprised. The sticker ended up VERY securely sticking to the metal disk - I tried pulling it off to better reposition the top part, but no luck. It was on to stay for good.

As you can see, the metal disk makes it spin. The resin disk isn't perfectly round - it's a little more handmade than precision made, and I didn't stick the sticker on in the most optimal position, so it doesn't spin quite as easily or freely as it might. Which is fine! I'm not going to be playing with it, it's just in my display case.

Here they are! These two little cuties are just finished performing the ritual, and Zhou Zishu has just opened his eyes to see that something very strange has happened to his zhiji's hair...

This is a pretty good angle to see Lao Wen's face - these figs are so tiny and they are so close to each other that it's difficult to actually get their faces in the picture.

We see A-Xu's hair bun here, minus the hairpin of course. I must say I really hoped they managed to pull it out of the door when they left the armory, assuming the avalanche didn't shatter it into a hundred pieces.

This is a nice shot of Lao Wen's guan - very stylized as you can see.

I like how they included the Yin Yang book under their hands.

A-Xu's little shocked face is just too cute. Sorry A-Xu, I know this is a heartbreaking moment for you!

All that white hair. I think everyone will agree with me that no other show has managed to have a white wig quite as beautiful as post-ritual Wen Kexing. They did a gorgeous job of layering a slightly darker grey at the roots and pale grey/white in the rest of it, to give it the most natural looking effect. All the stark white wigs I've been seeing (yes, particularly as I've been watching Blood of Youth) tend to look pretty fake.

You can see the grey disk the figs are on isn't quite perfectly circular. It's not as off-balance as it looks here, some of this is the angle and the shadows, but it's definitely different from the perfect circle of the base.

And we're back around to the front again. These are really tiny figures - I think the fig maker decided to make them a bit smaller so that when you add the podium the entire thing isn't too big.

Here's a comparison between a normal sized fig - our poor A-Xu after he's been rescued from the Tianchuang prison (have I posted about this one? I'll have to check). As you can see, even the combined podium + figs is quite a bit smaller height wise from a regular fig.

Here's the closest I could get my camera to Lao Wen's face - not much of a close-up, but it's the best I could do! You can see his rosy little cheeks. You can also see Gong Jun's beauty mark there right under his eye.

Sheesh it was hard to get a close up of A-Xu's little face. I think the shot we got earlier as I rotated the fig around was better than this one. You can barely see one of Zhang Zhehan's beauty marks - the other one is definitely there, just blurred out due to my phone's inability to focus in.

There's no text on the Yin Yang Book, but it does have some nice fold lines to show where it would fold back up.

Ah, here's the best angle to show the almost-a-perfect-circle-but-not-quite of the top disk.

No fig card or box art for this one, which is too bad, it would have been awfully cute!

Material: Resin

Fig Count: (+2) 523

Scene Count: (+1) 37

Rating: It's ok guys, it's all going to be alright!!!

[link to the Master Post Index]

*I have been enjoying the Tales of Dark River donghua quite a bit. After I post this, I'm going to watch the Tuesday night drop of episode 26, tantalizingly tension-titled Trouble Brewing. Bring it on!

**I mean, you can totally understand why I got distracted from my blog posts:

I like this pic a lot, I've definitely seen this sword formation in the donghua many times!

Alright, alright, I'll stop. I love the costuming in this. I'm so excited!

[catenary-chad]

Some sources I get my train info from (mostly US-focused)

-Wikipedia is a decent starting place and will have a list of sources for fact-checking and even more info

-Historical societies for specific regions/railroads can be GREAT for more specific info

-Train museums/tourist railroads usually have decent websites with historical info on their equipment and you find some… interesting things at them.  Not always the biggest and coolest, but lots of weird stuff even at smaller ones (Chinese steam engines built in the late 80s, the tiniest diesel switcher I’ve ever seen, and a wild array of redneck retrofits of old circus trains are things I’ve seen).  They’ll often have more info on niche local industries for fun freight characters.  

-You’ll probably have a LOT of success finding physical books about trains at libraries, The Internet Archive, and antique stores (or anywhere with used books). 

^this site has a TON of articles and photos of 30s-60s era high-end US trains, which most of the replica coaches are based on.  Absolute gem for finding historical context for them and refs/ideas for OCs.

The Railways Series and first few seasons of Thomas The Tank Engine are unironically good at explaining British steam train mechanics circa the early-mid 20th century in a more whimsical way.  They’re very specific to their time and place though.  

r/railroading on reddit is for actual railroad workers to discuss their jobs and problems. Here there be discussions about whose employer sucks the least and which lines/engines have the worst toilets. It’s an interesting look at a very different side of things…

Youtube channels:

Trek Trendy (very detailed reviews/vlogs of modern luxury trains)

Hyce777 (steam and diesel train mechanics, run by a guy who actually works on them) 

Train of Thought (mostly about US/UK steam engines and other similarly old trains, beginner friendly) 

IT’S HISTORY (history of a lot of random places/things in the US, including a lot of railroads/transit) 

Amtrakguy365 (aimed at railfans, histories of specific Amtrak equipment and lines)

Alan Fisher (focused on modern US transit/train issues, Philadelphia-focused and VERY leftist, aimed at non-railfans)

How We Get Around (even more Philadelphia focused but less political, lots of nitty gritty on the specific area’s network but also assumes you’re stupid and explains the basics very bluntly)

Banks Rail (Modern US train politics, some international issues. Very thorough and specific but beginner friendly.)

