#king mu of zhou

[thelaithlyworm]

META The King Mu of Zhou/Iron Mask Scholar Theorem

[ID Head-and-shoulders of a man in a fancy hat looking with satisfaction at a pill taken from a small box. Below him, a man in alchemist’s robes bends over a recumbent form that looks like a large jade figurine. The right side of the picture is filled with curlicule ornamentation.]

Okay okay okay, I wrote a version of this with quotes and chapter references but it’s quite long so I suspect not many people have read it. (No judgement, I know it’s long, I feel it.) But this definitely is something I want to talk about, so I’m doing a paperplane version for tumblr.

So! The very first adventure in this series, Wu Xie encounters a double-layer tomb with a (living) man wrapped in jade armour who is promptly murdered by Zhang Qiling. The closest thing we get to an explanation is:

– Lushang-wang raided a Western Zhou tomb for immortality secrets, then built his own tomb over it so he could peacefully bake in the armour for a couple of thousand years, to finish the immortality process.

– Lushang-wang murdered by his advisor, a fengshui expert named Iron Mask Scholar, who also put on the armour.

– Iron Mask Scholar killed some time later by Zhang Qiling.

– The map to this tomb is one of a set of famously-encrypted documents sometimes known as the Warring State Silk Texts or more specifically the Lu Yellow Silks, or some variant in-between.

[ID Overhead view of a sarcophagus under a great tree, with various lids and layer scattered around it, and inside – and sitting up – is a body dressed in armour made of laced-together plates of dull jade. Wu Xie etc. recoil in alarm. End ID]

Come Vol. 4 Snake Marsh Ghost City, Wu Xie explicitly identifies the author of these Lu Yellow Silks as Iron Mask Scholar. He describes him as “the Leonardo da Vinci of Lu State” who encrypted documents to get important secrets distributed against the wishes of a higher power. (This is also the book that introduces King Mu of Zhou as a relevant historical figure, in the form of a stone mural which heavily implies his account of a diplomatic visit to the Queen Mother of the West was an outright lie.)

There are some bits and bobs throughout the rest of the main book series, specifically, part of the history of the Jiumen going on a super big raid to find a whole stash of Lu Yellow Silks to decipher for secrets of immortality on behalf of their current patron. The novel version of this arc doesn’t really dig into who wrote them and focuses on the effect they had in the 20th century. The Ultimate Note version changes the author to King Mu of Zhou and brings in a story initially written for the Sand Sea novel – King Mu of Zhou obtained an immortality elixir from the Queen Mother of the West but didn’t want to stay in her country to complete the process by sleeping in jade. Instead he made jade armour of his own and… put a baby in a jade box: “He built two figurines with jade meteorite. One figurine to contain himself, with another to contain a baby. After taking the pill, he planned to break the figurine in a few years under certain conditions. He would be reborn as a baby and attain longevity.” (UN, Ep 35, iQiyi subs).

[ID A painting of a great cavern with rough pillars, with the irregular shape of what might be a meteorite in the background. In the midground are two upright lumps of jade of equal proportions. Vague shadows inside indicate an adult in the left one, and a child in the other. End ID]

Skippy skip through some Jiumen stuff and some Tibetan Sea Flower stuff that suggests Zhang Qiling was the baby in the box… we get to Sand Sea proper, in which the chief antagonists are the Wang Family, descendants of Wang Zanghai from the Ming Dynasty.

But, say the Wang Family, we didn’t start this. Actually you need to go back thousands of years to King Mu of Zhou. The drama version of this revelation is a very clipped lecture, albeit with some interesting art, which mostly focuses on the snake eyebrow copper fish and the snake pheromones etc. etc. (It’s a fair call – sometimes you just gotta focus.) The novel version is very, very long, placed in the novel where you would normally expect the big climax/plot resolution/massive multiplayer final action scene to be. Some key points:

– Wang-laoshi keeps explaining that he isn’t lying but he is leaving gaps in the story for his student to figure out.

– We go right back to the story of Lushang-wang raiding a Western Zhou tomb, this time specifying that it belonged to King Mu of Zhou himself. Also that Iron Mask Scholar incited Lushang-wang to take up graverobbing from the start. He wasn’t an opportunist but a strategic planner who provided a “ghost edict” in King Mu of Zhou’s handwriting explaining that it was totes okay to dig up his tomb, the ghost of King Mu of Zhou thought that was fine, break out the shovel, kid.

– Story interrupted by a student explaining that for the handwritten edict to exist, King Mu of Zhou must still have been alive somehow to write it. (No forgers in Ancient China.) The teacher agrees, explaining that King Mu of Zhou took the Queen Mother of the West’s immortality elixir but could not by himself find jade armour to neutralise the deleterious side effects.

– FROM THEN ON Iron Mask Scholar is not in this story. This is now a story about King Mu of Zhou manipulating Lushang-wang from the shadows, creating the mechanism of a baby in a small dragon-pattern box as a timer and synchronous key for his own coffin, creating the Lu Yellow Silks which as we know were written in the Warring States Era and explicitly attributed to the guy who hid his face all the time………

– In addition, the rather odd (but fun) movie Time Raiders also features Iron Mask Scholar as a key player, this time writing his secrets on copper tablets not silk and also creating a box which is both a timer and a key, like that dragon-pattern box attributed to King Mu of Zhou.

My Conclusion:

King Mu of Zhou and Iron Mask Scholar’s deeds were so often conflated because they were the same guy. This is the truth hinted at by Wang-laoshi and Xu Lei.

(to be continued)

[extraordinarilyextreme]

on 妖 yao (and 慕声 Mu Sheng) in 永夜星河 Love Game in Eastern Fantasy (2024)

crossposted from a twitter thread!

there are SO many things i love about YYXH, but something i really appreciate is their portrayal of 妖 yao.

in ep. 10, Mu Sheng says, “人心有七窍，妖心只有一窍。所以大多数妖物的品行都简单执拗。” / "Human hearts have seven apertures [are complex and calculating]; but yao hearts have only one [are simple]. That's why the conduct of most yao creatures is uncomplicated and obstinate."

窍 / apertures (openings; orifices) are where the human body is connected to the outside world. as such, 七窍 seven orifices usually refers to the eyes (2), nose (2 nostrils), ears (2), and mouth (1). BUT...

in the context of the heart, it more often alludes to the virtuous character of 比干 Prince Bigan from the Ming dynasty novel 《封神演义》 Investiture of the Gods.

there, it was said that 圣人之心有七窍 / the hearts of saints [good men] have seven apertures...

...so, of course, the righteous and smart Bigan was rumored to possess a 七窍玲珑心 / lit. delicate seven aperture heart.

