Not So Chaotic

[chaoticgoodietwoshoes]

Khemjira Must Survive! (And it will)

I think Khemjira might be one of the top five series I’ve watched in recent years. And that means something coming from a chronically online thirty-year-old whose main hobbies are watching, reading, and overanalyzing stories.

Khemjira must survive, and it will survive indeed. Through the test of time, in one year, five years, even ten years and more, I believe Khemjira will remain one of the most successful series ever made. Horror, romance, and all.

The Kind of Love That Hurts and Heals

The romance in Khemjira is beautiful and painfully realistic. It’s full of push and pull, of longing and restraint, of love that exists beyond words. I’ve always loved the “it’s always been you” kind of love, the red string connection that pulls two souls back to each other no matter the distance or lifetime.

It’s not just romantic love, it’s love in all its forms: platonic, familial, spiritual, and even a love that extends to the universe and every living being.

Pharan and Khem’s story is exactly the kind of love I’m drawn to, the kind that feels destined but still demands sacrifice. It’s never loud or easy. It’s about patience, compassion, and the courage to love even when everything seems to fall apart.

I’m a pretty spiritual person, so I find myself believing in things like karmic ties and soul connections. Watching their story unfold feels like watching that belief come alive. It’s gentle but piercing, like remembering someone from a dream. The way they look at each other, the pauses, the quiet grief, it’s all so deeply human.

Their love isn’t just about romance. It’s about healing, forgiveness, and finding light in something that was once dark. It reminds me that love, in any form, is both a burden and a blessing.

Dying is Not Beautiful

What really stayed with me was Khemjira’s character. The way Namping portrayed him, cursed, burdened by karma, facing death at a young age, was heartbreakingly real. His quiet sadness and emotional exhaustion reminded me of myself.

Last year, I almost died. For months, I was chronically ill. I remember feeling so tired of fighting, even when everyone around me was rooting for me to get better. Watching Khemjira brought back those memories. The portrayal of depression and detachment wasn’t exaggerated. It felt human.

Death isn’t beautiful, and it’s never gentle. But the irony is that the closer you are to it, the more you want to live. I remember that feeling, the same one Khem had, the longing to heal, to laugh again, to be with my friends and family, to stay alive for love.

What a life it is to be loved so deeply.

The Craft of Care

The production is stunning. I’ve never been to Isan, but Khemjira made me feel like I was living there. The scenery, the atmosphere, the small details of daily life all feel real. The costumes and makeup are just right, never too much. I especially love Por Kru (Keng)’s look. Whoever did his base and eyeshadow deserves praise.

And the music. I added the soundtrack to my Spotify right away. Every song fits perfectly, from the folk tunes to the modern pieces. Every sound is placed with care, and it gives me goosebumps every time.

My favorite part is when Prim asked Pharan about his answer, and the song “แสนรัก” by Danupol Kaewkarn played to symbolize both Prim’s feelings and, as we later learn, Pharan’s mother’s favorite song. The way the sound started from the tape and seamlessly turned into background music, gradually growing louder as Prim realized that Pharan was in love with Khem, was just genius. I’ve been listening to that song for the past week.

You can tell that everyone involved truly cared about this project, from the author and the writers to the director, actors, and crew. It’s rare to see something made with this much heart.

Love Letter

To the Khemjira team, I wish you beautiful days ahead. In a time where instant is rewarded, the love, patience, and care you put into this have earned you many beautiful days to come.

The author is brilliant. What a brilliant mind.

All of the actors, from the main to the supporting and background characters, are beautifully cast and thoughtfully directed.

And Keng (Pharan) and Namping (Khem), I wonder what you went through to prepare for these roles. The hard work, the detail, the emotion you poured into every scene is so realistic. From here on, the journey will only become more wonderful. I’m not a fan of many things, but I think being a fan of your acting is fun.

And shoutout to Rhampueng (Green), oh my gosh, what a perfect blend of tragedy and horror. Another victim of patriarchy, portrayed with such depth and empathy.

Even as I write this, there are still two episodes left. But I already know how I feel. Khemjira must survive, and it will.

Stories made with this much love always do.

--

p.s first fandom post i wrote in 8 years. life's been hard lately but this makes me happy and sparks joy!!!!!!!!

[visualtaehyun]

I predictably accidentally got too invested in the language while watching ep.2 so I suddenly found myself with a bunch of notes at 2 am 🫠 this post is chaotic as all hell and I'm probably underexplaining but 🤡

For a much more refined look at the culture and language in Khemjira's first episode, please do check out @hinmotion's post right here~

Disclaimer: not a native Thai speaker, I am very much still learning 🙏

-> some color coding for ease of reading (hopefully lol): Peem, Khem, Jet, Rae, Worn; Isan, ending particles

Young Peem calls Por Kru Sek "พ่อใหญ่" /por yai/ (พ่อ /por/ = father, dad + ใหญ่ /yai/ = big, grand) which is the Isan word for 'grandfather', equivalent to Central Thai's ปู่ /bpuu/ or ตา /dtaa/:

- Peem: ตะกรุดพ่อใหญ่กู /dta-groot por yai guu/ = My grandfather's takrut... - Khem: พ่อใหญ่ละครับ /por yai la khrap/ = Grandfather? - Jet: พ่อครูเสกอะ เป็นปู่ของพ่อครู /por kru Sek-a, bpen bpuu khaawng por kru/ = Por Kru Sek, [he's] Por Kru's (paternal) grandfather.

Rampheung: มึงฝืนชะตามันไม่ได้หรอก /meung feuun cha-dtaa man mai dai raawk/= You cannot (forcibly) go against/defy his fate.

หลังจากสวดชุมนุมเทวดา /lang jaak suuad choom-noom theh-wa-daa/ = (more literally) After the prayer/chant of the 'Gathering of Angels/Heavenly Beings/Deities' [...]

-> from the novel, Ch.7: "'Angels Invitation Chanting' (คาถาชุมนุมเทวดา.) It is a khatha that is used to summon all angels to listen to the Buddha's teachings so that they can help protect humans from danger."

Since I kept stumbling across it, here's a viral clip of a monk chanting the ชุมนุมเทวดา /choom-noom theh-wa-daa/:

In the novel, Peem doesn't touch Khem's takrut with his bare hands but uses a betel leaf to hold and take a closer look at it. Peem would naturally be careful while handling any sacred or magical objects, not knowing what energies might be connected to them, but Khem's takrut especially since he knows about Khem's karmic enemy. So Peem just wordlessly touching it barehanded in the show?

That's a choice. He might not have any qualms about touching it because they're trying to emphasize to viewers that Peem is already familiar with Khem's takrut since it used to be his grandpa's, their takruts are a pair, just like they themselves are familiar with each other:

Their fates are already intertwined, as much as Peem is trying not to get involved in Khemjira's.

More about their takruts:

-> translation by @/PoiChomp on twt 🙏

Por Kru’s Textbook “The Takrut of Khemjira” Consecrated by Por Kru Sek, grandfather of Por Kru Pharan, this Takrut exists in only two pieces in the world: one with Khemjira, and the other with Por Kru Pharan. It possesses powerful Buddhist virtues, offering protection, safeguarding against danger, and warding off evil spirits. It can be adapted into a bracelet or necklace. This Takrut is inscribed with the Phut Son Yantra, or the Five Lords Yantra, a sacred mantra consecrated by revered masters skilled in mystical arts, from ancient times to the present. It is traditionally invoked on yantra cloths or metal plates, which are then placed in homes, at entrances, doors, windows, or near the bed in order to protect against ghosts, evil forces, and misfortune, whether caused by humans or malevolent intentions. The ancients said, “It provides excellent protection.” Interesting detail: Normally, some Takruts are made by placing yantra cloths inside glass tubes. However, Por Kru Sek’s Takrut is engraved on a metal plate for durability.

