KIROKAZE

Origami Around

Love Begins
Alisa U Zemlji Chuda

JBB: An Artblog!
hello vonnie
Keni

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#extradirty
Peter Solarz
Sade Olutola

blake kathryn
i don't do bad sauce passes

Andulka
No title available
🪼
we're not kids anymore.

Product Placement
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@alexiselric
there is a sickness that follows the shame of giving with love only to be met with slaughter
Word of Honor Cap, 27.
Siento que WOH tiene demasiadas cosas buenas respecto a cómo retrataron la relación del Sr. Zhou y WKZ.
Pero podemos hablar de la escena del Sr. Zhou defendiendo a WKZ de Ye Bai Yi.
Realmente el sabe que está enfermo y sus posibilidades de hacerle frente a YBY son menos que mínimas y sin embargo se para ante él, para poder defender a WKZ.
Ahh, Sr. Zhou, amo tu dedicación y amor cuando se trata de WKZ.
chuyao + touch
qiao chusheng doting on lu yao
Esto es como la confesion del libro. Wang Zhi estaba como ¡No me importan tus problemas!
Zhao Yunlan’s many creative ways of ‘sitting’
“He can’t drink.”
Shen Wei ― Episode 21
shen wei exuding 🥺 energy in every episode: 7/40
“Dumbass, What’s going on with you?”
Los shipeo fuerte. 💕
Spy Thriller + Murder Mystery + Cooking Show
When asked to describe The Sleuth of the Ming Dynasty, I can only describe its genre as being exactly as above. it’s as quirky as you’d expect, with genuinely compelling characters, plot twists to shock you, and compassion for every character, no matter how twisted.
I believe TSOMD is based on a danmei novel, and you can see the “bromance” of Tang Fan and Sui Zhou is representative of something more than “just friends.” But, while both Tang Fan and Sui Zhou are excellent characters who each get strong development, the emotional core of the show is hardly either of them. Instead, the third main character, Wang Zhi (based on a real historical figure), steals the show’s heart and soul, undergoing one of the most beautiful, complex arcs I’ve seen in a long time, from scheming utilitarian to kind human.
I’ll probably write a meta just about Wang Zhi’s arc, but the short version is that he’s based on a real-life eunuch (and eunuchs in imperial China, er, lost more than you’d think) who de facto ran the empire. His interactions with Tang Fan, Sui Zhou, their found family, as well as with the Emperor and the Noble Consort (his unofficial adopted parents) and his righthand man Ding Rong all offer him challenges.
In general, the show did excellently with the romances, both explicit and subtextual. Tang Fan and Sui Zhou were truly compelling, and seeing them develop together was lovely. Wang Zhi also has a subtextual romance with Ding Rong (it’s barely subtext, and directly parallel to Tang Fan/Sui Zhou multiple times) that is equally compelling. Explicitly, we have Pei Huai and Tang Yu, Lin Chaodong and his fiancee, Princess Gu’an and Wang Xian, the Emperor and Noble Consort, and even some puppy love from Dong’Er and Little Loach. Perhaps the only one the show didn’t sell me on was Duo’Erla and A’lasi.
I quite enjoyed the compassion the show had for mental illnesses and other disorders. It outright condemned people accusing those who suffer from ailments of demonic possession, and while it is set in the 1500s, Pei Huai, a doctor, offers some truly honest, accurate, and kind descriptions of post-traumatic stress disorder, which Sui Zhou suffers from, and autism, which Wang Xian has–and explicitly states, regarding the latter, that it is not an illness. It’s just a different way of thinking and processing. The show’s depiction of PTSD was extremely honest and realistic (and not gratuitous), as was its depiction of autism, and a panic attack.
The show also donates quite a bit of its time to exploring the past of its villains, humanizing them. Even the most disgusting ones, whom I loathed, I ended up crying for. It doesn’t excuse them, but it does show how human they still are at their core–and this, in turn, ties into the show’s main theme of humanity (Wang Zhi’s arc is entirely about learning to live as a full human). It offers redemption for many of them; some take it, some do not.
Female characters abound, and they are all unique and complex. From the child genius Dong’Er to the proper mother Tang Yu, to prostitute Qing Ge to disguised Jin San, to the kind and capricious Princess Gu’an and the fiesty Duo’Erla, the Emperor’s Mother to the Noble Consort, each character is unique and does not only exist to serve the male characters in the story: instead, they have their own to tell.
However, I’d be remiss not to mention my issues as well. One prominent female character very much gets fridged at the end of her arc for manpain, and it’s incredibly frustrating. In addition, I was highly uncomfortable with what could be seen as racism towards the Oirat people. While there are a variety of Oirat characters and many are heroic, there was a balance the show tried to walk and didn’t entirely succeed. China’s record on treatment of minority people groups (which continues to this day with the Uygurs) makes it hard to give the show the benefit of the doubt in its iffy moments of Oirat portrayal.
Star Trek - Strange New Dumb Comics #1
This is from 2 years ago so the art quality makes me cringe a bit… Seriously how come Spock’s face looks completely different in every panel
Wei Ying and his nose taps :)
The Fourteenth Year of Chenghua (成化十四年) Audio Drama Storyline MV
Esto vale oro, basicamente es lo más bello que podrán encontrar.
Esta es la expresión de alguién ha quién le están robando al novio. 🤣🤣🤣