Bigan's story didn't end well (his heart was cut out by order of the infamous King Zhou of Shang), but 七窍玲珑 still means "clever and quick-witted."

now... 窍 can mean "opening"—but another way to say so could be 眼 / eye (or, "hole"). that is, we can draw a near-equivalency between 七窍玲珑心 / lit. seven-chambered heart and 多心眼 / lit. many heart's eyes; an overabundance of concern...

in particular, 多心眼 (or to say that someone 心眼多) not only implies wit and sharpness (i.e., "having a lot of thoughts"), but also some level of cunning and shrewdness. that is, to be "mindful of many things" means one is "considering of many things" and "calculating."

hence, returning to Mu Sheng's explanation: humans are crafty, always thinking of a hundred other variables and planning another hundred steps ahead. (that's why humans betray and deceive and hurt one another...)

but yao are simple.

yao don't have so many of these excess considerations. if they are hungry, they will seek to feed. if they are hurt, they will fight back. if they are scared, they will hide. if they are cared for, they will respond with equal gentleness.

in other words: yao are not human.

and this distinction is what made so many classic xianxias and yao-centric stories so compelling (think 白素贞 Bai Suzhen from the romance folktale 白蛇传 White Snake Legend).

to discuss our beloved 慕声 Mu Sheng as an example: it can be easy to say he has a jiejie-complex or is almost yandere-like about 慕瑶 Mu Yao, but we have to remember that as half-yao, he doesn't operate on the same frame of reference as humans. Mu Yao is the one person who has been consistently kind to him since he was young, and so he will reciprocate that kindness to (human standards of) extremity. likewise, when our cutie-pie 凌妙妙 Ling Miaomiao regards him with kindness, Mu Sheng will feel inclined to answer that with affections a hundred or a thousand times stronger.

though he grew up among humans, Mu Sheng's yao half should not be forgotten. humans may be fickle in their feelings; but yao (in general) will not be. once they have found someone worth their affections, they will love fiercely and to a terrifying degree. you can also understand it as yao not necessarily posessing the same understanding of 分寸 / "propriety" that humans do.

so, again, yao are not human—and that is why their stories have always been so compelling to us. we place limits on our conduct and behavior for a variety of socially-imposed and learned reasons, but yao as an imperfect reflection of our human selves allow us to live out our "fantasies" of extremity.

i think the new era of xianxias have largely traded that yao-human distinction for other things, like eye-catching CGI, flowy costumes, and the three lives, three worlds formula—which are, of course, not inherently bad.

YYXH itself is part of this new chapter of storytelling/the genre of xianxias after all (esp. given its existence as a 古偶), but that is ultimately precisely why it stands out so much to me.

is it the first or only xianxia in recent years to show that yao are nuanced? that yao are neither all good nor all bad? — of course not!

but i think it is undoubtedly among the very, very few in recent years that has successfully portrayed just what it is that makes yao so uniquely compelling. and that is due in large part to both strong writers (who also did 《苍兰诀》 Love Between Fairy and Devil) and strong actors.

in short, YYXH feels like a labor of love. love for the original 《黑莲花攻略手册》 novel; love for the xianxia genre; love for storytelling, in an era driven by capitalistic cash-grabs and the ruthlessness of c-ent.

the reality of that is up for debate, but as one individual viewer, i want to say that this drama has made me very happy. it is both respectful of and pays homage to the yao of classic xianxias.

and to be able to share and enjoy that cultural artefact—something that is so uniquely and immutably Chinese—with others, is something that brings me a lot of joy. ✨

[csarracenian]

周穆王谒见西王母

or, King Mu of Zhou meets Queen-Mother of the West

Xiwangmu (Queen Mother of the West), according to Shanhaijin, is a goddess of the Kunlun mountains, with leopard's tail and tiger's teeth, wearing sheng (胜)-ornaments on her tangled hair, commanding the Calamities and Pestilence of Heaven, and the Five Destructive Forces.

《山海经·西山经》：西王母其状如人，豹尾虎齿而善啸，蓬发戴胜，是司天之厉及五残。

[ryin-silverfish]

Is it true that xiwangmu is described as a tiger? or like a wild animal or Yaoguai? Can you please talk more about her?

Her earliest depiction in the Book of Mountains and Seas is a half-human, half-beast goddess, yes.

In 西山经, she was said to be "human-like", but has the tail of a leopard, teeth of a tiger, and is good at roaring. She is also in charge of natural disasters, plagues, and punishments.

Another passage from 大荒西经 mentioned a god with human face and the body of a tiger on Mt. Kunlun...next to the "QMoW with leopard tail and tiger teeth".

Here are some depictions from (much) later illustrated versions of the Book of Mountains and Seas:

However, the Book of Mountains and Seas is a collection of pre-Qin myths and legends, and by the Han dynasty, QMoW had evolved into a fully human goddess, able to grant immortality via elixirs, and interacted with human emperors like King Mu of Zhou + Han Wudi in stories.

Here is her depiction on Han dynasty grave reliefs. Though QMoW was accompanied by a dragon and a tiger in those artworks, she herself looked like an aristocratic human woman.

[princessfromthelandofporcelain]

Chūkei fan with the Queen Mother of the West and King Mu of Zhou (obverse) and a plum tree and young pines (reverse)

Japanese, Edo Period, first half of the 19th century

ink, color, gold, and gold leaf on paper; bamboo ribs and lacquer

Metropolitan Museum of Art

[baoshan-sanren]

best cdramas I’ve watched since the last one of these posts in 2023 (and some I’m still looking forward to seeing)

A League of Nobleman (watch on WeTV VIP | watch on AppleTV | watch on Viki | watch on bilibili | watch on YouTube) Adapted from the novel "The Mystery of Zhang Guo" (张公案) by Da Feng Gua Guo (大风刮过) starring Jing BoRan, Song WeiLong, Hong Yao, Guo Cheng and Wang Duo. Definitely gay, but in like a very focused, we-have-a-mystery-to-solve way. Loved the acting and the plot; cannot believe people actually gave Song Weilong shit for his acting in this drama. He was aMAzing. The downside is that the editing grew progressively sloppier as the drama progressed, and although majority of the visuals were very satisfying, I never realized how crappy the quality of the light was until I tried gifing some of the scenes. The upside is Jing BoRan holding kittens. Enough Said. 7/10

The Blood of Youth (watch on Viki | watch on YouTube) Adapted from the novel "Shao Nian Ge Xing" (少年歌行) by Zhou Mu Nan (周木楠) starring Li HongYi, Liu XueYi and Ao RuiPeng. Love this goddamn drama. I adopted the entire cast within the first 3 episodes and then I spent the next 37 terrified that half of them would get killed off. There’s def some major character death in this drama my chickens, so keep that in mind (and not a canonical death either, from what I understand). Anyway, this is my fave genre by far so I’m never really picky, but this drama is exhilarating and gorgeous from beginning to end. Highly recommend. 9/10

New Life Begins (watch on iQIYI | watch on Viki | watch on YouTube) Adapted from the web novel "Qing Chuan Ri Chang" (清穿日常) by Duo Mu Mu Duo (多木木多) starring Bai JingTing and Tian XiWei. Just sweet and fluffy. The plot is easy and devoid of complexities, but very satisfying nonetheless. The acting is definitely on another level. The entire cast has bonkers chemistry, and it’s about time someone made good use of Bai Jingting’s comedy potential. One of the top 5 easy viewing dramas on my rewatch list.  8/10

The Legendary Life of Queen Lau (watch on Viki | watch on YouTube) Adapted from the web novel "Huang Hou Liu Hei Pang" (皇后刘黑胖) by Ge Yang (戈鞅) starring Li JiaQi and Li HongYi. Loved this. Although it doesn’t shy away from difficult subjects, this is basically a comedy from beginning to end. Not gonna lie, I mainly gave this a go for Li Hongyi, but it’s hard to even notice him when Li Jiaqi is in the room. There’s no shame in being overshadowed by superior talent :) 7/10

(yeah, after all this, I rewatched Nirvana In Fire again)

