#i hope so badly that it works

[reginaofdoctorwho]

SO saw the cardiologist again (np but it was a followup so), cardiologist changed my diagnosis from neurocardiogenic syncope to POTS. not much difference in the lifestyle "changes" they'd want me to make but because it was switched they're prescribing me midodrine, already picked it up from the pharmacy gonna take first dose today (unless i forget)

looking it up on reddit and tumblr it does seem to help a lot of people so hopefully it helps me too :)

kinda scared of being diagnosed with POTS since there are so many people online who have such a horrible time with it but at the same time i'd be having these symptoms whether i was diagnosed or not, i've been having them for a couple years now, and even if the med doesn't work now i know it's not just all in my head

[poorly-drawn-mdzs]

Daddy, don't go.

[First] Prev <–-> Next

[22ndnervousbreakdown]

"the man we idolised turned out to be a bad person, but it's okay, this other man hasn't fucked up yet so we can just idolise him twice as hard!"

Do you people not see the problem

[nordidia]

having a very rough night so raph doodles needed to be made

when in need, mash two interests together

[dracothedeatheatingcupcake-ao3]

And that’s a wrap for Comic Con 2024! Ha, it was a lot of fun, but I really enjoyed dressing up as Mondo today! I even had a couple people recognize him! And a few others just liked the hair, one of whom asked how long it took me to get my hair like that, which tells me that at least it looks natural enough for people to mistake it as my actual hair, ha.

Overall, Comic Con was cool! On Thursday, I attended a live podcast recording for Braving the Elements, which is an Avatar the Last Airbender podcast hosted by Janet Varney and Dante Bosco (the voices of Korra and Zuko, respectively), and I actually got a trivia question right and I should (hopefully…) get an email from them soon to get a prize for answering the question right. If not… oh well. At least I’ll be featured briefly on the podcast answering trivia correctly, even though I usually suck at trivia, ha.

The rest of the days were a bit more meh, but I still had fun. I won a Pokeball ornament from a Hallmark panel, since I knew how many Squirtles were in the Squirtle Squad, aha. Which leaves my trivia score 2 for 2 at the moment.😅 I also got a free shirt and scarf for the upcoming Yakuza live action show, which was neat. I’ve never played Yakuza, but my brother has, so I was able to give him the shirt at least.

Still, while Comic Con was fun, I’m definitely glad it’s over so I can go home and clean up from my frantic cosplay creating the last several weeks, oof.

Also! On the first day I dressed at Taka, but since I was by myself I only have the one photo my dad was able to quickly take of me before he had to drive off and a quick selfie I took in the car.

[michithing]

hey what are they doing during work hours

hey guys, not the time

[youweremyversaillesatnight]

unless it turns out that this is some barkrock-specific ability, and assuming that what lydia did with her devil is what needs to happen with cassandra and the red light, i NEED gorgug to be the one to take the rage and contain it. his whole thing is that his rage isn’t anger, it’s protection. taking cassandra’s rage, or whatever it is affecting her, is the ultimate protection, but it also forces him to grapple with his rage and the idea that anger isn’t a bad thing

[habunshu]

Hello! Sorry to bother you.

I noticed you are in JTTW fandom and wanted to ask if you know where can I find more info on Sun Wukong's make up and stage performance? I tried to find stuff on my own but quickly realised that I'm just one small weak goblin. I saw some blogs about chinese opera behind the scenes with SW images and couple of videos but that's about it... and since you look like you are way more knowledgeable I came here to beg a favour.

Do you know any videos, documentaries or blogs on this topic?

Thank you for your time ♥♥♥

Hi!

TLDR: Bold text are writings/videos linked to Peking Opera Culture and specifics surrounding Monkey King performances. Post has a mid-length summary of key aspects of his Peking appearances and core thematics. This mainly goes along visual design analysis, as I don’t focus in performance art as much! Read more divide for courtesy

(Also taking a moment to highly praise @/bonesmarinated ‘s Peking opera Wukong pieces!)

The Monkey King/Sun Wukong is a very well covered and well performed character in Peking Opera, I’ll give a short(ish) summary of the key aspect of his design across various performances based on work I can recall from my Undergrad as well as my own experience- and i’ll link any documents/websites/images I have on hand

Wukong’s Lian Pu falls under what is known the Jing role (complex hero) with similar facial decoration also being delegated to the Chou roles in Opera as well.

The dominant school of art in depicting him either on live performers or maskwear, have a fairly universal foundation for his appearance.

The oldest forms of Peking opera stick to Wuseguan (Five Colour Theory) with his Lian Pu sticking to a core 3 of White (Cunning), Red (Bravery), and Black (Loyalty). Even with Modernisation of the Peking Opera and developments in the science behind art and makeup, Lianpu is specific in its purpose of portraying the nature of a character beyond body language and aiding in accessibility for people at the far end of the audience.