Since the subs don't reflect it as consistently as the novel's English translation did:

Jet speaks casually rudely with his ages mates (same as the three dinguses from their volunteer camp, Te, Korn and Phu) -> impolite pronouns กู/มึง /guu, meung/ + often rude ending particles วะ /wa/, เว้ย /woei/

มึงเอามือออกจากไอ้เขมเลยเว้ย /meung ao meuu aawk jaak ai'Khem loei woei/ = Take your damn hands off of Ai'Khem!

Charn is so prim and proper that he speaks formally to everyone lol -> polite formal pronouns ผม/คุณ[name] /pom, khun [name]/ + polite ending particle ครับ /khrap/

ยินดีที่ได้รู้จักครับคุณเขม /yin-dee thee dai ruu-jak khrap, khun Khem/ = Nice to meet [you], Mr. Khem.

Khem meanwhile is somewhere in the middle between their two extremes, speaking to his age mates informally yet friendly -> เรา/[name] or แก /rao, [name] or gae/ but he's also often omitting pronouns altogether

- Korn: คนนี้ไงมึง ที่เขาว่าเป็นผู้ชายแต่ชื่อเหมือนผู้หญิงอะ /khohn nee ngai, meung, thee khao waa bpen phuu-chaai dtaae cheuu meuuan phuu-ying-a/ = This is the one, dude! Who people say is a guy but [has] a name like a girl. - Phu: เอาจริง ๆ ถ้าบอกเป็นทอมก็เชื่อนะเนี่ย สวยขนาดนี้อะ /ao jing-jing, thaa baawk bpen tom gaaw cheuua na niia. suuay kha-naat nee-a/ = To be honest, if [you'd] told [me he]'s a tom, [I'd] have believed [you]. [Him] being this pretty!

-> tom ทอม, from the English 'tomboy', is a term that can encompass masc women, butch lesbians, trans men etc. but at its core means someone who's AFAB and has a masculine gender expression.

- Peem in ep.1: จ้องจนหน้ากูสึกหมดแล้วมั้ง /jaawng john naa guu seuk moht laaeo mang/ = Staring until my face is all worn out, [I] guess? - Peem in ep.2: แล้วนี่ยืนจ้องฉันขนาดนี้อะ /laaeo nee yeuun jaawng chan kha-naat nee-a/ = And standing [here] staring at me like that [...]

-> in this one sentence, he suddenly uses informal ฉัน /chan/ instead of his usual impolite familiar กู /guu/, making him sound like he's warming up to Khem.

พ่อใหญ่กูนี่แหละเป็นคนกำชับไว้ ว่าไม่ให้ยุ่งกับเจ้ากรรมนายเวรคนอื่น /por yai guu nee lae bpen khohn gam-chap wai waa mai hai yoong gap jao-gam-naai-wehn khohn-euun/ = (It was) my grandfather who cautioned [me] against getting involved in other people's karmic enemy [business].

- Khem: ถ้าเห็นจริง ๆ อะ ก็ควรบอกผู้ใหญ่ /thaa hen jing-jing-a, gaaw khuaan baawk phuu-yai/ = If [you] really saw [that] then [you] should tell an adult/the [village] elders. - Khem: ถ้าเกิดอะไรขึ้น มันจะยุ่ง /thaa geert a-rai kheun, man ja yoong/ = If something happens, [you]'ll be mixed up [in it].

...which is exactly what Charn does, tell a trusted elder and have him be the one to address the problem:

- Chai: อีแร่เมียมึงอะ ยังฮักกันดีอยู่บ๊อ /ee'Rae, mia meung-a, yang hak gan dee yuu baaw/ = [With] your wife, Ee'Rae-- do [you] still love each other (dearly)? - Worn: ก็ฮักกันดี /gaaw hak gan dee/ = [We] do love each other (dearly).

- Khem: ที่พี่แร่กับพี่วรกลับมารักกันได้เนี่ย เพราะพ่อครูเลยครับ /thee P'Rae gap P'Worn glap maa rak gan dai niia, phraw por kru loei khrap/ = That P'Rae and P'Worn managed to go back to loving each other, [that's] all because of you! - Peem: มึงอย่าเพิ่งตัดสิน มันไม่ง่ายขนาดนั้น /meung yaa pherng dtat sin. man mai ngaai kha-naat nan/ = Don't you pass judgment/assess [the situation] just yet. It's not that simple.

ไม่เจอกันนานเลยนะ พี่วัฒน์ /mai juuhr gan naan loei na, P'Wat/ = Long time no see, P'Wat. -> พี่ /phi/ as in พี่ชาย /phi chaai/ = older brother; Wat วัฒน์ is shortened from Pawat ภวัฒน์

By the way, fascinatingly the ghosts don't speak Isan lol, either because they're not human and thus don't adhere to the culture, language and mannerisms of the humans they possess, or because they're originally from a different place and/or time - which is why Rampheung sounds a bit old-timey and the novel translates this:

หากูอยู่รึ /haa guu yuu, reu/ = Looking for me, [are you]?

...like this: "Art thou looking for me?" (Ch.8)

[fiddleyoumust]

I've been thinking about my taste in historical c-dramas and realized I always lean toward political/palace intrigue over xanxia or wuxia fantasy dramas. So, without further ado, my list of favorite historical c-dramas (with a happy ending) that ground the romance in political power struggles.

1. The Double

Cast: Wang Xing Yue, Wu Jin Yan

Synopsis: After being framed for adultery by her husband and his family, Xue Fang Fei takes on the identity of the deceased daughter of a high-ranking court official in order to clear her family's name and take revenge on the people who wronged her.

This drama is flawless. Both the FL and the ML are two of my favorite characters of all time. They're both smart, funny, and badass in their own way. Their relationship is one of mutual respect and admiration, and the way they fight for and support one another is beautiful and romantic. The villains are fleshed out and great at making you hate everything about them while also understanding their motivations. Wang Xingyue gives an INCREDIBLE performance as Duke Su, and while I think Wu Jin Yan is too old to believably play a teenager, she is a fantastic actress who does a complicated character justice. I really have nothing negative to say about this drama. It's perfect to me.

2. Blossom

Cast: Li Yun Rui, Meng Zi Yi

Synopsis: A chance meeting between a woman leaving her cheating husband and a general helping a second prince overthrow the crown results in both of their deaths, intertwining their fates. When the woman wakes up reborn in her 10 year old body with all her memories intact, she has the opportunity to change her fate, the fate of the general, and maybe the entire country.

Dou Zhao and Song Mo are my parents, full stop. This couple is so good - both smart and capable in their own right, but damn near unstoppable together. Their chemistry is great. Their love and devotion for each other is crazy, and they're both just so, so pretty 🩷. I never found this drama boring, but I have seen some people say they thought the back half drags a bit. I think if you're not fully enamored with the couple, that might be the case since the back half focuses more on palace power struggles, but I'm a political intrigue girlie, so I was hooked the whole time.

3. Are You The One

Cast: Zhang Wan Yi, Wang Chu Ran

Synopsis: An anti-heroine bandit and a vassal Prince army general find their lives entwined when he saves her from near death and uses her resulting amnesia to trick her into thinking they're a married merchant couple in order to use her to catch the mastermind behind her bandit stronghold. As he sinks deeper into his own lies, he desperately tries to cling to their made-up life, fearing the day she regains her memories...

THIS SHOW!!!! My beautiful power couple who outsmart everyone but each other and wield death with knives and swords. This show does so many things right. The palace politics are interesting. The second male lead is compelling and complicated in a way that makes you seriously consider him as a contender. Both of our protagonists are smart, capable fighters who slowly realize they want the same things but have chosen different paths to achieve their goals. Also, the ML is a SIMP, which I am always here for.

4. New Life Begins

Cast: Bai Jing Ting, Tian Xi Wei

Synopsis: Ignored by his Emperor father and neglected by his concubine mother, the 6th prince of Xin Chuan marries the daughter of a farming family from a neighboring country as part of an annual marriage selection. Together, they face the challenges of court politics, royal etiquette, treatment of women, and international relations as the prince's reputation rises in the court of Xin Chuan and he begins to earn the respect of his father.