Under the Microscope (watch on Apple TV | watch on Bilibili | watch on iQIYI VIP | watch on Viki) Adapted from the novel "Xian Wei Jing Xia De Da Ming" (显微镜下的大明) by Ma Bo Yong (马伯庸) starring Zhang RuoYun and Wang Yang. Continuously impressed by Zhang RuoYun’s skills. This drama is 90% grit and tension. Drool-worthy visuals. Interesting plot. Sound mixing that gives me a Mo Ran style boner. Make your friends watch it and they will hate you. 9/10

Till The End of The Moon (watch on YouTube | watch on Apple TV | watch on Viki) Adapted from the web novel "Hei Yue Guang Na Wen BE Ju Ben" (黑月光拿稳BE剧本) by Teng Luo Wei Zhi (藤萝为枝). Starring Luo Yunxi and Bai Lu. This was so breathtakingly gorgeous. The chemistry between the actors, the visuals, the special effects, the costumes, everything is stunning in this drama. The romance is by no means original, but still manages to draw you in. Absolutely worth watching at least once. 8/10

Still waiting on:

Immortality - based on danmei novel The Husky and His White Cat Shizun by 肉包不吃肉 starring Chen Feiyu and Luo Yunxi (you can think I’m a clown but you’d be wrong bc I’m a wholeass circus)

Winner Is King - based on the danmei novel Sha Po Lang by Priest starring Tan Jianci and Chen Zheyuan

Step By Step Lotus - based on historical novel Return to Ming Dynasty as Prince by 月关 starring Zhang Binbin and Luo Yunxi

Eternal Faith - based on danmei novel Heaven Official’s Blessing by Mo Xiang Tong Xiu starring Zhai Xiaowen and Zhang Linghe

Joy Of Life Season 2 - based on wuxia novel of the same name by 猫腻 starring Zhang Ruoyun and Li Qin

Story of Kunning Palace - based on the novel 坤宁 by 时镜 starring Bai Lu and Zhang LingHe

Flying Phoenix - based on danmei novel of the same name by 風弄 starring Dai Jingyao and Shu Yaxin

The Story of the Bat - based on danmei novel Bat by Feng Nong starring Mao Zijun and Zhang Yao

The Longest Promise - based on xianxia novel Zhu Yan by 沧月 starring Xiao Zhan, Ren Min, and Zhang Yunlong

Mysterious Lotus Casebook - based on wuxia novel 吉祥纹莲花楼 by Teng Ping 藤萍 starring Cheng Yi and Zeng ShunXi

Follow Your Heart - historical drama starring Song Yi and Luo Yunxi 

The Thirteen-Hongs in Canton - historical drama starring Zhu Yawen and Yu Haoming

White Cat Legend - based on manhua of the same name starring Ding Yuxi and Zhou Qi

[catmaid-san]

Reading Daomu Biji as a non mainland Chinese would make you feel like, "Why so racist?"

But actually, NPSS might not be as racist or eccentric but in fact, truly a good writer who understood the way his characters and their setting would think.

The somehow racist part of Daomu Biji, perhaps is the subtle prejudice about their own Ethnic Minorities and the subtle Han Chinese supremacy, and unsavory comments about their bordering countries.

But If you're looking at it from the characters' POV, meaning, from a (somewhat average) mainland Chinese dude, it's actually quite natural. That's what they get from their history and the information from their media.

The way Daomu Biji put any extreme culture, such as sacrifices etc, to Ethnic minorities is actually quite justified, since in other countries too, that's what happened. And it's also quite logical or accurate, historically. Even today, some ethnic minorities are still continuing their "strange" customs. So it's not entirely racist.

In fact, Daomu Biji also wasn't merciful to their own Han Chinese ancestor's past incident. For example, by telling that King Mu of Zhou was fabricating history. Instead of being warmly welcomed by XiWangMu, he's actually there to invade but failed. In embarrassment, he fabricated history about him being entertained in XiWangMu's territory.

Next, the beef with other countries.

But in reality, it's not just Chinese, but other countries' citizens too, in Asia, particularly, would have beef with their bordering countries. And some (rather uncultured) people would also call them using nicknames. For example, in JP media, we often see how the Yakuza are always either connected or having dispute with Chinese Mafia. In SK media, we often see their Mafia connected or in a hostile relationship with Yakuza. In China too, their Mafia/other underground forces would often either connected or have enmity with Vietnamese Gangster.

In Daomu Biji, we can see that Wu Xie 's perspectives would always go neutral. Either citing the history or telling the informaiton that was told in China to general public like Wu Xie.

Pangzi or Pan Zi, on the other hand, are characters who aren't as "cultured" as Wu Xie. So their POV would often be quite racist. And that's actually rather in character and accurate, considering their background and character setting.

This, also applied to XiaoGe or Men You Ping. We can see that someone like him who cares a shit about the world, will turn out to never give zealous Han Chinese supremacy or racist comment about anything or anyone.

Surprisingly, Daomu Biji actually also isn't subtle to the actions of their Han Chinese or the past action of their government. For example, whenever the book was discussing about various people who smuggled Tombs goods overseas, the book didn't try to gloss that even among Han Chinese there were people like that. There's also when the book was describing the cruel reality during the purge of Superstitious and Religious forces in China, to strengthen their government's influence. At that time, people didn't even dare to say they know a little about Chinese ancient divination technique (Qimen Dunjia) for fear of being arrested or worse, eliminated. But most of all, Daomu Biji too, isn't merciful when it came to the protagonist's perspectives. The book isn't trying to beutify or justify Wu Xie's actions as a grave robber throughout.

But what I want to say is that, Daomu Biji is a series written from the perspective of (quite) average Chinese citizens, who aren't Overseas returnee (to be able to see more perspectives from the global history or information other than their government propaganda). While some topics were probably quite sensitive, but if you stop for a second and consider where they're taken at, you will understand why the Author wrote it that way.

[sillykitsuuuu]

CHARACTER INTRODUCTION:

" 我的名字是偉豪。" [ " My name is Weihao. " ]

Weihao is a demon slayer OC aka the Blood Hashira! He uses a fan as his weapon ^0^!!!!! Weihao’s spouse is Keiko Hasegawa (or another spouse of Tengen’s wives… im still working that out)!

his design was partially inspired by chinese dramas, Li Shang from Mulan, and a teensy bit by Mu Sheng/Ziqi from Love Game in an Eastern Fantasy/How to Catch a Black Lotus

Weihao is seen as a drama king, similar to Howl from Howls Moving Castle— a bit emotionally constipated and won’t admit his feelings super easily much like Zhou Chuan (Moonlight 2021) ^_^— although Weihao is much more like Tengen in terms of enthusiasm and flashiness

btw keiko’s the girl with the cat ahh ears

weihao whines over to smallest things -_-

“Not Drama King but Savior” - Keiko a teensy tiny reference to moonlight

we dont like keiran (angel) in this household

ill work on more introductions for my ocs later :) this is one of my newest ocs… i have way more though— i guess it would be best to introduce who keiko is next but i wanna show the Fujimoto family too :( please lmk which one would be cool!

