#sho fu kan

[fujimusume]

Shang Bu Huan blowing kisses to and striking poses for the audience at the official Shang Bu Huan fan club’s block screening of Thunderbolt Fantasy: The Final Chapter

[dan-fei]

[cryocannon]

i made two new tbf stickers! they are available on my store, along with this funky lil lang wu yao print 🫶

store link here! 🌻 cryocannon.etsy.com

[mementoboni]

Thunderbolt Fantasy 東離劍遊紀 最終章 首映��� (2025/02/14 Taipei)

Movie premiere / Stage greeting:

鳥海浩輔 (Toriumi Kōsuke)

西川貴教 (Nishikawa Takanori)

釘宮理惠 (Kugimiya Rie)

虛淵玄 (Urobuchi Gen)

[dazzle-art]

Taking advantage of my new reference library to catch up on meme redraws I've had in my notes for months

[chanoyu-to-wa]

The Chanoyu Hyaku-shu [茶湯百首], Part IV:  Poem 79.

〽 Akatsuki ha sukiya no uchi mo andon ni          yo-kai nado ni ha tankei wo oke

    [曉は 數奇屋 の內も行燈に          夜會などには短檠を置け].

    “Dawn [is the time] when, within the sukiya, the andon [should be used]; but at night-gatherings and the like, the tankei is placed out.”

    Once again, referring to ideas that have already been touched on in the previous posts, Jōō is reinforcing the tradition that a tomoshibi sequestered within a zashiki-andon should be used as the principal source of artificial illumination in the sukiya [數奇屋]¹ at chakai held early in the morning².

    But at night, the tomoshibi should be placed on a tankei, so that its unobstructed light will be able to flood the whole room with its warming glow.

    Aside from the fact that Jōō uses the word asa [朝] (morning), rather than akatsuki [曉] (dawn), in his (original) version of this poem³, there are no other differences between what is found in any of the collections, reflecting the uniformity of the understanding of this teaching -- that the zaseki-andon should be used at dawn, and the tankei at night.

_________________________

¹While the Kyūshū manuscript spells sukiya phonetically (as sukiya [すきや]*), the other versions (except for Katagiri Sadamasa’s) use the Korean kanji-form sukiya [數奇屋].

    Sekishū’s version has sukiya [數寄屋], using the “Japanese” form of the word† that began to appear after the middle of the seventeenth century (at the time when the Japanese, under the influence of Kanamori Sōwa’s [金森宗和; 1584 ~ 1657] highly speculative histories‡ of chanoyu in Japan, were actively trying to distance chanoyu from its Korean roots). ___________ *Possibly implying a certain ambiguity over the proper kanji to use -- Sansai’s version of this poem was committed to paper a decade or two before Sekishū’s version, which suggests that Kanamori Sōwa’s writings were already beginning to have their desired effect.

†Unlike suki [數奇, 수기], the Korean word (which, in this kind of context, means something like “rely on the odd [numbers]”), suki [數寄] has no meaning apart from this use as the name of a kind of tea room.

    With respect to the original (i.e., Korean) meaning, it is noteworthy that Rikyū explained the word suki in this way:

suki ⋅ ni jikun [數奇 ⋅ 二字訓]

‘su’ no ji kazu atsumuru naran mada sadashi sekiji ha shibashi to tsuzuku nari [數の字カズアツムルナランマタサタシ昔時ハシバシト続ク也].

‘ki’ no ji sugururui tori katakata ayashimu [奇の字スグルルヒトリカタカタアヤシム].

“An explanation of the two characters su [数] and ki [奇]:     “The character su [数] means not just to gather together a number of things, but that this should be done in accordance with the classical teachings; in ancient times, things were always done like this.

    “And with respect to the character ki [奇], it means that each person should directly investigate these matters in minute detail for himself.”

    Rikyū then continues:

hi-mi-i-na-ko kore wo go-ki to iu [一三五七九コレヲ後奇ト云フ].

fu-yo-mu-ya-to kore wo sen-fu to iu [二四六八十コレヲ先偶ト云フ].

nakaba wo chōzuru yotte suki to iu [半ヲ調スルヨツテ數奇ト云フ].

    “1, 3, 5, 7, 9, are the later (“derived”) odd numbers, while 2, 4, 6, 8, 10 are the earlier (“original”) even numbers, so to speak.

    “Carefully paying attention to both of these is what is meant by suki, so it is said.”