The ML and FL are great, and their relationship is solid, lovely, and heartwarming. But the real delight of this show is the women and their friendships. The unwavering support and love all the female characters have for one another is the true heart of this show. If you love women supporting women and women fighting for change and equal access to power while a few great men support them, I can not recommend this one enough.

5. The Princess Royal

Cast: Zhang Ling He, Zhao Jin Mai

Synopsis: After 20 years in an arranged marriage, Princess Li Rong has her Prince Consort, Pei Wenxuan, assassinated after she believes he's been slowly poisoning her. She dies from the poison soon after his death and wakes up to find she's gone back 20 years, memories intact, to before she and Pei Wenxuan got married. She quickly realizes that Pei Wenxuan is also back, and the two of them must decide what parts of their past they'll repeat and what parts they can change to avoid their fate.

Li Rong is one of my favorite female characters. She's cold, closed-off, analytical, and so repressed it's painful. She's tries so hard to protect herself, that she ends up missing out on the most important thing in her life the first time around and her bravery in trying to change herself enough to not miss it a second time is breathtaking. Watching fiery and charismatic Pei Wenxuan try to properly win her heart in their second life is one of the most swoonworthy romances I've watched. The politics in the show are engaging, and there is interesting meta to be had around how our desires and how we prioritize those desires affect the course of our lives.

6. The Story of Kunning Palace

Cast: Zhang Ling He, Bai Lu

Synopsis: A wicked Empress is pushed to her death after a coup overthrows the Emperor. She wakes up in her 18 year old body and vows to make different choices this time around. But changing her course is more difficult than she imagined, and things become more complicated when she gets entangled with the man responsible for the coup and her death in her first life.

I thoroughly enjoyed the politics and court drama of this show, but ultimately, it's the performances of Bai Lu, Wang Xingyue, and especially Zhang Linghe as the intense and unhinged Xie Wei, that really make this drama worth watching. Bai Lu's chemistry with both MLs is fantastic, and her scenes with Zhang Linghe are so charged that you'll be holding your breath. They both chew their way through this drama immaculately. Watch it for the simple joy of watching two actors ACT.

7. Melody of Golden Age

Cast: Ding Yu Xi, Ancy Deng

Synopsis: In order to protect her family, the 6th daughter of a low-level court official marries the favored general of the queen dowager in place of her older sister. Neither party wants the marriage, but neither can afford to anger the queen. They decide to bide their time and divorce in a year, but in the meantime, they help one another achieve various goals... and, of course, fall in love for real.

I can't be rational about Ding Yu Xi. If he's in it, I'm tuned in. His chemistry with Ancy Dang is fantastic, and watching his character, Shen Du, slowly melt and fall for his wife, Yan Xing, is so, so enjoyable. I was less interested in the mystery/court politics of this one, but I still liked it a lot. The romance is very good and Shen Du and Yan Xing are dreamy protagonists.

8. Blossoms In Adversity

Cast: Hu Yi Tian, Zhang Jing Yi

Synopsis: The feisty and brilliant daughter of a noble family must find a way to keep all the women and children in her family alive when her grandfather offends the king and gets their family's wealth, property, and status stripped away, as well as all the men banished to a labor camp.

This show is all about the FL, Hua Zhi, for me. She is a fantastic character - strong, sensible, smart, and fearless - while still managing to hold on to her heart and see the good in the people around her. Her love story with the prince/commander lacked something for me. I think I wanted it to be more intense than it was and might have worked better if a different actor played him. But, Hua Zhi, her family dynamics, the court politics, and all of the side characters were beyond enjoyable.

9. Flourished Peony

Cast: Li Xian, Yang Zi

Synopsis: A woman in a terrible marriage makes an escape with only the clothes on her back and a rare potted peony her mother left her. She ends up pawning the peony to the king's flower envoy in order to start a business, and the two become entangled as a result.

The FL, Mu Dan, is a badass. She tackles villain after villain with just her wits and the sheer determination to live her life freely. The ML, Cheng Yang, realizes early on that he's found a kindred spirit, but neither of them are interested in romance at first. I loved that they are genuinely friends for the majority of the show and that the ML trusts Mu Dan to solve her own problems, rarely stepping in to help her because he knows she's strong enough to solve it herself. This show, much like New Life Begins, highlights the horrors of being a woman in this time period. And like New Life Begins, one of the best things about this show is the women Mu Dan collects throughout her journey, building her own little found family. Flourished Peony has a 2nd season on the way that will air some time in the back half of 2025, but the end of S1 is solid and won't leave you hanging if you decide to watch it before S2 comes out.

10. The Rise of Ning

Cast: Zhang Wan Yi, Ren Min

Synopsis: After spending most of her childhood in the country away from her scholarly family, Yi Ning, the black sheep daughter, returns home for her grandmother's birthday. Rivalry between her and her other siblings and cousins cause tension, but she finds an ally in her father's illegitimate son, Shen Yuan, another black sheep who has cultivated a life for himself in the shadows of a family that doesn't acknowledge him. Together, they try to solve the mystery of Yi Ning's mother's death and decades old case involving Shen Yuan's master. A case that puts them in contact with a dangerous man from Ning's past.

Full warning, the romance in this is between Yi Ning and Shen Yuan. Spoiler: No, they're not really siblings. He knows they're not very early on. She finds out much later, and the romance starts after that, but he's very clearly already fallen for her while she still considers him a brother. If the trope bothers you, skip this one.

If you're like me and don't care 😂, this show is great. Yi Ning is a sweetheart with a spine. The second male lead is a combination of incredibly handsome and scarily unhinged, which makes him all the more sinister. Shen Yuan is smart, calm, and deadly - my male lead kryptonite!!!, and his devotion to Ning is so wonderful. I also have a Zhang Wan Yi bias. His face is just very, very good to me. The mystery plot is engaging, and I didn't ever find myself bored with this show.

[yamayuandadu]

Shikigami and onmyōdō through history: truth, fiction and everything in between

Abe no Seimei exorcising disease spirits (疫病神, yakubyōgami), as depicted in the Fudō Riyaku Engi Emaki. Two creatures who might be shikigami are visible in the bottom right corner (wikimedia commons; identification following Bernard Faure’s Rage and Ravage, pp. 57-58)

In popular culture, shikigami are basically synonymous with onmyōdō. Was this always the case, though? And what is a shikigami, anyway? These questions are surprisingly difficult to answer. I’ve been meaning to attempt to do so for a longer while, but other projects kept getting in the way. Under the cut, you will finally be able to learn all about this matter. 

This isn’t just a shikigami article, though. Since historical context is a must, I also provide a brief history of onmyōdō and some of its luminaries. You will also learn if there were female onmyōji, when stars and time periods turn into deities, what onmyōdō has to do with a tale in which Zhong Kui became a king of a certain city in India - and more!

The early days of onmyōdō In order to at least attempt to explain what the term shikigami might have originally entailed, I first need to briefly summarize the history of onmyōdō (陰陽道). This term can be translated as “way of yin and yang”, and at the core it was a Japanese adaptation of the concepts of, well, yin and yang, as well as the five elements. They reached Japan through Daoist and Buddhist sources. Daoism itself never really became a distinct religion in Japan, but onmyōdō is arguably among the most widespread adaptations of its principles in Japanese context.

Kibi no Makibi, as depicted by Yoshitoshi Tsukioka (wikimedia commons)

It’s not possible to speak of a singular founder of onmyōdō comparable to the patriarchs of Buddhist schools. Bernard Faure notes that in legends the role is sometimes assigned to Kibi no Makibi, an eighth century official who spent around 20 years in China. While he did bring many astronomical treatises with him when he returned, this is ultimately just a legend which developed long after he passed away.

In reality onmyōdō developed gradually starting with the sixth century, when Chinese methods of divination and treatises dealing with these topics first reached Japan. Early on Buddhist monks from the Korean kingdom of Baekje were the main sources of this knowledge. We know for example that the Soga clan employed such a specialist, a certain Gwalleuk (観勒; alternatively known under the Japanese reading of his name, Kanroku).