The Monkey King’s Lian Pu is reflective of his mischievous and bold nature, combining it with the shape of an Old World Monkey’s furless face shape so that even those “uneducated” in Peking Opera culture can at least see /what/ Wukong is before they see /who/ he is. The White and red placement are linked to yin-yang dynamics relating to the stone he was born from and the energy it cultivated) as well as general themes beyond the tale itself.

Zheng’s “Evolution, Symbolism, and Artistry: A Study on the Colors of Peking Opera Facial Makeup” Discusses this in more detail. ( DOI: 10.23977/artpl.2023.041207) (ISSN 2523-5877)

(General Mask colours in Peking Opera, separate from Lian Pu: The Cultural Connotation and Symbolic Meaning of Chinese Opera Mask Color - Hanbing Tu)

In more modern designs, the key foundation of Wukong’s face doesn’t change much, however some variations do add colour to Wukong’s eyelids- mainly pink or yellow/gold. Both of these relate physically to the ‘whites’ of Old World Monkey’s eyes, with the yellow face paint being representative of “barbarism” or “savagery”. Gold is used on the faces of various immortal creatures from all backgrounds as Silver is.

(Left: Chu Luhao as Monkey King, stedling divine peaches and wine in celestial realm, Kaohsiung ) (Right: Monkey King Wukong in Beijing Opera Journey to the West at Liyuan Theater)

As with Taiwans branch off in culture, This Lian Pu on the left shows the eyebrows as the top of the eyelid makeup, contrast to Chinese style and other Sino-influenced regions. This works in Chu Luhao’s production as it plays towards the character Wukong is before he’s sealed under the mountain and begun the journey- hence more “wide eyed”.

Mentioning Yellow within the Wuseguan, this is why most of his earlier outfits have such a heavy bias towards yellow cloth, barbarism being represented across his whole body (his form, as a monkey over his soul that achieves enlightenment) with costumes later down his hero’s journey adding more black, blue (simplicity).

(Left: Performer playing Monkey in Journey to the West, Chinese Opera performance in Singapore) (Middle: Chu Luhao’s production, Sun Wukong arrives at the Dragon Palace of the East Sea) (Right: CANTON, CHINA – CIRCA JULY 2019: Beijing Opera performance of “Monkey King Making Havoc in Heaven”)

Key Read -> The Artistic Symbolism of the Painted Faces in Chinese Opera: An Introduction, David Ming-Yüeh Liang. https://www.jstor.org/stable/43560653

Book -> Chinese opera: Images and stories, Peter Lovrick, Wang-Ngai Siu

Book -> Drama kings: Players and publics in the re-creation of Peking opera, 1870-1937, Joshua Goldstein. https://books.google.co.uk/books?hl=en&lr=&id=XT_1fZ9Jp18C&oi=fnd&pg=PP1&dq=info:49R3XREYwVoJ:scholar.google.com/&ots=3OF1F4SILK&sig=gQyW7bGJzgnxG62Y2TxU01ZPazQ&redir_esc=y#v=onepage&q&f=false

This analytical paper on Monkey King: Hero is Back showcases modern animated links to Peking Monkey King designs - https://fslmjournals.taylors.edu.my/wp-content/uploads/SEARCH/SEARCH-2024-16-1/SEARCH-2024-P5-16-1.pdf

A blog site I found interesting was an interview with Yao Yudong, the successor to colourful Peking Opera masks, where he discusses creating the mask designs (with a Wukong mask as a recorded example) and a more in-depth written post. He expresses the key two styles of Wukong’s red markings known as “Upside down Gourd” style, and the less complex “Upside down Peach” style attributed to a different art school. In which his mask is directly attributed to items that come into contact with his face.

Jiao Feng, Peking Opera Facial Makeup: The Art of Face Painting: http://www.chinatoday.com.cn/ctenglish/2018/ich/202001/t20200117_800190202.html

Connected is a video of an Opera performer who does his own Lian Pu, which depending on the time period could take up to two hours. Although this design is significantly more contemporary in the use of gold on white sections as markings like black paint. https://x.com/chinadaily/status/1365730927133958144?s=46&t=06bYiE12l6qVJUxPCBuvvQ

In regards to Wukong’s combat performances, he falls into the role of a Wusheng (武生), which is the strand of stage costume used in representation of his staple armour.

(Monkey King in Journey to the West Performance, Beijing Opera)

In this costume, Wukong’s Phoenix feather cap is mirrored by Lingzi (翎子) or Zhilling (雉翎), which likely play back and forth with influencing eachother as time progresses, due to Wukong’s theatrical personality being heightened by the Pheasant tails and their movements as actors play their roles. In his Wusheng roles, he is more likely to be adorned with gold eyelids to highlight his layered immortality and connect to the golden armour he wears. The trait of biting the pheasant tails as a theatrical act of frustration is seen across adaptations, most recently in Black Myth: Wukong’s Chapter 6 Animation.