    His words have been interpreted (by the daimyō Uesugi Kenshin [上杉謙信; 1530 ~ 1578], in his commentary on the Chanoyu san-byak’ka jō [茶湯三百箇條] -- where Rikyū’s kaki-ire [書入] is found at the beginning of the second scroll of Jōō’s teachings) in this way:

chanoyu tsukamatsuru-toki, sho-dōgu no oki-awase tori-awase naraí no gotoku nose-ai mōsu- beku sōrō-koto dai ichi nari, sari-nagara sono hito-bito no kiryō ni yotte oki-awase tori-awase tsukamatsuru-beku sōrō, kono ki-no-ji no kokoro wo motte kufū no ue ni te toku to gatten itashi, sūki tsukamatsuru koto kan-yō nari , u-kaku tsukamatsuru koto ta-ryū tsutae naki no chanoyu naru-beku nao mata hon-i ni somuki omoshirokarazu sōrō nari

[茶の湯仕る時、諸道具の置き合わせ取り合わせ習のごとく載せ合い申すべく候事第一也、さりながらその人〻の器量によって置合せ取合せ仕るべく候、此の奇の字の心を以って工夫の上にて得と合點致し、數奇仕る事肝要なり、うかく仕る事他流伝え無きの茶の湯なるべく尚又本意に背き面白からず候也].

    “When doing chanoyu the most important thing with regard to the way in which the utensils are arranged, and combined [with the others], is that this should be done in accordance with the way you were taught.  Nevertheless, each person, in accordance with his own abilities, should endeavor to select and place the utensils in the way that seems best [to him].  The true meaning of this ki [奇] must be incorporated into everything one does:  this is of the utmost importance when practicing suki. The things that the people who follow other paths [that is, other schools or traditions] teach represent a deviant form of chanoyu which, when compared with the original conception [the way advocated by Jōō and Rikyū], is wholly lacking in interest.”

‡Kanamori Sōwa’s “histories” of chanoyu were nothing more than government propaganda, produced by deliberately conflating the yotsu-gashira-shiki [四つ頭式], and the tō-cha shiki [鬪茶式], together with the ordinary drinking of tea (that was prepared at the o-chanoyu-dana [御茶湯棚] by a servant dressed as a monk, and then conveyed to the residential apartments by a second servant dressed in the house’s livery) -- all of which were historically earlier uses of matcha in Japan (in every case of which the tea was served as usucha) -- with chanoyu (which practice ultimately supplanted the first two -- though matcha, as usucha, remained the principal drinking tea for ordinary occasions among the upper classes until the use of steeped tea was introduced, from Korea, around the middle of the seventeenth century).

    Sōwa was charged with “Japanizing” chanoyu, as the first step in the bakufu’s process of declaring that chanoyu (as a now-established purely, and authentically, Japanese traditional practice of great antiquity), of an appropriate level of formality appropriate to the rank of the government envoy they were entertaining (this is where the modern school’s ranked system of temae originated), must be included in the formal reception of every such official received (at least in an official capacity) by the daimyō and wealthy merchants.

    The purpose of this rule was not only to effect the bakufu’s control, but also to force the daimyō and merchants to spend money on tea utensils (those that were to be used for the most formal services being ruinously expensive) -- money that would then no longer be available to those aspiring to rebellion against the Tokugawa government.

    Nevertheless, it is important for the modern reader to understand, however, that only chanoyu included the service of koicha, and the dichotomy of koicha and usucha; and that is what identifies it as unique, and what contrasts chanoyu with all of the other uses of matcha that were practiced in Japan from the late Heian period until the fifteenth century.

²As has been mentioned before, because sunrise would be expected to occur during the naka-dachi, the artificial light will only be used during the shoza.  And even then, since (in Jōō’s day) this kind of gathering would not begin until after dawn had broken*, the natural light coming in through the windows will be increasing, moment by moment, over the course of the shoza, so that the artificial illumination should be kept to the minimum, and focused near to the floor. ___________ *Again, this is a little different from the way things are usually done today.  But since the time when the sei-ka-sui [井華水] (“the water that is the ‘flower of the well’”) could be drawn was limited to the 15 or 20 minutes when the dawn was actually breaking, the guests would have to be careful to time their arrival so that they would not interfere with this very important task.  The idea was that the water had to be drawn and carried to the mizuya before any activity that might stir up dust could occur.