eat, drink, and rest well, little kitsunes~~

[lunanoc]

so probably against what should have been my better judgment, i went ahead and actually wrote “meta”, except it’s only borderline meta because it ends up veering off into crack theory territory and is also insanely long, but i figure since it’s now too long to be posted as a discord liveblog like it was supposed to be, i might as well just. post it here (in several parts because no one wants a 10k post lbr)

disclaimer: i like to be transparent about where i’m coming from, so just know that i have not finished reading all the books yet. currently i’m practically through everything, books and extras included, up until and including sand sea part III, so anything i talk about relating to that is my own reading experience. i’ll sometimes reference later books i’ve either read snippets of, or talked about with people who have (and verified the information as best as i could), but because i lack full context for those, any mentions of those elements are automatically grain of salt and relegated to crack theory. for everything i have read that i can grab quotes for, i’ll be providing clear references to the specific chapters of the books they’re from

also, blanket spoiler warning for the books

but that being said, let me actually get into this thing:

king shang of lu, the iron-masked gentleman, king mu of zhou, the queen mother of the west, how they’re connected, who they might be, and what that could mean for the larger dmbj narrative

PART I: KING SHANG OF LU AND THE IRON-MASKED GENTLEMAN

writing this shaved years off of me, the rabbit-holing was insane, and there’s still no clear answers in the end but welcome to the ride i guess

starting off here, the problem with these two characters is that we have conflicting information about them from three different sources that all give a different version of the same story, all of which are various degrees of dubious for different reasons. and you could say ok but really, who cares i do apparently about these two because in the larger plot they don’t really amount to much in the end

BUT

given both the things we learn by the end of sand sea (and elements that pop up in later installments) about all the various parties involved in what’s essentially a subplot, and the fact npss goes into so much detail with such a deliberate throwback to something all the way back in the first book, i don’t think the fact that the various versions of the story of king shang of lu sometimes blatantly contradicting themselves is a mistake, but is rather proof of deliberate obfuscation of the truth. npss tends to like revisiting sometimes seemingly anecdotal or trivial things from previous books to connect them with a subsequent revelation, or open the door to a different interpretation of them, so that he’d do it here isn’t all that surprising to me

the three versions of the story of “the emperor” (or the ruler of the state of lu), king shang of lu, and the iron-masked gentleman we get are, in order of appearance:

version 1 from a silkbook found in the purple jade box in “king shang of lu”’s coffin (Book 1, Ch. 26, Purple Jade Box)

version 2 from xiaoge himself who gives an opposing account to the previous one that he supposedly read from a warring states period silkbook he found in a song dynasty tomb (Book 1, Ch. 26-27, Purple Jade Box / Lies)

version 3 from the powerpoint lesson given by the wang family to li cu (Sand Sea Part III, Ch. 132, 133, 134, Lesson / King Mu of Zhou / Deception)

the first two accounts are both from book 1 and immediately follow each other, but neither of them quite fit with the last one, or at least it would seem so. you could argue this is simply because book 1 was when npss was still trying to figure things out both with his plot and characters, so the final account given by the wang family is a retcon, and while that’s always possible, like i mentioned, npss likes to connect things and tends to either incorporate these kinds of seemingly obscure and irrelevant details for a reason, or simply retroactively fleshes them out to revisit them at a later date and shed a new light on the bigger picture. so it’s more the fact we just don’t know which things he implements deliberately from the start and which ones he ties back to retroactively, but in the end seeing as the result is the same it doesn’t matter much. what does matter is that he does it pretty consistently, so it’s safe to assume he’s also doing it with this particular story (side tangent, but i like to think that npss has shown he’s a big fan of something called chekov’s gun and no i won’t elaborate on that or else i’ll be here for hours but google that if you’re interested it’s fun)

so tldr; i basically just want to argue that by intentionally bringing back this story with obvious divergences, it might be a way to shed light on something else that informs king shang of lu’s story while placing it as a puzzle piece in the bigger picture of dmbj lore

but let’s break down those three different accounts of the story of king shang of lu

the first account

i’m going to tldr; most of these for the sake of clarity, but i’ll be referencing the various chapters all these bits are taken from if you want to verify any of it

technically the first real account of king shang of lu’s story we get is what’s written on the stone slab in the hall with all of the coffins in the seven star palace that says that he was “born with a ghost seal and could borrow ghost soldiers from the underworld” (Book 1, Ch. 10, Shadow), but i’m not counting that as a full-blown version of the story because it’s not dwelt on all that much and mostly serves as a preamble for pangzi to later posit to wu xie that it’s a bunch of bs and was probably just an exaggeration meant to mythologize king shang of lu given that the tomb itself is a weird anachronistic mix of western zhou and warring states architecture (which is an important argument but maybe not for the reasons you’d think)

so i consider the first fleshed-out version of king shang of lu’s story we get to be the one wu xie reads off of the silkbook he and wu sanxing pull from “king shang of lu”’s coffin, and is one that very quickly gets debunked within book 1 itself multiple times, so while it may seem easy enough to write off, it’s not so much what it says that’s interesting, but rather why it exists in the first place

this version of the story essentially relates the life and deeds of king shang of lu, recorded on what’s supposed to be a warring states period silkbook pulled from the man’s own coffin. it talks about how he inherited his title from his father and was a lowly grave robber lord who was cruel and greedy, and how one day he gained from a snake demon/spirit in a tomb he excavated “two treasures” in a “purple and gold box” (this will be important later) which are never explicitated, although wu xie speculates one of those treasures to be the ghost seal as its acquisition is directly mentioned in the text. the snake comes to king shang of lu in a dream and promises to make him a high-ranking official and teach him how to use the treasures in the box if he spares its soul (he doesn’t). and so king shang of lu becomes a military officer under the command of the “emperor” of the state of lu. in his later years, however, he starts to get old and sick, and so the “emperor” demotes him back into being a lowly grave robber, and he starts to fear death, so king shang of lu goes to his military advisor, the “iron-masked gentleman” or 铁面先生 tiemian xiansheng, in search of a solution. the iron-masked gentleman then tells him that something called jade burial armor, a treasure from ancient times, exists, and that it can keep someone young forever. so king shang hunts and hunts and scours tomb after tomb until eventually he finds a western zhou dynasty tomb which will later become the seven star palace where he discovers a corpse wearing the famed jade buriam armor. iron mask takes the corpse out of the armor, subdues the blood zombie it turns into, and then helps king shang of lu fake his death in front of the “emperor” so he can be buried in the tomb he built for himself on top of the western zhou tomb he’d found (Book 1, Ch. 26, Purple Jade Box)

however

this version is quickly debunked twice in pretty quick succession, and then a third time a bit later, still in book 1, but before i get to that, a few extra little details i want to point out:

to be fair literally no one (who doesn’t speak chinese and is reading the original text anyway) would be able to guess either from the translation or merebear’s footnotes that “iron-masked scholar/gentleman” or 铁面先生 is not in fact necessarily meant to be taken literally. it’s partly an idiom. 铁面 tiemian is an expression that can mean “someone who is upright in character”, in other words someone with a positive reputation. so this man isn’t necessarily implied to have worn a mask at all (i think he did, but that’s also for later)

the purple and gold box that’s mentioned in this version of the story is the one wu xie finds in the hands of the corpse of the green-eyed fox (who’s also wearing the belt that has the qilin blood clot wu xie accidentally swallows can you believe, which is also another detail for later) that’s accompanied by a key in the corpse of a woman next to it (Book 1, Ch. 22, The Eightfold Treasure Box)