This animation’s design seems to relay the Lingzi strongly due to the way the studio details the lowest connection points to the crown ornament.

As stated in Bond’s writings “BEIJING OPERA COSTUMES: THE VISUAL COMMUNICATION OF CHARACTER AND CULTURE”, Wukong’s in-game Suozi Set and various adaptations Dragon Palace armours split similarly to the Kao (Armour) on Peking stages, with the falling of the frantic drastically increasing the size of the actor and his silhouette.

Qing-era flags on the costumes of Wusheng were used to express social standing, gender, nature, and ranking. The image above showcasing them has them match the Kao pattern of the clothing, other flags often held zodiac patterns- with the monkey showcasing vain, egotistical, inventive and tricky individuals; and the peach included in a flag hinting towards immortality.

(Ching Dynasty Year of the Monkey Flag used in the Peking Opera) Zaricore Flag Collection: https://www.flagcollection.com/itemdetails.php?CollectionItem_ID=943

Due to the History of Lian Pu, and Wuseguan, despite modernisation of Opera arts vastly widening the colours and complexity of costumes; Wukong sticks to a key 5 colour scheme, with a emphasis on the original trio of red-white-black, and gold being reserved for Wusheng/Wuxiaosheng to showcase immortality and strength. The prevalence of Opera alongside fictional theatre means that the two constantly play off of eachother in mannerisms and influence, both at the time of JTTW’s writing to the 21st century. But as Opera is a physical performance, all aspects of Peking costume design is meant to make the emotional and psychological aspects of characters physical, to a large audience space needing to see facial expressions heightened and clarified by Lian Pu.

Read -> Cultural-based visual expression: emotional analysis of human face via Peking Opera Painted Faces (POPF)

[cornleypolytechnicgoeswrong]

More of my favourite low effort CPDS Members as my screenshotted tiktok comments memes for you as an apology for being so inactive and proof I am still around hehe <33

[ask-claus-and-ninten]

3 am life sign. Of the Ness and Claus being dudes.

Inspired by photos from my days in university years ago 🤧

I didn’t have a couch in my apartment. My friends just hung out on the floor and the blankets my roommate had out.

[jaquerabbitart]

Erosion.

[March 6th, 2024]

[cyellolemon]

All the characters of my comic Tiny Tearful Demon :3 wanted to draw them all in that style

[howlonomy]

I wonder what clovers parents would think if they did know, like I’m assume there are still human problems and clovers parents seem to be the type of trashy people who would be xenophobic.

i dont think they would care all that much bc it doesnt matter WHAT clover is; just that they’re something they can use to keep their house clean and boss around. they would take clover back just to keep them and parade them around as a hero!

i dont wanna go tooo into the racism aspect bc. its not really my place to talk about being a minority bc im not. but i think they would be terrible people even without being racist

[spaghett-onaplate]

depression is really weird actually wdym i spent 2.5 years of my life in bed

[poetryincostume]

Oil and water. Wasn’t meant to be

Violet von Arcane Jacket, 2021-23

Pigskin suede, lamb nappa, silk, brass

[kaseyskat]

hi guys so I relistened to the lark and sparrow scene at the dance three times and I am having some Thoughts re: motivation and love between the twins because like. I know. I know we all focus on sparrow telling normal he's not proud of him I know. but also I feel like we tend to gloss over some of the other moments in this scene: bits like, sparrow repeating I love you I love you I love you so much like a mantra: because I think it is a mantra? another example of sparrow self-iding as loving so hard it comes off almost forced?

and another thing: there's such a stark difference between the twins motivation and it's so in your face and yet I don't see it discussed much so I'm adding it here too: sparrow is familial. he tells normal he wants normal to rescue him explicitly because he wants to see him again. he only confesses his disapproval in normal because he thinks if they can meet in the middle, it'll boost their daddy magic: ie, sparrows willing to hurt normal a little to help him a lot later, which is definitely a parenting style he inherited from henry ahskfkkdlflg

but lark's motivation is alllll self-sacrificial. "don't come save us we can either handle ourselves or die for our sins and it'll be fine either way" he says. coupled with the reveal of lark sleeping with rebecca and the amount of times he tries to talk over sparrow when sparrow is actually the more helpful one really hammers in the concept of how lark views himself and his relationship with sparrow vs how sparrow sees it: lark tends to view sparrow as an extension of himself, and sparrow never corrects him (and probably made this worse in the process) while sparrow views lark as someone in his family who he will love and forgive even if he's not proud of him, and I just think that is such a neat thing to explore!