    Since the intracity plots in places like Sakai and Kyōto were exceptionally small (and largely occupied by the residential building, business offices, and storehouse, with the roji being little more than a path that lead around to the back of the property where the chashitsu was erected between the well and the toilet facilities), the koshi-kake was always in close proximity to the well -- hence the desire, on the part of the guests, to postpone their arrival until after the host had drawn the water and carried it back to the preparation area.  (And again, we must be careful not to impose our contemporary idea of roji design -- which originated in the Edo period -- on the facilities available to the chajin of Jōō’s and Rikyū’s time.)

³This change in wording was discussed at some length in the previous post.  Akatsuki [曉] seems to have been substituted for asa [朝] by Hosokawa Sansai, since this is the kanji that is found in all of the versions that can ultimately trace their source back to his collection (which, along with his other treatises on chanoyu, was written down during the last decade of his life -- Sansai died during the winter of 1645-1646).

    The specificity of this word reflects the way that the early-morning chakai had come to be staged during the first half-century of the Edo period, the period to which the modern interpretation of the dawn gathering -- the akatsuki-no-chaji [曉の茶事] -- traces its root.

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

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[444namesplus]

aba abe abh abi abo abu acha ache achi acho achu ada ade adh adi ado adu afa afe afh afi afo afu aga age agh agi ago agu aha ahe ahi aho ahu aja aje aji ajo aju aka ake akh aki ako aku al ala ale alh ali alo alu am ama ame ami amo amu an ana ane ani ano anu apa ape aph api apo apu ar ara are arh ari aro aru asa ase ash asi aso asu ata ate ath ati ato atu ava ave avi avo avu az aza aze azh azi azo azu ba bal bam ban bar baz be bel bem ben ber bez bha bhe bhi bho bhu bi bil bim bin bir biz bo bol bom bon bor boz bu bul bum bun bur buz cha chal cham chan char chaz che chel chem chen cher chez chi chil chim chin chir chiz cho chol chom chon chor choz chu chul chum chun chur chuz da dal dam dan dar daz de del dem den der dez dha dhe dhi dho dhu di dil dim din dir diz do dol dom don dor doz du dul dum dun dur duz eba ebe ebh ebi ebo ebu echa eche echi echo echu eda ede edh edi edo edu efa efe efh efi efo efu ega ege egh egi ego egu eha ehe ehi eho ehu eja eje eji ejo eju eka eke ekh eki eko eku el ela ele elh eli elo elu em ema eme emi emo emu en ena ene eni eno enu epa epe eph epi epo epu er era ere erh eri ero eru esa ese esh esi eso esu eta ete eth eti eto etu eva eve evi evo evu ez eza eze ezh ezi ezo ezu fa fal fam fan far faz fe fel fem fen fer fez fha fhe fhi fho fhu fi fil fim fin fir fiz fo fol fom fon for foz fu ful fum fun fur fuz ga gal gam gan gar gaz ge gel gem gen ger gez gha ghe ghi gho ghu gi gil gim gin gir giz go gol gom gon gor goz gu gul gum gun gur guz ha hal ham han har haz he hel hem hen her hez hi hil him hin hir hiz ho hol hom hon hor hoz hu hul hum hun hur huz