Obviously, divination was viewed as a very serious affair, so the imperial court aimed to regulate the continental techniques in some way. This was accomplished by emperor Tenmu with the formation of the onmyōryō (陰陽寮), “bureau of yin and yang” as a part of the ritsuryō system of governance. Much like in China, the need to control divination was driven by the fears that otherwise it would be used to legitimize courtly intrigues against the emperor, rebellions and other disturbances.  Officials taught and employed by onmyōryō were referred to as onmyōji (陰陽師). This term can be literally translated as  “yin-yang master”. In the Nara period, they were understood essentially as a class of public servants. Their position didn’t substantially differ from that of other specialists from the onmyōryō: calendar makers, officials responsible for proper measurement of time and astrologers. The topics they dealt with evidently weren’t well known among commoners, and they were simply typical members of the literate administrative elite of their times.

Onmyōdō in the Heian period: magic, charisma and nobility

The role of onmyōji changed in the Heian period. They retained the position of official bureaucratic diviners in employ of the court, but they also acquired new duties. The distinction between them and other onmyōryō officials became blurred. Additionally their activity extended to what was collectively referred to as jujutsu (呪術), something like “magic” though this does not fully reflect the nuances of this term. They presided over rainmaking rituals, purification ceremonies, so-called “earth quelling”, and establishing complex networks of temporal and directional taboos.

A Muromachi period depiction of Abe no Seimei (wikimedia commons)

The most famous historical onmyōji like Kamo no Yasunori and his student Abe no Seimei were active at a time when this version of onmyōdō was a fully formed - though obviously still evolving - set of practices and beliefs. In a way they represented a new approach, though - one in which personal charisma seemed to matter just as much, if not more, than official position. This change was recognized as a breakthrough by at least some of their contemporaries. For example, according to the diary of Minamoto no Tsuneyori, the Sakeiki (左經記), “in Japan, the foundations of onmyōdō were laid by Yasunori”.

The changes in part reflected the fact that onmyōji started to be privately contracted for various reasons by aristocrats, in addition to serving the state. Shin’ichi Shigeta notes that it essentially turned them from civil servants into tradespeople. However, he stresses they cannot be considered clergymen: their position was more comparable to that of physicians, and there is no indication they viewed their activities as a distinct religion. Indeed, we know of multiple Heian onmyōji, like Koremune no Fumitaka or Kamo no Ieyoshi, who by their own admission were devout Buddhists who just happened to work as professional diviners.

Shin’ichi Shigeta notes is evidence that in addition to the official, state-sanctioned onmyōji, “unlicensed” onmyōji who acted and dressed like Buddhist clergy, hōshi onmyōji (法師陰陽師) existed. The best known example is Ashiya Dōman, a mainstay of Seimei legends, but others are mentioned in diaries, including the famous Pillow Book. It seems nobles particularly commonly employed them to curse rivals. This was a sphere official onmyōji abstained from due to legal regulations. Curses were effectively considered crimes, and government officials only performed apotropaic rituals meant to protect from them. The Heian period version of onmyōdō captivated the imagination of writers and artists, and its slightly exaggerated version present in classic literature like Konjaku Monogatari is essentially what modern portrayals in fiction tend to go back to.

Medieval onmyōdō: from abstract concepts to deities

Gozu Tennō (wikimedia commons)

Further important developments occurred between the twelfth and fourteenth centuries. This period was the beginning of the Japanese “middle ages” which lasted all the way up to the establishment of the Tokugawa shogunate. The focus in onmyōdō in part shifted towards new, or at least reinvented, deities, such as calendarical spirits like Daishōgun (大将軍) and Ten’ichijin (天一神), personifications of astral bodies and concepts already crucial in earlier ceremonies. There was also an increased interest in Chinese cosmological figures like Pangu, reimagined in Japan as “king Banko”. However, the most famous example is arguably Gozu Tennō, who you might remember from my Susanoo article. 

The changes in medieval onmyōdō can be described as a process of convergence with esoteric Buddhism. The points of connection were rituals focused on astral and underworld deities, such as Taizan Fukun or Shimei (Chinese Siming). Parallels can be drawn between this phenomenon and the intersection between esoteric Buddhism and some Daoist schools in Tang China. Early signs of the development of a direct connection between onmyōdō and Buddhism can already be found in sources from the Heian period, for example Kamo no Yasunori remarked that he and other onmyōji depend on the same sources to gain proper understanding of ceremonies focused on the Big Dipper as Shingon monks do. 

Much of the information pertaining to the medieval form of onmyōdō is preserved in Hoki Naiden (ほき内伝; “Inner Tradition of the Square and the Round Offering Vessels”), a text which is part divination manual and part a collection of myths. According to tradition it was compiled by Abe no Seimei, though researchers generally date it to the fourteenth century. For what it’s worth, it does seem likely its author was a descendant of Seimei, though. Outside of specialized scholarship Hoki Naiden is fairly obscure today, but it’s worth noting that it was a major part of the popular perception of onmyōdō in the Edo period. A novel whose influence is still visible in the modern image of Seimei, Abe no Seimei Monogatari (安部晴明物語), essentially revolves around it, for instance.

Onmyōdō in the Edo period: occupational licensing

Novels aside, the first post-medieval major turning point for the history of onmyōdō was the recognition of the Tsuchimikado family as its official overseers in 1683. They were by no means new to the scene - onmyōji from this family already served the Ashikaga shoguns over 250 years earlier. On top of that, they were descendants of the earlier Abe family, the onmyōji par excellence. The change was not quite the Tsuchimikado’s rise, but rather the fact the government entrusted them with essentially regulating occupational licensing for all onmyōji, even those who in earlier periods existed outside of official administration.

As a result of the new policies, various freelance practitioners could, at least in theory, obtain a permit to perform the duties of an onmyōji. However, as the influence of the Tsuchimikado expanded, they also sought to oblige various specialists who would not be considered onmyōji otherwise to purchase licenses from them. Their aim was to essentially bring all forms of divination under their control. This extended to clergy like Buddhist monks, shugenja and shrine priests on one hand, and to various performers like members of kagura troupes on the other. 

Makoto Hayashi points out that while throughout history onmyōji has conventionally been considered a male occupation, it was possible for women to obtain licenses from the Tsuchimikado. Furthermore, there was no distinct term for female onmyōji, in contrast with how female counterparts of Buddhist monks, shrine priests and shugenja were referred to with different terms and had distinct roles defined by their gender. As far as I know there’s no earlier evidence for female onmyōji, though, so it’s safe to say their emergence had a lot to do with the specifics of the new system. It seems the poems of the daughter of Kamo no Yasunori (her own name is unknown) indicate she was familiar with yin-yang theory or at least more broadly with Chinese philosophy, but that’s a topic for a separate article (stay tuned), and it's not quite the same, obviously.

The Tsuchimikado didn’t aim to create a specific ideology or systems of beliefs. Therefore, individual onmyōji - or, to be more accurate, individual people with onmyōji licenses - in theory could pursue new ideas. This in some cases lead to controversies: for instance, some of the people involved in the (in)famous 1827 Osaka trial of alleged Christians (whether this label really is applicable is a matter of heated debate) were officially licensed onmyōji. Some of them did indeed possess translated books written by Portuguese missionaries, which obviously reflected Catholic outlook. However, Bernard Faure suggests that some of the Edo period onmyōji might have pursued Portuguese sources not strictly because of an interest in Catholicism but simply to obtain another source of astronomical knowledge. 

The legacy of onmyōdō 

In the Meiji period, onmyōdō was banned alongside shugendō. While the latter tradition experienced a revival in the second half of the twentieth century, the former for the most part didn’t. However, that doesn’t mean the history of onmyōdō ends once and for all in the second half of the nineteenth century. 

Even today in some parts of Japan there are local religious traditions which, while not identical with historical onmyōdō, retain a considerable degree of influence from it. An example often cited in scholarship is Izanagi-ryū (いざなぎ流) from the rural Monobe area in the Kōchi Prefecture. Mitsuki Ueno stresses that the occasional references to Izanagi-ryū as “modern onmyōdō” in literature from the 1990s and early 2000s are inaccurate, though. He points out they downplay the unique character of this tradition, and that it shows a variety of influences. Similar arguments have also been made regarding local traditions from the Chūgoku region.