the second account

before we get into the first version of the story more, let’s briefly take a look at the second one. the first version of the story is first debunked by the second version of the story which is told in abridged format by xiaoge pretty much right after wu xie finishes reading the silkbook. he says that the silkbook’s account is incorrect because the person in the jade armor isn’t king shang of lu, but iron mask who faked his own death in order to escape the systematic execution king shang of lu enacted on all the people who knew about and/or helped build his tomb. he then snuck into the seven star palace and disposed of king shang of lu’s body before taking the jade armor for himself

xiaoge explains that he found this story in a song dynasty tomb he’d robbed a few years ago that contained a complete silkbook that turned out to be iron-masked gentleman’s memoirs (Book 1, Ch. 27, Lies). and you’d be inclined to believe this version of the story over the first one because it’s xiaoge telling it, and xiaoge usually isn’t one for intentional deception unless it serves a purpose, even less so if it’s verbal deception (literally the only time i can think of him openly lying rather than lying by omission is when he disguises himself as professor zhang). except even this version is called into question multiple times. the first time is by wu xie himself, who while choosing not to confront xiaoge about it, senses that xiaoge seems uneasy when wu xie presses him on the point that if it’s true that two people were pulled out of the jade armor in that tomb, then why is there no second blood corpse. xiaoge answers that he doesn’t know because iron masks’s memoirs only mention it briefly, and that maybe king shang of lu was pulled out early enough that he didn’t turn into a blood zombie. technically there’s the mummified body they find in the sacrificial ding cauldron next to the coffin with the monster at the entrance to the seven star palace whose head is cut off that could fit that description (Book 1, Ch. 9, Ancient Tomb), but in any case xiaoge according to wu xie looks like he’s lying. the second time this version is refuted is by wu sanxing, but i’ll get to that when i get back to the first account and how it also gets debunked

arguments against the second account 

i already mentioned xiaoge isn’t typically someone who’s into overt deception as a course of action unless it’s strictly necessary (and even then). it’s always possible he was either acting on a compulsion from the heavenly gift or under some order from chen pi ah si (since he was working for him at the time, even if i doubt this to be completely honest) or even something else, so it’s mostly my own assumption that he’s not actively deceiving them by fabricating a story, because xiaoge’s deception usually relies on omission rather than a concentrated effort at producing an elaborate lie. so really, the only fact we can be certain of is that he has an “uneasy look in his eyes” when he talks about the lack of another blood corpse, and that wu xie gets the impression he’s lying, which is a sentiment wu sanxing apparently shares because they look at each other in that moment and silently agree. whether this means xiaoge was *actually* lying, or that wu sanxing was taking advantage of xiaoge’s unease to further his own deception (re: arguments against the first account i’m getting to in a bit) is really up in the air

however

i’d like to think if xiaoge was lying and there was nothing more to it than that, he wouldn’t make it so apparent that that was the case given he only ever really projects visible upset or discomfort at anything when it’s related to his memories or lack thereof, and only much later in the story does that start to extend to allowing himself moments of vulnerability, or just his own brand of open concern for wu xie and pangzi. but this is all happening in book 1 where wu xie, as perceptive as he is about people, doesn’t know xiaoge yet, and so doesn’t know his tells. therefore that he can tell xiaoge is visibly emoting when it’s xiaoge is noteworthy in itself. also, given that book 1 takes place at a time when xiaoge’s memory was still very much lacking and fragmented, and he was likely still working for chen pi ah si partly to search for his memories, i wouldn’t be surprised if his unease was visible because the confrontation of both the first and second versions of the story started triggering his memory in some capacity, or it might have even triggered the heavenly gift senses into letting him know that there was something of importance in these stories since the particular episode of it he’s going through at the time gets a bit fast-forwarded from the seven star palace onward seeing as not too long afterwards xiaoge goes into the gate at the end of book 3

something else that’s worth mentioning is the logic behind these memoirs of iron mask even existing. why it would be in a song dynasty tomb is up for debate and probably irrelevant (although it does to be fair align with king mu’s motives of perpetuating grave robbing for deliberate dissemination of information), but mostly i question how he could have written his memoirs if he faked his death and slipped into the jade armor himself shortly after, unless he waited a significant amount of time before doing so and lived his life in hiding, which is also possible given there’s nothing more we know about him. but more food for thought

arguments against the first account

let’s go back to the first account from the silkbook for a bit and take a look at the other two times besides xiaoge’s second account where this version is debunked:

the second debunking comes from wu sanxing as he and wu xie are waiting around in jinan while panzi is in the hospital, and wu sanxing comes back outraged bc when he tried to have the silkbook they brought back from “king shang of lu”’s coffin, he was apparently told it was a forgery because the gold in it was too pure to have dated back to the warring states period, and so was necessarily more recent, though how recent is never specified (Book 1, Ch. 29, Purple-and-Gold Box). he then suggests to wu xie that he thinks it’s xiaoge who snuck into the tomb ahead of them, and with his skills successfully planted a dupe to trick them. i’ll get back to this eventually, but again, while it’s not impossible, it feels unlikely to me that xiaoge would extend so much effort in deception unless it served a clear purpose he agreed with, which is why i’m not convinced he would have blindly been following orders from someone like chen pi ah ai. and xiaoge would likely not have gone to the trouble of making a fake silkbook either, so the idea would have to have come from chen pi ah si, which then brings into question what motive chen pi ah si would have had to go to such lengths to deceive wu sanxing. again, really the only time we ever see or hear of xiaoge making an effort at deliberate deception is when he disguises himself as professor zhang, and while we never get an explanation for the reasons behind that, that’s more likely to have stemmed from feeling like he had to conceal his identity rather than wanting to deceive if that makes sense. in any case, i don’t know what tangible reason xiaoge would have had to deceive wu sanxing and his team with a fake silkbook even if he’d been acting on chen pi ah si’s orders, because would chen pi ah si have had a reason to go to the effort of creating a fake silkbook to deceive wu sanxing with details so specific that you quite literally have to have been in that tomb before to know them?  

the third debunking of the silkbook version is ironically a reverse uno from xiaoge directed at wu sanxing when he, wu xie, and pangzi are stuck in wang zanghai’s tomb in xisha (Book 1, Ch. 63, Chain). xiaoge’s just recovered a massive amount of his memories related to the first xisha expedition, and very bluntly tells wu xie that not only is the silkbook from the seven star palace a fake, it was wu sanxing who planted it there. to which wu xie obviously responds with “wtf no you did”. to which xiaoge then replies completely deadpan as he does with “no, it was your sanshu, he and da kui dug a hole under the tree to do it, probably why da kui had to be silenced”. which leaves wu xie very torn about what and who to believe. and mind you this is also a little before they find the inscription on the wall from “xie lianhuan” accusing wu sanxing of murdering him. honestly it’s possible xiaoge is telling the truth if you consider that wu sanxing might have planted a fake if he knew ahead of time what the silkbook contained, what the seven star palace was, and basically faked his own way through the entire thing

it wouldn’t necessarily surprise me because he does sound very pretends to be shocked in the delivery of many of his remarks (but again, how much of that can you attribute to this being book 1), and while he did bring wu xie along because he was trying to ease him into the game with the wangs, it’s possible he was prudent enough that he would have made wu xie’s first tomb experience take place in a somewhat controlled environment. which doesn’t mean he’d necessarily been there before, just that as entrenched in the wang shit as he is, i wouldn’t be surprised if he’d known even vaguely what the seven star palace represented and what could be found in there. he did know about the snake cypress and about the stone used to subdue it, and while that doesn’t necessarily mean anything seeing as wu sanxing is a highly experienced tomb robber, it’s worth noting that the only times we’ve ever seen those trees is in the seven star palace and in the snake mine in gutongjing. in other words, always somewhere connected to longevity and The Secret and all the parties involved in that power struggle