Well There’s Your Problem (podcast about engineering disasters that covers a lot of more modern train problems, absolutely NOT railfan oriented, rambly but some episodes go into a lot of details. The ones with Gareth are solid. Left-wing version of listening to your uncle rant about his job on the railroad.)

Electric traction books:

-if you are looking for info on pre-70s electric trains, trolleys, or interurbans in the US, physical books are your best source. They are generally a very “90+ year old grandpa” interest without a ton of online coverage but a lot of really good older books on them

-Central Electric Railfans Association has put out a lot of stuff mostly on Chicago-area lines

-The Wardmaps/MBTA store in Boston is an awesome spot for books on this topic (and old passenger rails schedules, maps, and tokens)

When the Steam Railroads Electrified- considered one of the definitive books on earlier US electric heavy rail, BEAUTIFUL photos

Specific references I use for Electra:

AEM-7 Manual (Dense and technical but very detailed. The Swedish Rc class locomotives, AEM-7s, and similar derivatives are a pretty popular fanon basis for Electra and relatively well documented in English due to being used by Amtrak for nearly 40 years and in Sweden from the 60s-80s to now. Those models are my main source of Electra Extended Lore.)

Head-End Power info (sales website with detailed technical info on modern US-style HEP)

[miss0atae]

The beauty of hairpin and the concept of marriage.

I'm already so intrigued by the new trailer of The Loyal Pin. Something caught my eyes when I watched it and this is the exchange of the hairpin between Pin and Anin.

Hairpin has a history in Chinese Culture and I've discovered that Thai Chinese are the largest minority group in the country and have been deeply ingrained into all elements of Thai society. This is purely speculation and I'm not a historian. I'm just making deduction from what I've seen in the trailer.

In ancient China, hairpin were a status symbol. They could also symbolize the transition from childhood to adulthood. Hair and hair accessories can have philosophical, romantic, and cultural meanings. Exchanging an hairpin could mean you give special attention to someone else. Especially as Pin isn't a princess like Anin. It can also be seen as the equivalent of the western version of giving a ring to your betrothed. By giving the hairpin to Pin, Anin is showing her interest and desire to pursue a romantic relationship with her.

The series also implies that Anin is spending a lot of time with the missionaries and how it affects her way of speaking and behaving. So, it may be also why there is a ring exchange too.

I can't wait to see if I'm guessing right or if I'm just creating all this drama in my head.

source: hairpinmuseum, wikipedia (I know it's bad to rely solely on wikipedia but it's just a light post) , chinadaily

[tosahobi-if]

different anon, if it's okay with you, i'm interested in how you come up with the names! i've been using random generators but perhaps seeing a different approach is what i need...

this took me forever to answer and i'm so sorry about that, but this is about to be a lengthy post so strap in!

i'll give an overview of korean names and i'll explain some ideas for how you can go about naming your characters! for now i'll stick to korean names, but i've also done research into go-on kanji and chinese given names during the late three kingdoms period, so i can offer a little bit of help on those if people are curious about those as well! i can't promise it'll be as comprehensive tho hehe

a "brief" overview: modern korean names are made up of a surname followed by a given name. for the period tosahobi is set in it was exceedingly common to NOT have a last name. historical records state that last names typically only belonged to nobility and/or royalty, hence why certain characters have last names (jinwol) and other characters don't (yul). korean names are written with hangul, which was invented in 1443 however murim stories are an amalgamation of historical fact and fantasy, which is why i used the "modern" naming system.

korean was originally written using chinese characters. that's why there are typically two versions of a korean name, one in hangul and one in hanja. there are tens of thousands of characters in chinese and many of them have similar sounds which can be differentiated by intonation.

rather than being read logographically, korean is phonographic (modern korean no longer has intonations and different phonemes than chinese) so the same reading can be attached to different characters. (this is called sino-korean!)

hangul was designed to simplify the language to spread literacy to the population. each character represents a sound, and written together they form a syllable. for example, jin (진) has multiple hanja (進, 鎭, 眞, 振, etc.) and are all read as just jin, but in mandarin, they could be read as jìn, zhēn, chén, and so on.

thus korean names are chosen in hangul (ex; jinwol or 진월) then each syllable is assigned a hanja which carries the sound of the syllable used, but carries a corresponding meaning! i did a little breakdown of the hanja used in jinwol's name here!