Until relatively recently, in scholarship onmyōdō was basically ignored as superstition unworthy of serious inquiries. This changed in the final decades of the twentieth century, with growing focus on the Japanese middle ages among researchers. The first monographs on onmyōdō were published in the 1980s. While it’s not equally popular as a subject of research as esoteric Buddhism and shugendō, formerly neglected for similar reasons, it has nonetheless managed to become a mainstay of inquiries pertaining to the history of religion in Japan.

Yoshitaka Amano's illustration of Baku Yumemakura's fictionalized portrayal of Abe no Seimei (right) and other characters from his novels (reproduced here for educational purposes only)

Of course, it’s also impossible to talk about onmyōdō without mentioning the modern “onmyōdō boom”. Starting with the 1980s, onmyōdō once again became a relatively popular topic among writers. Novel series such as Baku Yumemakura’s Onmyōji, Hiroshi Aramata’s Teito Monogatari or Natsuhiko Kyōgoku’s Kyōgōkudō and their adaptations in other media once again popularized it among general audiences. Of course, since these are fantasy or mystery novels, their historical accuracy tends to vary (Yumemakura in particular is reasonably faithful to historical literature, though). Still, they have a lasting impact which would be impossible to accomplish with scholarship alone.

Shikigami: historical truth, historical fiction, or both?

You might have noticed that despite promising a history of shikigami, I haven’t used this term even once through the entire crash course in history of onmyōdō. This was a conscious choice. Shikigami do not appear in any onmyōdō texts, even though they are a mainstay of texts about onmyōdō, and especially of modern literature involving onmyōji.

It would be unfair to say shikigami and their prominence are merely a modern misconception, though. Virtually all of the famous legends about onmyōji feature shikigami, starting with the earliest examples from the eleventh century. Based on Konjaku Monogatari, there evidently was a fascination with shikigami at the time of its compilation. Fujiwara no Akihira in the Shinsarugakuki treats the control of shikigami as an essential skill of an onmyōji, alongside the abilities to “freely summon the twelve guardian deities, call thirty-six types of wild birds (...), create spells and talismans, open and close the eyes of kijin (鬼神; “demon gods”), and manipulate human souls”. 

It is generally agreed that such accounts, even though they belong to the realm of literary fiction, can shed light on the nature and importance of shikigami. They ultimately reflect their historical context to some degree. Furthermore, it is not impossible that popular understanding of shikigami based on literary texts influenced genuine onmyōdō tradition. It’s worth pointing out that today legends about Abe no Seimei involving them are disseminated by two contemporary shrines dedicated to him, the Seimei Shrine (晴明神社) in Kyoto and the Abe no Seimei Shrine (安倍晴明神社) in Osaka. Interconnected networks of exchange between literature and religious practice are hardly a unique or modern phenomenon. 

However, even with possible evidence from historical literature taken into account, it is not easy to define shikigami. The word itself can be written in three different ways: 式神 (or just 式), 識神 and 職神, with the first being the default option. The descriptions are even more varied, which understandably lead to the rise of numerous interpretations in modern scholarship. Carolyn Pang in her recent treatments of shikigami, which you can find in the bibliography, has recently divided them into five categories. I will follow her classification below.

Shikigami take 1: rikujin-shikisen

An example of shikiban, the divination board used in rikujin-shikisen (Museum of Kyoto, via onmarkproductions.com; reproduced here for educational purposes only)

A common view is that shikigami originate as a symbolic representation of the power of shikisen (式占) or more specifically rikujin-shikisen (六壬式占), the most common form of divination in onmyōdō. It developed from Chinese divination methods in the Nara period, and remained in the vogue all the way up to the sixteenth century, when it was replaced by ekisen (易占), a method derived from the Chinese Book of Changes.

Shikisen required a special divination board known as shikiban (式盤), which consists of a square base, the “earth panel” (地盤, jiban), and a rotating circle placed on top of it, the “heaven panel” (天盤, tenban). The former was marked with twelve points representing the signs of the zodiac and the latter with representations of the “twelve guardians of the months” (十二月将, jūni-gatsushō; their identity is not well defined). The heaven panel had to be rotated, and the diviner had to interpret what the resulting combination of symbols represents. Most commonly, it was treated as an indication whether an unusual phenomenon (怪/恠, ke) had positive or negative implications. It’s worth pointing out that in the middle ages the shikiban also came to be used in some esoteric Buddhist rituals, chiefly these focused on Dakiniten, Shōten and Nyoirin Kannon. However, they were only performed between the late Heian and Muromachi periods, and relatively little is known about them. In most cases the divination board was most likely modified to reference the appropriate esoteric deities.

Shikigami take 2: cognitive abilities

While the view that shikigami represented shikisen is strengthened by the fact both terms share the kanji 式, a variant writing, 識神, lead to the development of another proposal. Since the basic meaning of 識 is “consciousness”, it is sometimes argued that shikigami were originally an “anthropomorphic realization of the active psychological or mental state”, as Caroline Pang put it - essentially, a representation of the will of an onmyōji. Most of the potential evidence in this case comes from Buddhist texts, such as Bosatsushotaikyō (菩薩処胎経). 

However, Bernard Faure assumes that the writing 識神 was a secondary reinterpretation, basically a wordplay based on homonymy. He points out the Buddhist sources treat this writing of shikigami as a synonym of kushōjin (倶生神). This term can be literally translated as “deities born at the same time”. Most commonly it designates a pair of minor deities who, as their name indicates, come into existence when a person is born, and then records their deeds through their entire life. Once the time for Enma’s judgment after death comes, they present him with their compiled records. It has been argued that they essentially function like a personification of conscience. 

Shikigami take 3: energy

A further speculative interpretation of shikigami in scholarship is that this term was understood as a type of energy present in objects or living beings which onmyōji were believed to be capable of drawing out and harnessing to their ends. This could be an adaptation of the Daoist notion of qi (氣). If this definition is correct, pieces of paper or wooden instruments used in purification ceremonies might be examples of objects utilized to channel shikigami. 

The interpretation of shikigami as a form of energy is possibly reflected in Konjaku Monogatari in the tale The Tutelage of Abe no Seimei under Tadayuki. It revolves around Abe no Seimei’s visit to the house of the Buddhist monk Kuwanten from Hirosawa. Another of his guests asks Seimei if he is capable of killing a person with his powers, and if he possesses shikigami. He affirms that this is possible, but makes it clear that it is not an easy task. Since the guests keep urging him to demonstrate nonetheless, he promptly demonstrates it using a blade of grass. Once it falls on a frog, the animal is instantly crushed to death. From the same tale we learn that Seimei’s control over shikigami also let him remotely close the doors and shutters in his house while nobody was inside.

Shikigami take 4: curse As I already mentioned, arts which can be broadly described as magic - like the already mentioned jujutsu or juhō (呪法, “magic rituals”) - were regarded as a core part of onmyōji’s repertoire from the Heian period onward. On top of that, the unlicensed onmyōji were almost exclusively associated with curses. Therefore, it probably won’t surprise you to learn that yet another theory suggests shikigami is simply a term for spells, curses or both. A possible example can be found in Konjaku Monogatari, in the tale Seimei sealing the young Archivist Minor Captains curse - the eponymous curse, which Seimei overcomes with protective rituals, is described as a shikigami.

Kunisuda Utagawa's illustration of an actor portraying Dōman in a kabuki play (wikimedia commons)

Similarities between certain descriptions of shikigami and practices such as  fuko (巫蠱) and goraihō (五雷法) have been pointed out. Both of these originate in China. Fuko is the use of poisonous, venomous or otherwise negatively perceived animals to create curses, typically by putting them in jars, while goraihō is the Japanese version of Daoist spells meant to control supernatural beings, typically ghosts or foxes. It’s worth noting that a legend according to which Dōman cursed Fujiwara no Michinaga on behalf of lord Horikawa (Fujiwara no Akimitsu) involves him placing the curse - which is itself not described in detail -  inside a jar.