iba ibe ibh ibi ibo ibu icha iche ichi icho ichu ida ide idh idi ido idu ifa ife ifh ifi ifo ifu iga ige igh igi igo igu iha ihe ihi iho ihu ija ije iji ijo iju ika ike ikh iki iko iku il ila ile ilh ili ilo ilu im ima ime imi imo imu in ina ine ini ino inu ipa ipe iph ipi ipo ipu ir ira ire irh iri iro iru isa ise ish isi iso isu ita ite ith iti ito itu iva ive ivi ivo ivu iz iza ize izh izi izo izu ja jal jam jan jar jaz je jel jem jen jer jez ji jil jim jin jir jiz jo jol jom jon jor joz ju jul jum jun jur juz ka kal kam kan kar kaz ke kel kem ken ker kez kha khe khi kho khu ki kil kim kin kir kiz ko kol kom kon kor koz ku kul kum kun kur kuz la lal lam lan lar laz le lel lem len ler lez lha lhe lhi lho lhu li lil lim lin lir liz lo lol lom lon lor loz lu lul lum lun lur luz ma mal mam man mar maz me mel mem men mer mez mi mil mim min mir miz mo mol mom mon mor moz mu mul mum mun mur muz na nal nam nan nar naz ne nel nem nen ner nez ni nil nim nin nir niz no nol nom non nor noz nu nul num nun nur nuz oba obe obh obi obo obu ocha oche ochi ocho ochu oda ode odh odi odo odu ofa ofe ofh ofi ofo ofu oga oge ogh ogi ogo ogu oha ohe ohi oho ohu oja oje oji ojo oju oka oke okh oki oko oku ol ola ole olh oli olo olu om oma ome omi omo omu on ona one oni ono onu opa ope oph opi opo opu or ora ore orh ori oro oru osa ose osh osi oso osu ota ote oth oti oto otu ova ove ovi ovo ovu oz oza oze ozh ozi ozo ozu pa pal pam pan par paz pe pel pem pen per pez pha phe phi pho phu pi pil pim pin pir piz po pol pom pon por poz pu pul pum pun pur puz ra ral ram ran rar raz re rel rem ren rer rez rha rhe rhi rho rhu ri ril rim rin rir riz ro rol rom ron ror roz ru rul rum run rur ruz sa sal sam san sar saz se sel sem sen ser sez sha she shi sho shu si sil sim sin sir siz so sol som son sor soz su sul sum sun sur suz ta tal tam tan tar taz te tel tem ten ter tez tha the thi tho thu ti til tim tin tir tiz to tol tom ton tor toz tu tul tum tun tur tuz uba ube ubh ubi ubo ubu ucha uche uchi ucho uchu uda ude udh udi udo udu ufa ufe ufh ufi ufo ufu uga uge ugh ugi ugo ugu uha uhe uhi uho uhu uja uje uji ujo uju uka uke ukh uki uko uku ul ula ule ulh uli ulo ulu um uma ume umi umo umu un una une uni uno unu upa upe uph upi upo upu ur ura ure urh uri uro uru usa use ush usi uso usu uta ute uth uti uto utu uva uve uvi uvo uvu uz uza uze uzh uzi uzo uzu va val vam van var vaz ve vel vem ven ver vez vi vil vim vin vir viz vo vol vom von vor voz vu vul vum vun vur vuz za zal zam zan zar zaz ze zel zem zen zer zez zha zhe zhi zho zhu zi zil zim zin zir ziz zo zol zom zon zor zoz zu zul zum zun zur zuz

[black-cat-aoife]

People you would like to get to know better

tagged by @kathastrophen

1. Three ships: Alex/Niko, Leo/Adam, Sho Fu Kan/Rin Setsu A

2. First ever ship: ähhh House/Wilson

3. Last song: The Proclaimers - 500  Miles

4. Last movie: Actual movie...the new Death on the Nile. Last Thing I watched Blind Ermitteld: Tod im Weinberg

5. Currently reading: Sarah Underwood - Lies We Sing To The Sea

6. Currently watching: currently as in right now a “Mein Mix” from Youtube. Proclaimers have just finished and now it’s...POL1Z1STENS0HN feat. Justice – RECHT KOMMT. I have no excuse. Currently as in shows I’m currently following...eh Soko Stuttgart

7. Currently consuming: had breakfast (puff pastry rolls with pesto and cheese)

8. Currently craving: Silence. Which is not going to happen because my neighbours are still renovating and are getting new windows today

tagging @katistrophe @karin-in-action @chrisoels

[thetwotorches]

Maka Hannya Haramita Shingyo

“Kan ji zai bo satsu. Gyo jin han nya hara mita ji. Sho ken (*)GO on kai ku. Do issai ku yaku. Sha ri shi. Shiki fu i ku. Ku fu i shiki. Shiki soku ze ku. Ku soku ze shiki. Ju so gyo shiki. Yaku bu nyo ze. Shari shi. Ze sho ho ku so. Fu sho fu metsu. Fu ku fu jo. Fu zo fu gen. Ze ko ku chu. Mu shiki mu ju so gyo shiki. Mu gen ni bi ze shin i. Mu shiki sho ko mi soku ho. Mu gen kai nai shi mu i shiki kai. Mu mu myo yaku mu mu myo jin. Nai shi mu ro shi. Yaku mu ro shi jin. Mu ku shu metsu do. Mu chi yaku mu toku. I mu sho toku ko. Bodai sat ta e hannya haramita KO Shin mu ke ge mu ke ge ko. Mu u ku fu. On ri issai ten do mu so. Ku gyo ne han. San ze sho butsu. E hannya haramita KO Toku a noku ta ra san myaku san bodai. Ko chi hannya haramita. Ze dai jin shu. Ze dai myo shu. Ze mu jo shu. Ze mu to do shu. No jo issai ku. Shin jitsu fu ko ko setsu hannya haramita shu. Soku setsu shu watsu. Gya tei, gya tei, HA ra gya tei. Hara so gya tei. BO ji so waka. Hannya Shingyo.”