but then again, we don’t really know how much wu sanxing knew about the wangs and the zhangs etc, so it’s all very up to interpretation. if he did in fact plant the fake silkbook though, it might have served the purpose of making sure there was something to string wu xie along to push him towards xisha and the conspiracy, but the copper fish ended up serving that purpose in the end. nothing really elaborates on this silkbook again, so we don’t know why xiaoge would speculate that wu sanxing was the perpetrator, unless it was because he’d just recovered his memories of xisha (but even then xiaoge doesn’t accuse people so firmly based on impression alone) or he literally saw wu sanxing do it

regardless of who did it, the bottom line is that it’s safe to say the silkbook was probably fake and was placed there intentionally, both because as wu sanxing points out, it is suspicious that wu xie would conveniently only be able to understand what happened to be key portions of the silkbook relating parts of king shang of lu’s life, and because it mentions the purple and gold box in it, which when opened, wu xie discovers contains the first snake-eyebrowed copper fish

to me this actually pushes suspicion more heavily onto two parties in particular: wu sanxing and the wang family. because to be able to forge a silkbook that would specifically contain passages tailored to wu xie’s knowledge of old chinese and not run the risk of him either knowing more or less than speculated, you would have to have extensive knowledge on wu xie as a person on a personal level. and to be fair, this idea hinges a lot on the silkbook being put into that coffin for wu xie specifically ti find, so i’m working on assumptions again, but if this were the case, then only wu sanxing and the wangs qualify to fill that role, and in some ways the wangs even more so because this kind of covert manipulation is very much the way they do things. xiaoge would not have known wu xie to that extent in book 1, if at all, and while wang zanghai himself is a tempting possibility, he was obviously in the seven star palace long before any of this took place, so it can’t be him. in fact, the only thing that ties wang zanghai to any of this at all is the purple and gold box containing the copper fish, since whether or not the box had originally been there and he simply emptied it of its contents or brought it in from outside, he’s the one who placed the copper fish in it

as to why if it was wu sanxing who planted the fake silkbook he would shift the blame onto xiaoge, my theory on that would be that xiaoge was another convenient means of stringing wu xie along into the xisha expedition mystery by virtue of him being zhang qiling and therefore both highly mysterious and suspicious, as well as personally involved. part of me wonders if part of the reason wu sanxing went to chen pi ah si to hire xiaoge specifically because he was added insurance that he would have the means to trigger wu xie’s curiosity, and provide a first clue to lead him into the It conspiracy. wu sanxing did use the picture of the expedition team to explicitly tie xiaoge into it along with the copper fish story, so there’s that to consider

the third account

which finally brings me to the final version of the king shang of lu story, which is the one given to li cu during the wang family powerpoint lesson. this particular version also overlaps with the story of king mu of zhou and the queen mother of the west, but i’ll get to in another part of this meta. so this version of the story is mostly ironically both the version that most blatantly contradicts the first two, while also being the version most accurate to the tiny introduction we get to king shang of lu at the entrance of the seven star palace that says he was “born with a ghost seal and could borrow ghost soldiers from the underworld”. the only real issue with that this third version has it’s told by the wang family to li cu, so just by virtue of it coming from obvious wang propaganda, it’s immediately suspicious by nature

going back to speculations about who planted the fake silkbook version of king shang of lu’s story in the seven star palace, it then also raises the question of, if the wangs were the ones who did it, what motive they would have had not only to do so, but to tell the story in that particular way, only to then tell a completely different one to someone they consider a candidate to join them. in my opinion, the only thing that makes this third version hold water is that given how it’s explained to li cu, and how wang xiaoyuan (the girl who passes by the window during the lesson) has the same version of it, the wang family believes this version is true, and by virtue of that, it gains a little more credibility, bc suspicious as they are and twisted by their own biases their version of history may be, the wang family is nonetheless well-informed for the most part. not to mention because the narrative has the wang family consistently mirror the zhang family and the way they function so perfectly it’s almost eerie, it stands to reason that the wang family also dabble in historical revisionism when they can, so putting out a fake version of history onto a fabricated silkbook seems up their alley

i’ll get into king mu of zhou separately because that’s a whole other can of worms, but this final version of king shang of lu’s story begins between the “emperor” of the state of lu and his advisor, the owner of a fox mask “with ancient patterns that often appeared on bronze ware” (Sand Sea Part III, Ch. 132, Lesson). the “emperor” asks his advisor “around 1000 BC” (fyi the original says 一千年上下 which amounts to “around 1000 years” but it’s more of an approximation and can technically encompass the warring states period too) as a hypothetical whether or not it’s possible “to prevent people from dying”, to which the advisor answers that he himself doesn’t know how, but he does know where to find something that can “beneath the loess inside the mountains”. he then goes on to tell the tale of king mu of zhou to the “emperor”, and of how he was given an elixir of immortality by the queen mother of the west that he likely hid inside of his tomb centuries ago

it very quickly becomes apparent to the reader that this story is an obvious ploy by the owner of the fox mask, who in sensing that the “emperor”, while tempted, is reluctant to cast all appearance of morality aside to deploy his troops to rob king mu of zhou’s grave, calls a “strange man” to the court who’s “believed to be a descendent of the zhou emperor” (that is to say king mu of zhou) “who was able to communicate with the underworld”. the ruler of the state of lu thus gives this “strange man” a jade seal and seals him in an iron coffin deep in a well for 49 days, saying that if he can come back up from it with the ghost seal in hand after having successfully spoken to king mu of zhou, then it would be proof of king mu granting him permission to rob his tomb and take the immortality elixir from it. and so this “strange man” does, in fact, come back, not only with the ghost seal in hand, but with an imperial edict written by king mu of zhou himself that granted him the title of king shang (殇 shang meaning to die young or at war) as well as all the contents of his tomb

the ruler of the state of lu then uses this to make several leaps in logic to justify being in the right if he deploys his troops to rob king mu of zhou’s tomb, because if this “strange man” can communicate with the underworld and was given a title relating to dead people, then surely that means that this strange “king shang” is likely dead himself, and that king mu of zhou chose him as his heir after he’d died. it’s a very convenient out for the ruler of the state of lu to say that he’s only helping an esteemed deceased elder to recover his birthright if he makes him a general and lends him troops to go find king mu of zhou’s tomb (Sand Sea Part III, Ch. 133, King Mu of Zhou)

it’s also quickly obvious to the reader that the owner of the fox mask and this newly minted king shang of lu are in fact working together, given it was the former who referred the latter to the state of lu’s court in the first place, which is something i’ll come back to in another part of this meta. from here, under the ruler of the state of lu’s orders, king shang and the owner of the fox mask, together with more grave robbers who also wore fox masks (as according to the wang family, foxes would live in graveyards and grave robber’s tunnels at the time, and so grave robbers associated their imagery with the profession), began their search for king mu of zhou’s tomb and the immortality elixir it supposedly contained. while this version of the story of king shang of lu more or less ends here, you could assume the rest of it might follow along the same lines of the first two versions, and maybe it does. you’d then assume that the person king shang and the owner of the fox mask (who’s by then inferred to be iron mask from the previous two versions) find in the western zhou tomb is king mu of zhou, who they then divest of the jade burial armor to take for themselves

however, one very important detail in this version compromises this assumption: king mu of zhou isn’t actually dead, and he thus gave king shang the edict personally (Sand Sea Part III, Ch. 134, Deception). what this means is that the ruler of the state of lu was duped presumably not by two, but three people, all of whom were working together to find the jade burial armor for who appears to be king mu of zhou. in other words, where the other two versions of the story have two key players, this final version suddenly introduces a third one, and that changes things. how much it does is what i’ll be getting into in the next part on king mu of zhou more specifically