Mitsuki Ueno notes that in the Kōchi Prefecture the phrase shiki wo utsu, “to strike with a shiki”, is still used to refer to cursing someone. However, shiki does not necessarily refer to shikigami in this context, but rather to a related but distinct concept - more on that later.

Shikigami take 5: supernatural being

While all four definitions I went through have their proponents, yet another option is by far the most common - the notion of shikigami being supernatural beings controlled by an onmyōji. This is essentially the standard understanding of the term today among general audiences. Sometimes attempts are made to identify it with a specific category of supernatural beings, like spirits (精霊, seirei), kijin or lesser deities (下級神, kakyū shin). However, none of these gained universal support. Generally speaking, there is no strong indication that shikigami were necessarily imagined as individualized beings with distinct traits.

The notion of shikigami being supernatural beings is not just a modern interpretation, though, for the sake of clarity. An early example where the term is unambiguously used this way is a tale from Ōkagami in which Seimei sends a nondescript shikigami to gather information. The entity, who is not described in detail, possesses supernatural skills, but simultaneously still needs to open doors and physically travel. 

An illustration from Nakifudō Engi Emaki (wikimedia commons)

In Genpei Jōsuiki there is a reference to Seimei’s shikigami having a terrifying appearance which unnerved his wife so much he had to order the entities to hide under a bride instead of residing in his house. Carolyn Pang suggests that this reflects the demon-like depictions from works such as Abe no Seimei-kō Gazō (安倍晴明公画像; you can see it in the Heian section), Fudōriyaku Engi Emaki and Nakifudō Engi Emaki.

Shikigami and related concepts

A gohō dōji, as depicted in the Shigisan Engi Emaki (wikimedia commons)

The understanding of shikigami as a “spirit servant” of sorts can be compared with the Buddhist concept of minor protective deities, gohō dōji (護法童子;  literally “dharma-protecting lads”). These in turn were just one example of the broad category of gohō (護法), which could be applied to virtually any deity with protective qualities, like the historical Buddha’s defender Vajrapāṇi or the Four Heavenly Kings. A notable difference between shikigami and gohō is the fact that the former generally required active summoning - through chanting spells and using mudras - while the latter manifested on their own in order to protect the pious. Granted, there are exceptions. There is a well attested legend according to which Abe no Seimei’s shikigami continued to protect his residence on own accord even after he passed away. Shikigami acting on their own are also mentioned in Zoku Kojidan (続古事談). It attributes the political downfall of Minamoto no Takaakira (源高明; 914–98) to his encounter with two shikigami who were left behind after the onmyōji who originally summoned them forgot about them.

A degree of overlap between various classes of supernatural helpers is evident in texts which refer to specific Buddhist figures as shikigami. I already brought up the case of the kushōjin earlier. Another good example is the Tendai monk Kōshū’s (光宗; 1276–1350) description of Oto Gohō (乙護法). He is “a shikigami that follows us like the shadow follows the body. Day or night, he never withdraws; he is the shikigami that protects us” (translation by Bernard Faure). This description is essentially a reversal of the relatively common title “demon who constantly follow beings” (常随魔, jōzuima). It was applied to figures such as Kōjin, Shōten or Matarajin, who were constantly waiting for a chance to obstruct rebirth in a pure land if not placated properly.

The Twelve Heavenly Generals (Tokyo National Museum, via wikimedia commons)

A well attested group of gohō, the Twelve Heavenly Generals (十二神将, jūni shinshō), and especially their leader Konpira (who you might remember from my previous article), could be labeled as shikigami. However, Fujiwara no Akihira’s description of onmyōji skills evidently presents them as two distinct classes of beings.

A kuda-gitsune, as depicted in Shōzan Chomon Kishū by Miyoshi Shōzan (Waseda University History Museum; reproduced here for educational purposes only)

Granted, Akihira also makes it clear that controlling shikigami and animals are two separate skills. Meanwhile, there is evidence that in some cases animal familiars, especially kuda-gitsune used by iizuna (a term referring to shugenja associated with the cult of, nomen omen, Iizuna Gongen, though more broadly also something along the lines of “sorcerer”), were perceived as shikigami.

Beliefs pertaining to gohō dōji and shikigami seemingly merged in Izanagi-ryū, which lead to the rise of the notion of shikiōji (式王子; ōji, literally “prince”, can be another term for gohō dōji). This term refers to supernatural beings summoned by a ritual specialist (祈祷師, kitōshi) using a special formula from doctrinal texts (法文, hōmon). They can fulfill various functions, though most commonly they are invoked to protect a person, to remove supernatural sources of diseases, to counter the influence of another shikiōji or in relation to curses.

Tenkeisei, the god of shikigami

Tenkeisei (wikimedia commons)

The final matter which warrants some discussion is the unusual tradition regarding the origin of shikigami which revolves around a deity associated with this concept. 

In the middle ages, a belief that there were exactly eighty four thousand shikigami developed. Their source was the god Tenkeisei (天刑星; also known as Tengyōshō). His name is the Japanese reading of Chinese Tianxingxing. It can be translated as “star of heavenly punishment”. This name fairly accurately explains his character. He was regarded as one of the so-called “baleful stars” (凶星, xiong xing) capable of controlling destiny. The “punishment” his name refers to is his treatment of disease demons (疫鬼, ekiki). However, he could punish humans too if not worshiped properly.

Today Tenkeisei is best known as one of the deities depicted in a series of paintings known as Extermination of Evil, dated to the end of the twelfth century. He has the appearance of a fairly standard multi-armed Buddhist deity. The anonymous painter added a darkly humorous touch by depicting him right as he dips one of the defeated demons in vinegar before eating him. Curiously, his adversaries are said to be Gozu Tennō and his retinue in the accompanying text. This, as you will quickly learn, is a rather unusual portrayal of the relationship between these two deities.

I’m actually not aware of any other depictions of Tenkeisei than the painting you can see above. Katja Triplett notes that onmyōdō rituals associated with him were likely surrounded by an aura of secrecy, and as a result most depictions of him were likely lost or destroyed. At the same time, it seems Tenkeisei enjoyed considerable popularity through the Kamakura period. This is not actually paradoxical when you take the historical context into account: as I outlined in my recent Amaterasu article, certain categories of knowledge were labeled as secret not to make their dissemination forbidden, but to imbue them with more meaning and value.

Numerous talismans inscribed with Tenkeisei’s name are known. Furthermore, manuals of rituals focused on him have been discovered. The best known of them, Tenkeisei-hō (天刑星法; “Tenkeisei rituals”), focuses on an abisha (阿尾捨, from Sanskrit āveśa), a ritual involving possession by the invoked deity. According to a legend was transmitted by Kibi no Makibi and Kamo no Yasunori. The historicity of this claim is doubtful, though: the legend has Kamo no Yasunori visit China, which he never did. Most likely mentioning him and Makibi was just a way to provide the text with additional legitimacy.

Other examples of similar Tenkeisei manuals include Tenkeisei Gyōhō (天刑星行法; “Methods of Tenkeisei Practice”) and Tenkeisei Gyōhō Shidai (天刑星行法次第; “Methods of Procedure for the Tenkeisei Practice”). Copies of these texts have been preserved in the Shingon temple Kōzan-ji.

The Hoki Naiden also mentions Tenkeisei. It equates him with Gozu Tennō, and explains both of these names refer to the same deity, Shōki (商貴), respectively in heaven and on earth. While Shōki is an adaptation of the famous Zhong Kui, it needs to be pointed out that here he is described not as a Tang period physician but as an ancient king of Rajgir in India. Furthermore, he is a yaksha, not a human. This fairly unique reinterpretation is also known from the historical treatise Genkō Shakusho. Post scriptum The goal of this article was never to define shikigami. In the light of modern scholarship, it’s basically impossible to provide a single definition in the first place. My aim was different: to illustrate that context is vital when it comes to understanding obscure historical terms. Through history, shikigami evidently meant slightly different things to different people, as reflected in literature. However, this meaning was nonetheless consistently rooted in the evolving perception of onmyōdō - and its internal changes. In other words, it reflected a world which was fundamentally alive. The popular image of Japanese culture and religion is often that of an artificial, unchanging landscape straight from the “age of the gods”, largely invented in the nineteenth century or later to further less than noble goals. The case of shikigami proves it doesn’t need to be, though. The malleable, ever-changing image of shikigami, which remained a subject of popular speculation for centuries before reemerging in a similar role in modern times, proves that the more complex reality isn’t necessarily any less interesting to new audiences.