Heart of Great Perfect Wisdom Sutra:

“Avalokiteshavara Bodhisattva, when deeply practicing prajna paramita, clearly saw that all five aggregates are empty (ku) and thus relieved all suffering.

Shariputra, form does not differ from emptiness; emptiness does not differ from form. Form itself is emptiness, emptiness itself form. Sensations, perceptions, formations, and consciousness are also like this.

Shariputra, all dharmas are marked by emptiness; they neither arise nor cease, are neither defiled nor pure, neither increase nor decrease. Therefore, given emptiness, there is no form, no sensation, no perception, no formation, no consciousness; no eyes, no ears, no nose, no tongue, no body, no mind; no sight, no sound, no smell, no taste, no touch, no object of mind; no realm of sight… no realm of mind consciousness. There is neither ignorance nor extinction of ignorance… neither old age and death, nor extinction of old age and death; no suffering, no cause, no cessation, no path; no knowledge and no attainment.

Therefore, know the prajna paramita as the great miraculous mantra, the great bright mantra, the supreme mantra, the incomparable mantra, which removes all suffering and is true, not false.

Therefore we proclaim the prajna paramita mantra, the mantra that says: “Gate Gate Paragate Parasamgate Bodhi Svaha.” “

—-

“Essence of the Sutra of Great Wisdom which permits us to go further

The bodhisattva of the true freedom, through the deep practice of the Great Wisdom, understands that the body and the five skandhas (feeling, perception, thought, activity, consciousness) are nothing more than emptiness (ku) and through this understanding he helps all those who suffer.

Phenomena return to emptiness; emptiness becomes phenomena. (Form is emptiness, emptiness is form). The five skandhas are also phenomena.

Oh, Sariputra, all existence is ku (emptiness). There is no birth, no beginning, no purity, no blemish, no increase, no decrease.

Because of this, in ku, there is no form or skandha, no eye, no ear, no nose, no tongue, no body, no consciouness.

There is no colour, no sound, no smell, no taste, no touch, no object of thought.

There is no wisdom, no ignorance, no illusion or the cessation of illusion, no decay or death, no end to decay, no cessation of suffering.

There is no knowledge, no benefit, nor no benefit.

For the bodhisattva, thanks to this wisdom that leads us to the other side, fear and dread do not exist.

All illusion and all attachment has been cut, and he can understand the ultimate end of life, Nirvana.

All the budhhas of the past, the present and the future, can reach the understandiing of this supreme wisdom which frees us from suffering and allows us to find reality.

This incomparable mantra tells us:

"On, on, together, further than beyond, to the shore of satori." “

[enigmaticgale]

actually…. they are using the chinese names!

“shang bu huan” and “sho fu kan” are, in essence, the same name. japanese speakers just pronounce (and write) it differently. the languages are similar, but there are sounds in chinese that japanese can’t produce, and vice versa probably. i’m not a linguist so i don’t know the exact mechanisms behind it. (honestly, part of it is probably due to pinyin not being Great at communicating the correct sounds to english speakers to begin with.)

this is why, for example, sun wukong becomes son goku when he’s written about in jp media. you can think of it as similar to the french michel vs english michael, or the spanish jesus (heh-soos) vs the english jesus (jee-zus).

since the voice actors for tbf are japanese, they’re obviously going to pronounce the names the japanese way. the reason crunchyroll and other official media (and exactly one fansub group) uses the chinese romanizations for them is because… they’re chinese names! anyone familiar with japanese names will be able to tell you that the names of the tbf characters aren’t quite right for jp names. it’s not how they work.

the cast of the show was actually given names by the pili international team, so they’re chinese names through and through. :) here’s an excerpt of an interview with urobuchi where he discusses how he and the pili team named everybody:

basically, urobuchi thought about what he wanted everyone’s name to mean or communicate, summed up their vibe in english, and then gave the english to the pili team, who took those vibes and made names from them. neat, right?

It is my wish that when Thunderbolt Fantasy airs again I can find a group that subtitles the show with the names of the characters that were spoken by the voice actors instead of the Chinese names that the voice actors are NOT USING

[shikiswife]

“What you lacked was the will to seize the fate of the world and guide it!”

~Thunderbolt fantasy s3e3, Wā̀n Jūn Pò vs  Shāng Bù Huàn

[fujimusume]

New Thunderbolt Fantasy side stories to be released with the upcoming final movie!