some things to think about: if you take away anything here, it's that there's no single definition for any name! the components of a name make up the meaning. unless it's a name like yul with a singular character, the two syllables can be built to signify a wideeee variety of things. (that's why you shouldn't trust Name Your Baby sites that are like xyz means This Exactly HAHA!)

gender! hangul names are typically gender neutral, however, hanja can sometimes denote birth gender as there are masculine, feminine, and neutral character radicals. (ex the syllable "yeon" is gnc, but with the hanja 延 (to stretch, lengthen) it can be seen as masculine since that's a more "masculine" quality whereas the hanja 媛 (beauty) it is seen as feminine.)

there are indigenous korean names that come from native korean words being used as names. iseul is one such example! her name 이슬 means "dew" and does not have a corresponding hanja.

important!!! one can still assign arbitrary hanja to syllables, which is why in iseul's case i chose corresponding characters that i thought suited her personality! vibes are a really easy way to go about it. the hanja i chose for "i" (이) is 怡 for joy and 瑟 as in the guse, (known in korea as a seul) which is a type of zither. all together her name signifies "rejoicing at the pleasing sound of the guse".

how i make a name: names are usually one or two characters, for example, iseul is (怡 and 瑟) while yul (律) is one character. some nobility had three character given names, but since this already getting super long i won't be delving into those today.

typically i make the name in hangul first. i think you could do this in reverse (hanja -> hangul) but it'd probably be harder. most given names consist of sino-korean morphemes for each syllable, but you could def give your character a native name like iseul! (ex; garam, naro, roda)

you can theoretically choose any hanja you want (jsyk there's a korean law with a list of hanja you can't use in a name HAHAHA) parents traditionally put together names with deep meanings and cultural references or sayings with their hopes for the child.

a common practice is to visit a naming-place where a fortune teller or a scholar (almost always a fortune teller, i've never met any naming scholars but they're out there!) they'll assist parents with hanja meanings for names after receiving information like due date estimations and personal details!

this is where elements of anthroponymy come in and they analyze things like stroke count and the five elements of nature to come up with a "beneficial" name for the child! (for example, if a child was lacking in the water element, the fortune teller could suggest a hanja related to water in some way -> balance achieved!)

vibes are a great way to name your character. one of the first things i consider is personality (are they happy? sad? thoughtful?) followed by things like birthplace (topographic names are popular!) and goals/achievements (what kind of person do i want them to become? brave? smart?) and then start looking up the hanja to attach to their name!

if this seems overwhelming, you're not alone! i take forever to name my characters for that exact reason. names are considered very special and sacred (maybe not so much nowadays LOL) but back then they were thought to be a vital part of the soul and identity, which is why it's such a lengthy process!

anyways if you've somehow read to here, thank you so much for sticking through my (unedited) rambling. i'm really excited to be sharing this with you guys! and i'm also happy to help you guys come up with names if you send me asks or dms for your mc if you're having a hard time thinking of a name.

[katamaricule]

Ha, sorry to burst into your ask box from nowhere, but I saw your explainer post for DMBJ come across my dash (very helpful!), and I was wondering something random. A year ago I watched the movie The Mystic Nine: Qing Shan Hai Tang because it had Zhu Zanjin in it, but I did not have access to a version with subtitles, hence it was very confusing for many reasons (Zhu Zanjin was still great though lol). I was wondering where this movie fits in with the other parts of the series if you know? I see DMBJ around a lot and I am curious!

I can answer this one!

But before I do: There are subtitles now! iQiyi has the whole thing, so if you'd like to watch that beautiful man be a beautiful opera singer again, well, now you can do so while being less confused. Well, okay, slightly less confused. I'll get to that in a minute.

Back to your question: The movie is set several years before the Mystic Nine drama/book story begins. It's the tale of how Zhang Qishan and Er Yuehong (that would be Zhu Zanjin) met, as by the time the Mystic Nine itself starts, they're clearly old friends. If you've watched this movie, you have seen about the earliest filmed thing in the DMBJ timeline (flashbacks notwithstanding).

However.

The Mystic Nine: Qing Shan Hai Tang is an original story that does not use specific content from the novels for its source material. As such, it both makes several claims that contradict the main series and introduces a lot of backstory elements that no one ever mentions again. It simultaneously expects you are already familiar with these characters and assumes you know nothing so it can just tell you random shit with impunity.

This, by the way, is not unique to this movie. All DMBJ installments are done by different production teams, and all of them have to make up stuff to fill in various gaps/satisfy content standards for Chinese television. Therefore, every series and related movie will have some amount of its content directly contradicted by at least one other series or related movie. It's not like you picked some uniquely terrible starting point that will ruin you for everything else. They're all uniquely terrible, each in their own way. That's the DMBJ promise!

I return to my theory that the best way to understand every DMBJ installment and its various, uh, unique claims about the canon is to regard every story as being told by a different semi-unreliable narrator. So maybe it helps if you think of this movie as Fo Ye doing a double-take, like, sorry, did you just say there was a magical tattooed assassin? and eternal drama queen Er Ye going, shh, handsome, I'm narrating our meet-cute my way.