Bibliography

Bernard Faure, A Religion in Search of a Founder?

Idem, Rage and Ravage (Gods of Medieval Japan vol. 3)

Makoto Hayashi, The Female Christian Yin-Yang Master

Jun’ichi Koike, Onmyōdō and Folkloric Culture: Three Perspectives for the Development of Research

Irene H. Lin, Child Guardian Spirits (Gohō Dōji) in the Medieval Japanese Imaginaire

Yoshifumi Nishioka, Aspects of Shikiban-Based Mikkyō Rituals

Herman Ooms, Yin-Yang's Changing Clientele, 600-800 (note there is n apparent mistake in one of the footnotes, I'm pretty sure the author wanted to write Mesopotamian astronomy originated 4000 years ago, not 4 millenia BCE as he did; the latter date makes little sense)

Carolyn Pang, Spirit Servant: Narratives of Shikigami and Onmyōdō Developments

Idem, Uncovering Shikigami. The Search for the Spirit Servant of Onmyōdō

Shin’ichi Shigeta, Onmyōdō and the Aristocratic Culture of Everyday Life in Heian Japan

Idem, A Portrait of Abe no Seimei

Katja Triplett, Putting a Face on the Pathogen and Its Nemesis. Images of Tenkeisei and Gozutennō, Epidemic-Related Demons and Gods in Medieval Japan

Mitsuki Umeno, The Origins of the Izanagi-ryū Ritual Techniques: On the Basis of the Izanagi saimon

Katsuaki Yamashita, The Characteristics of On'yōdō and Related Texts

[cheddaryouthanme]

Hockey RPF writers being known across fandoms as literary masters

When I first started reading MattDrai fics on AO3 I remember thinking “wait what the HELL is going on why is this the most consistently well-written fanfiction I’ve read in any fandom? Is this a thing? Do people know??” And apparently it is and they do.

[emilykaldwen]

THE MAIDEN AND THE DROWNING BOY is a House of the Dragon canon divergent fix-it trilogy with a HEA. Meshing both show and book canon, the story asks the question: How do you stop the cycles of abuse and generational trauma? In this universe, Aegon marries the youngest daughter of Lyonel Strong, the Lady Abrogail, who has grown up alongside him and his siblings. The story begins with the run up to their marriage in 125 AC, and follows Aegon and Abrogail as they figure out who they are and who they are together in the Riverlands, along with Aemond and Helaena in King's Landing, and to the dawn of the Dance of Dragons. Except the ending of the song is different this time.

pairings: aegon ii targaryen x oc, eventual jacaerys x helaena, other canon ships mentioned, other pairings to be announced warnings: suicidal ideation, sexual shame and purity pushing, canon typical violence, canon typical attitudes, unpacking of previously stated sexual shame/purity for both male and female characters

This is not an anti/pro team black or green fic. I continue to do my best to approach all sides with nuance. There will be no bashing, nor will I accept any in the comments.

[this fic series will have three separate parts and maintains an 'at least once a month' posting schedule (due to life reasons)]

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Tumblr: Chapter One | Chapter Two | Chapter Three | Chapter Four | Chapter Five | Chapter Six | Chapter Seven | Chapter Eight | Chapter Nine | Chapter Ten | Chapter Eleven | Chapter Twelve | Chapter Thirteen | Chapter Fourteen | Chapter Fifteen | Chapter Sixteen | Chapter Seventeen | Chapter Eighteen | Chapter Nineteen | Chapter Twenty | Chapter Twenty-One | Chapter Twenty-Two | Chapter Twenty-Three | Twenty-Four | Twenty-Five

AO3: Chapter One | Chapter Two | Chapter Three | Chapter Four | Chapter Five | Chapter Six | Chapter Seven | Chapter Eight | Chapter Nine | Chapter Ten | Chapter Eleven | Chapter Twelve | Chapter Thirteen | Chapter Fourteen | Chapter Fifteen | Chapter Sixteen | Chapter Seventeen | Chapter Eighteen | Chapter Nineteen | Chapter Twenty | Chapter Twenty-One | Chapter Twenty-Two | Chapter Twenty-Three | Twenty-Four | Twenty-Five

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Transformative Works Policy below the cut

Transformative Works Policy: I do not give my permission to have this work put into generative AI or cross-posted somewhere else under your name. If you are looking to translate my work, please contact me first. Translations are ONLY allowed on AO3 following their translation policy, or Ficbook. Podfic is also allowed as long as I am contacted first to discuss.

As of right now, @vampire-exgirlfriend, @selfproclaimedunicorn, @darkwolf76, and @queen--kenobi only have permission to utilize Abrogail Strong in their works. If you want to write something inspired by or utilize my OCs in any way, please reach out to me first.

[tropes-and-tales-archives]

Perfectly Imperfect, Chapter One

Word Count:  2960

TW:  Discussion of canon case (the “Twenty-Five Acts” episode).

AN:  Part of a series.  The series masterlist here.

Rafael Barba was only on his second day as the Manhattan ADA for special victims, and he was already nursing a scotch at a bar near the courthouse.  It wasn’t due to any big cases – he hadn’t even met the detectives he’d be working with yet.  It was a combination of wrapping up his work in Brooklyn and then assuming the mantle of an office that had been recently tarnished by scandal.

Keep reading

[adacarisi]

Slow, soft love making with Barba😍

awwwww…my heart. Sorry it took so long to get this out, I got too invested. Just so you all know I see your requests and I’m working on getting them written. I love each of you thank you so much for reading. 

It was snowing. Heaps of white clumps fell from the gray sky that seemed to only consist of more snow. You were no stranger to the weather, you’d been living in NYC for a few years now. The only time the snow was a problem was when it interfered with the trains, and they were all running just fine now which meant you could enjoy it. 

You took the long way through the park which now looked like it’s own Narnia, branches coated and sealed in ice, dusted over in a few inches of snow. You breathed in the cold air, relishing in it’s chill as your body processed the oxygen in it’s more frigid state. 

Your hands were a bit stiff and starting to feel numb so you shoved them in your pockets, flexing them in an attempt to increase your circulation. You knew your cheeks were red and flushed, the cold weather always gave you a blush. 

Keep reading

[mira-likes]

I need a Joy of Life spinoff focused entirely on the imperial family interactions—Fan Xian, the princes and the Emperor, and all of their shenanigans. No high stakes stuff, just small-time squabbling and vicious scheming over tiny stakes. Imperial Father, I denounce Fan Xian for stealing my grapes. Imperial Father, the Second Prince is wise but has no proof. Imperial Father, why is Fan Xian here at this family brunch, again.

Fan Xian does constantly try to escape this family circle, but the Emperor won’t let him. So he’s stuck accompanying the Emperor and the princes on all kinds of family outings. Brunches. Hunts. Visits to important temples. The brothers keep squabbling. The First Prince wishes he could stab half of them. The Crown Prince is trying to hold on to the crown. The Second Prince is plotting against everybody in turn. Fan Xian is defending himself and attacking whoever he feels deserves it at the moment. The Third Prince has no clue what’s going on. Allegiances shift constantly. The Emperor is having a great time

[aceinthetrap]

Aaaaahhhh~~~ so excited! Fan Xian ❤️❤️❤️

JOY OF LIFE 2 preview

@庆余年 第二季

thanks @dangermousie for the heads-up

[bananaproved]

After passing peer review here is my drama recommendation tool

Maybe I will update it in the future but for now I am happy to have watched enough good dramas to make it.