I apologize for the lack of consistent Thunderbolt Fantasy updates here; I have trouble being consistently active on multiple platforms/social networks. But I wanted to share an update that I'm particularly excited about: for the first two weeks of Thunderbolt Fantasy: The Final Chapter hitting cinemas across Japan, two side stories will be given away as freebies for viewers!

Sources: TBF's official Twitter and website

The stories will focus on Lin Xue Ya's and Shang Bu Huan's backstories, respectively. The freebie for the first week will be the Lin side story, while the one for the second week will be Shang's.

It's a shame that these side stories will only be available in limited quantities, and only for such a short time, but assuming I am able to get copies (fingers crossed; I plan to watch the film right as soon as it hits theaters), I plan to translate them.

I have translated the synopses below the cut; I also explain my translation choices for the wording right after the synopses.

Spoiler warning for those who haven't watched Season 4: the synopsis for the Shang side story contains nods to S4.

Thunderbolt Fantasy Side Story, Lin Xue Ya Edition: A Conversation* Over Antiques

One day, the inventor of magical tools Lian Qi receives a visit from a man calling himself the Enigmatic Gale. Lian Qi treats the man who wishes to become his disciple with indifference. However...

This is a short story about Lin Xue Ya and Lian Qi's first meeting.**

Thunderbolt Fantasy Side Story, Shang Bu Huan Edition: A Premonition*** of Flowing Swords

Du Shuai Sheng sends Ren Shao You across time and space for his training. As he thinks of the future that the young boy will reach, he opens a diary that his former friend left behind.

This is a short story of Shang Bu Huan's boyhood years.

Note: For those going "Du Shuai Sheng? Ren Shao You? Who?", remember this old man from S4E10?

Well, it turns out that his name is Dù Shuāi Shēng (渡衰聲)! His name was not revealed in S4 itself, not even in the credits, but it was revealed in the synopsis for the side story. I'm not sure what the Japanese reading for his name would be, though.

As for Rèn Shǎo Yóu (任少游), that's the name baby Shang went by. He wasn't addressed as such in-series, but fans noticed his name in the credits.

Translation Notes:

*A more literal translation would be "question-and-answer," but I think "conversation" sounded more natural than, say, "a question-and-answer session."

**The literal word used means "encounter," but context-wise, I think "Lin Xue Ya and Lian Qi's first meeting" would be better than "an encounter between Lin Xue Ya and Lian Qi."

***The word 縁起 can mean "[good/auspicious] omen," "[sign of] good fortune," or "origin"/"cause." I can't say with absolute certainty which word to use without knowing the context, but I felt that the "omen" definition might be closer context-wise, so I settled on "premonition" for my translation.

My thought process was: flowing swords = swords clashing into each other = Du Shuai Sheng having a feeling that this boy would have all sorts of adventures/interesting encounters in the future 😂

After all, based on the synopsis, it seems like we will be getting glimpses of Shang's childhood through the eyes of Du Shuai Sheng (and/or maybe even his former friend through their diary).

[dan-fei]

[shangs-last-nerve]

Found this actually really nice photo of my Shang Nendroid from awhile ago. Enjoy! 

[lesser-robot-cat]

Grouchy Umbrella Thief and his Asshole Trickster Husband share an umbrella under the snow.  ❄️💖❄️

[dukku-of-catempty]

TBF Season 3 Teaser translation

this is a translation of this video

Shang: Hnngg.....(in distress)   

Lang: BuHuan!!!

LingYa: What's on your mind??

Shang: I can't find the missing magic swords...

Lin:  Lose one, get (gifted) three for free!  Isn't that nice?

Shang:  Oi, oi!

Lin:  I'll be happy to accompany you on your quest to recover magic swords~

Shang:  YOU! BASTARD!

Lang:  BuHuan, don't trust him.

LinYa:  He must be up to no good again!

Lin: If you can lend me some magic swords...

(Lang flips out LingYa)

Lin: Don't be so quick to anger. I'm a nice guy, not the final boss character.

XIng Hai:  Yes! next season is my homeground.  fufufufufu

Lin:  Ara ara, the real big boss is here. Look!

(Urobutchi appears from the smoke)

Urobutchi:  HAHAHAHAHA! 

(In Chinese) I AM THE BOSS BEHIND THE SCENES!

PLEASE LOOK FORWARD TO THUNDERBOLT FANTASY SEASON 3!

??AAAAAAAAAAA!!

(a blinding light pushes him out of the frame)

Mystery character:  I wait for you in season 3! (blow kiss)

SEASON 3 OF THE TV SERIES COMING SOON