(tbc in part II and part III of this madness)

[thelaithlyworm]

[ID Wu Xie from the movie Time Raiders, putting on the heavy iron mask of an ancient feng shui scholar. End ID]

Chapters: 2/2 Fandom: 盗墓笔记 - 南派三叔 | The Grave Robbers' Chronicles - Xu Lei, 盗墓笔记 | The Lost Tomb (TV 2015), 盗墓笔记2之怒海潜沙&秦岭神树 | The Lost Tomb 2: Explore with the Note (TV 2019), 盗墓笔记2之云顶天宫 | The Lost Tomb 2: Heavenly Palace on the Clouds (TV 2021), 终极笔记 | Ultimate Note (TV), 沙海 | Tomb of the Sea (TV) Rating: General Audiences Warnings: No Archive Warnings Apply Relationships: Iron Mask Scholar & King Mu of Zhou Characters: Iron Mask Scholar, Lushang-wang, King Mu of Zhou (DMBJ) Additional Tags: Meta, History, Conspiracy Theories, Identity Porn, (this one is short i swear) Series: Part 16 of DMBJ Meta Summary:

Okay okay okay, I wrote a version of this with quotes and chapter references but it’s quite long so I suspect not many people have read it. (No judgement, I know it’s long, I feel it.) But this definitely is something I want to talk about, so I’m doing a paperplane version as a taster.

Ch 1: The King Mu of Zhou | Iron Mask Scholar Theorem Ch 2: The Wu Xie Corollary

Xie Yuchen: So, replacement is another form of immortality. The immortality of an identity. Wu Xie, you have no choice.

(Ultimate Note, Ep 36)

[bookofjin]

Origin of the Western Qiang, Part 2 (HHS087)

[The history of peoples collectively known as Rong from the end of Western Zhou until the destruction of the Yiqu kingdom by Qin in 272 BC.]

During King Yi [of Zhou, r. 885 – 878 BC] there was decline and weakness, and the Wild Domain did not come to court. Therefore he instructed the Duke of Zong to lead the Six Regiments and attack the Rong of Taiyuan. He arrived at Yuquan, and captured a thousand horses.

King Yi was King Mu's grandson, his personal name was Xie

King Li [877 – 841 BC] had not the Way, and the Rong and Di robbed and plundered. They then entered Quanqiu and killed the kin of Qinzhong. The King instructed to attack the Rong, but they did not overcome.

Reaching the fourth year of King Xuan's reign [824 BC], he sent Qinzhong to attack the Rong. He was killed by the Rong. The King therefore summoned Qinzhong's son, Duke Zhuang [of Qin, r. 822 – 778 BC], and gave him 7 000 troops. He attacked the Rong and routed them, and because of that held them back a little. Twenty-seven years later [797 BC], the King dispatched troops to attack the Rong of Taiyuan, they did not overcome. Five years later [792 BC], the King attacked the Tiao Rong and the Ben Rong. The king's regiments were defeated. Two years later [790 BC], the people of Jin defeated the Northern Rong at Fenxi. The Rong people wiped out the district of the Marquis of Jiang. Next year [789 BC], the King campaigned against Shen Rong, and routed them.

Ten years later [779 BC], King You instructed Boshi to attack the Rong of Liuji. The army was defeated and Boshi died there. That year, the Rong besieged Quanqiu, and captured Duke Xiang of Qin's older brother Bofu. At the time King You was muddled and oppressive, and the Four Barbarians invaded one after the other. Thereupon he deposed the Queen Shen and installed Baosi. The Marquis of Shen was angry and together with the Rong robbed Zhou. They killed King You at Li Mountain [in 771 BC], and Zhou then moved east to Luoyi. Duke Xiang of Qin [r. 777 – 766 BC], attacked the Rong and saved Zhou. Two years later [769 BC?], the Marquis of Xing greatly routed the Northern Rong.

Reaching the end of King Ping [r. 770 – 720 BC], Zhou thereupon waned for a long time. The Rong pressured the various Xia. From Long Mountain and eastward, reaching the Yi and Luo, the Rong were present here and there. From that point, the headwaters of the Wei had the Rong of Di, Kai, Gui, and Ji. North of the Jing there were the Rong of Yiqu. In the Luo river-lands there were the Rong of Dali. South of the Wei there were the Li Rong. Between the Yi and Luo there were the Rong of Yangju and Quangao. Westward from the headwaters of the Ying there where the Rong of Manshi.

During the Spring and Autumn period, they were interspersed among the Central States, and made pacts and held assemblies with the various Xia. Duke Zhuang of Lu attacked Qin and defeated the Rong of Gui and Ji.

In the Zuo Transmittals' 18th Year of Duke Zhuang [684 BC], the Duke pursued the Rong to Jixi. In Du Yu's annotations, the Rong invaded Lu. The people of Lu did not know about, after they had left, they then pursued them. 24th Year [678 BC], the Rong invaded Cao.

About ten years later, Jin wiped out the Li Rong. At that time the Rong of Yi and Luo were strong, and to the east they invaded Cao and Lu. Nineteen years later [in 649 BC], the thereupon entered the King's city. At that point Qin and Jin attacked the Rong to save Zhou. Two years later [647 BC], they again robbed the imperial capital. Duke Huan of Qi [685 – 643 BC] summoned the various feudal lords to defend Zhou. Nine years later [638 BC], the Rong of Luhun moved from Guazhou to the Yi river-lands. The Rong of Yunxing moved to within the Wei, to the east reaching unto Huanyuan. Those located north of the Henan Mountain were called the Yin Rong. The offspring of the Yin Rong thereupon multiplied widely.

Duke Wen of Jin [r. 636 – 628 BC] wished to put in place a legacy of hegemony, and therefore rewarded the Rong and Di for opening the roads, and so succoured the royal house. Duke Mu of Qin [r. 659 – 621 BC] obtained Youyu, a man of the Rong, thereupon had hegemony over the Western Rong, enlaring his territory a thousand li.

Youyu had previously been man of Jin who absconded to enter among the Rong. The King of the Rong heard that Duke Mu was worthy, and sent Youyu to observe Qin. Duke Mu of Qin treated him with the courtesy due to a guest. Qin dispatched to the King of the Rong female musicians. Youyu admonished [the Rong King], but was not heeded. Youyu therefore surrendered to Qin and made plans for attacking the Rong.

Reaching Duke Dao Jin [572 – 558 BC], he sent Wei Jiang to make peace with the various Rong, and managed to put in place a legacy of hegemony. At that time, Chu and Jin were strong and flourishing, and awed into submission the various Rong. The Luhun, Yi, Luo, and Yin Rong served Jin, and the Manshi followed followed Chu.

Wei Jiang was a grandee of Jin. See the Zuo Transmittals' 11th Year of Duke Xiang. [562 BC]

Later the Luhun rebelled against Jin. Jin ordered Xun Wu to wipe them out. Forty-four years later, Chu seized the Manshi, and fully took their people prisoner. At that time Yiqu and Dali were extremely strong. They build several tens of cities, and both declared themselves Kings.

Xun Wu was the son of Jin's grandee Zhonghang Muzi. See the Zuo Transmittals' 1st Year of Duke Zhao. [541 BC]

Arriving at the 8th Year of King Zhen of Zhou [461 BC], Duke Li of Qin [r. 476 – 443 BC] wiped out Dali, and seized their territory. Zhao likewise wiped out the Dai Rong, which were precisely the Northern Rong. Han# and Wei then together gradually annexed the Yi, Luo, and Yin Rong, and wiped them out. Those of their remnants who escaped all fled west across the Qian and Long [Mountians]. From that point, the Central States had no Rong robbers, and there only remained the Yiqu of them.

25th Year of King Zhen [444 BC], Qin attacked Yiqu and captured their king. About a hundred years later [331 BC], Yiqu defeated the Qin regiments at Luo. Four years later [327 BC], the state of Yiqu was in chaos. King Hui of Qin dispatched the Chief of Multitudes Cao to bring troops and settle them. Yiqu thereupon became subject to Qin. Eight years later [319 BC], Qin attacked Yiqu, and took Yuzhi. Two years later [317 BC], Yiqu defeated the Qin regiments at Libo. Next year [316 BC], Qin attacked Yiqu, and took the twenty-five cities of Tujing.

Reaching King Zhao's instalment [in 306 BC], the King of Yiqu came to court in Qin. Thereupon he had intercourse with King Zhao's mother, Queen Dowager Xuan, and they begot two sons. Arriving at the 43rd Year of King Nan [of Zhou, 272 BC], Empress Dowager Xuan lured and killed the King of Yiqu at the Ganquan Palace. Following that, they raised troops and wiped them out, and first set up Longxi, Beidi, and Shang commanderies there.

The Rong originally had no lords or chiefs. At the end of the Xiahou clan and at the juncture of Shang and Zhou, some of them followed the feudal lords on campaigns and attacks and had merit. The Son of Heaven gave them feudal ranks and used them as the Vassal Domain. In the time of Spring of Autumn, the Luhun and Mangshi Rong claimed to be Counts [zi], and in the Warring States period, Dali and Yiqu claimed to be Kings. Reaching their decline and destruction, the remnants of their kind all turned back to their old customs and became chieftains.

[quitealotofsodapop]

[That or they accidentally created their "MK" via Pinocchio-esque ai/robot on accident and now they're freaking out about it.]

Hmm...maybe MK is made via egg BUT their Bai He (or equivalent, maybe mixed with other parts of the other kids, cus I doubt Fabledconnection is gonna go as big as Shadowpeach in the family department) is an AI similar to Sophia from Persona 5 Strikers?

I can imagine the Fabledconnection duo either made her on accident, or they straight up adopted a lesser known "artifical human" fairytale entity that translated into an AI in the Library World.

Theres Chinese accounts of artifical humans all the way back to 400 BCE - in a Liezi text, an artificer named Yan Shi shows off his creation to the King (King Mu of Zhou), which is so lifelike that the King tears the automation apart right then and there.

Another potiential AI child is Olimpia from Der Sandmann (1817), a "perfect girl" clockwork automata created by an alchemist who has a similarly tragic end.

Fableconnection finds a wee AI child with a terrible ending? Their child now. Smash!LEM hacks the Library database to make it so.

Smash!SWK, hears front door open: "Hey love- whoa! Whats that?!" Smash!LEM, holding the AI child like a laptop: "...a robot kid I stole from the Library archives." Smash!SWK: "...alright then."

The other monkeys at the next Wukongverse meeting have a lot to ask about.

[thelaithlyworm]

"with zero elaboration"

no, no, it is the elaboration.

okay, so, in general, chinese webnovels have much less regulation than chinese dramas and sometimes produce content that cannot be aired as is, so adaptations can go through some weird gymnastics when putting a pre-written story on the screen. yes, that does include sexuality but it also includes commentary on politics.

it is extremely rare that a chinese drama set in or around the modern day will feature a crooked leo or civil servant; they just don't go there. if script-writers want to talk about crooked government shenanigans, they set it in the republican era or earlier. (compare and contrast the skulduggery in m9 vs. reboot!characters' comments about 'turning it over to the police' as the unqualified good thing to do.)

which brings us to the book plot of IT, a mysterious force influencing the lives of wu xie and his jiumen predecessors. eventually in the books, eventually, people will explain to wu xie that they're actually talking about a cabal of government officials obsessed with immortality and possibly planting a prominent person who died in the 60s in a place he could resurrect. that sense of inescapability etc. etc.

the drama which officially covers the era where IT is introduced and explained, ultimate note, carves all that shit out with a cleaver (understandably). when it talks about IT it gets very handwavey, talks about the ancient past, claims IT was inspired by king mu of zhou pre-BC (which... isn't exactly wrong, but overly generalised). sand sea also shifts some key past events from the late 70s, early 80s, to the 40s and places the question of 'why?' on fo-ye and the wang family's doorsteps.

these are all understandable adaptational choices, but they do leave a bit of a gap. and in truth, all that book!wu xie learns is very expositional and second-hand -- a dry bone that gives him a 'why?' without much feeling to it.

the fog village flashback, set in the republican era and thus free to get frisky, gives us the juicy, bloody meat. the feelings, the loyalty, the obsessions, the pain... that weird detail that wang zanghai himself didn't approve of immortality. it tells us what living with IT was really like.

on a side note, while the mute riders do exist in one of the books that lost tomb 2 adapts, they have an expanded role in the drama, giving us a view into graverobbers' entwinement with politics in ancient times, and another angle on why someone might press for immortality (qian zhi's sickly, lovely prince), as does lost tomb 1's bonkers court drama flashback.

tl;dr -- i agree with you absolutely, the fog village flashback was beautifully written.

zhang buxun story arc my most beloved and yet most personally baffling part of tlt2. it's a film-length character study in how power corrupts absolutely and how horrific things are justified in the name of idealism, to the point that it can tear apart even the most deep-seated loyalties. it has so little to do with the show's main plot it could've been its own spinoff/standalone. it has some of the most put-together and thematically resounding screenwriting in all of dmbj. it plays out as a flashback sequence three-quarters of the way through a show where the plot totters along and every other flashback scene has been mediocre at best. it's one of the most homoerotic narrative arcs in the entire franchise. none of the characters involved are from the novels and were made up for the show. they shoved cheng yi into a republic era tragic romance film starring a doomed polycule in the middle of tlt2 with zero elaboration and it's among the most well executed parts of any dmbj adaptation. i. what

[tytangfei]

“I thought by doing so I could feel a bit of your sincerity. It seems like I was wrong. You don’t like me at all...I am attached to Pingxi Royal Highness. So, Grand Tutor, please talk to His Majesty and the Empress Dowager and convey my willingness to marry him. As for the date of the wedding, it can be the same day as your wedding.”

Be My Princess (2022)

+ bonus

[kdram-chjh]

Cdrama: Celestial Authority Academy (2021)

Gifs of Intro of cdrama “Celestial Authority Academy”

【FULL】 Celestial Authority Academy EP01 | 通天书院 | iQiyi

Watch this video on Youtube: https://www.youtube.com/watch?v=ZLq-YCajjxI