[xiaosean]

my journey to you | everyone loves yuanzhi didi ❤️

[guzhuangheaven]

Joy of Life| attempts were made to hide events from Chen Pingping 

[otomechuchu]

Short post about filming C-dramas - Hengdian

So I noticed a lot of people keep commenting that sets and “cities” in C-dramas that had basically no budget as being super pretty and that they can’t believe they managed that with no money. Here’s the thing: Many C-drama are filmed in Hengdian. There are a few other filming studios that are also popular, but I would say Hengdian is in the top 3, or maybe top 1.

Hengdian is one of the largest film studios in the world and is one of the most popular places to film a period drama (area total of 3,3 km2 and building areas of 495,995 m2).

If I remember correctly, there are at least 13 shooting bases. Some buildings, palaces, areas are made in the style of Qin and Han dynasty, others are exact replicas of certain buildings (like Yuanming Yuan, the old summer palace).

It’s FREE to film in Hengdian. How do they stay in business, you ask? They make the money from hotels, restaurants, and renting out equipment & costumes. Some dramas or movies take only 1 month to film, others can take several months. Also Hengdian is huge, if you couldn’t tell, so there can be several film crews working at the same time. 

I would also like to point out that you can visit as a tourist. 

So far there are over 1200 films and C-dramas that have been filmed in Hengdian! Crouching Tiger Hidden Dragon, Hero, The Forbidden Kingdom, Mulan are some films that were filmed there.

If you watch other Chinese period dramas, you will recognize several buildings. Some C-dramas in recent years you might recognize are Once Upon A Time in Lingjian Mountain, Joy of Life, The Untamed, Word of Honor.

Like this one! Recognize it? It’s where they had that boyband karaoke consert thing in Once Upon a Time in Lingjian Mountain 

Click here for a clip of the concert haha

July 3 2021

[lesbloggerables]

Nirvana in Fire Character Guide

First things first: Nirvana in Fire takes place in a fictional kingdom in about 6th century China. The kingdom in question is Da Liang (sometimes called Great Liang). As was the custom in the olden days, it exists in a state of near-constant warfare with neighbouring lands.

The capital city of Da Liang is called Jinling. That’s where most of the action takes place.

The country is ruled by the Emperor. This dude:

His name is Xiao Xuan, but hardly anyone ever uses it, so that’s not actually super relevant.

The emperor has lots of relatives: grandmother, siblings with their offspring, and children from his various wives. These people are relevant to the plot in different ways, so I’ll give a quick rundown, not in order of their importance. In fact, this whole character list is not in order of importance, since I expect the actual protagonist will only show up somewhere towards the middle ^^

Keep reading

[glimmeroo]

NIRVANA IN FIRE EPISODE 16 - RELATIONSHIP CHART RECAP

Featuring the best ever character introduction (Zhen Ping!) and the crushing of Jingrui’s ideals.

(Chart recaps don’t spoil future eps, find the right chart under #relrecap_nif tag)

[semirahrose]

(not SPN) I'm a sucker for Feels and Pain, and it sounds like Nirvana in Fire provides these. One question before I dive into what sounds like beautiful heartbreak — I live for meaningful platonic relationships and I can only justify starting a whole new show if there's going to be at least one. Is there? (Romance is fine too, as either a main- or side-focus, but I need my friend!shipping, ya feel me?)

Oh my goodness, Anon! I could not feel you more, and this show is so chock-full of powerful and heartbreaking do-anything-for-you friendships that you are literally spoiled for choice because you want to give your heart to every single one of them, but there is only so much heart to give and so many amazing non-romantic bonds.The vanishingly few romantic relationships absolutely take back-burner to the amazing friendships.

The answer to your question, in short, is an eardrum-shattering, resounding oh my god YES. In fact, I’m going to have to make a list of Meaningful Platonic Relationships, because this show can’t have a single character without beautiful and painful platonic attachments. disclaimer: This list is not complete, because if it was, it would be unending.

Warning: Minor allusions to preseries events, but nothing detailed/nothing you don’t learn in the first episode or two. Plus, going in with a bit of a heads-up will alleviate some of the inevitable and brain-bending confusion when the show smacks you in the face with its huge ensemble cast in the first two episodes.

Mu Nihuang and Xia Dong: The badass general and the smart executive investigative officer have a terribly wonderful and complex friendship. Both value their friendship highly but find themselves at odds because their relative places in the Big “Betrayal” put them on opposite sides. Despite that, they get along well, but there’s an undercurrent of tension.

Xiao Jingrui and Yan Yujin: These small, soft boys have the gentlest and most powerful friendship powered by faith in each other and Yujin trying to drag Jingrui out to have fun so he can forget his overwhelmingly messed-up family situation and the weird political implications it comes with.

Xiao Jingrui and Yan Yujin and Mei Changsu (who has way too many names so I’ll just use that one) + more: These two have a lovely friendship with MCS, and it’s Jingrui’s friendship with MCS that brings him to the capital in the first place, to “recover from his illness.” They all get along well with Fei Liu well, too. Bonus Tingsheng in the image below. Jingrui not pictured.

Consort Jing and her son, Jingyan: Want beautiful family bonds? Look no further. Consort Jing (AKA: Jingmum) is a remarkably intelligent and intuitive doctress and strategist without whose help nothing of consequence would have happened, and she loves her son (and her son’s supposedly deceased best friend *wink wink nudge nudge*) more than her own life.

Jingyan and Mu Nihuang: Childhood friends drawn together by tragedy. Both extremely competent kickers of asses and takers of names.  Nihuang “lost” her betrothed in the supposed “rebellion.” Jingyan lost one of the most powerful friendships you will ever have the pleasure of sobbing about. (x)

Mu Nihuang and her little brother, Mu Qing: They will never fail to make you smile. Mu Qing is entirely aware of his sister’s strength and competence but is very Smol and also is invested in her happiness in adorable little brother ways.

Consort Jing and Consort Hui: They’re just so sweet and supportive. Want a show where the ladies are relevant to the plot, varied, complex, amazingly characterized, intelligent, independent, and supportive of each other? Look no further.

Mei Changsu (also known as Lin Shu and Su Zhe because every self-respecting genius strategist needs at least three names to try to carry out a plan to bring justice to the unjustly murdered) and his hotheaded and relentlessly Good former best buddy Prince Xiao Jingyan: I’m not gonna lie. This one here is without a single doubt the ultimate meaningful platonic relationship, and heartbreakingly multi-faceted. On one level, viewers are ever aware that MCS is, in fact, Jingyan’s supposedly-dead beloved best friend, whom Jingyan still grieves even after more than a decade. On the other, he’s a shrewd strategist and advisor trying to help the out-of-favor warrior prince gain power in court. All of these relationships will break your heart and stomp on it. This relationship is the source of probably a good 90% of the Feels in this show. But hooo boy it doesn’t end there! (x)

MCS and General Meng: Despite his martial prowess, General Meng is a genuinely guileless, kind fellow whose friendship with “Mei Changsu” goes way back. The combination of MCS’s shrewdness in service to seeking justice and Meng’s well-meaning kindness is the sweetest. These two are adorable and I love them.

MCS and Fei Liu: Fei Liu is a very young, skilled fighter whose interests are relatively simple but whose love and loyalty for MCS are unmatched. He and MCS are unrelated, but have a relationship much like older brother and younger brother, with an extra layer of sickly scholar and scholar’s young bodyguard.

MCS and Lin Chen: Lin Chen is the ultimate troll. He is highly intelligent and takes no shit but quite enjoys slinging it. He and MCS are a platonic match made in heaven and annoy each other to death. It’s a beautiful friendship, with an added layer of patient and longsuffering doctor. (x)

MCS and the entire Jiangzuo Alliance: Li Gang for best Mom 2KFOREVER. They all love and are exasperated with their leader, MCS, in equal measure. (x)

Some more: General Meng and Fei Liu, Jingyan and Tingsheng, Lin Chen and Fei Liu, Li Gang and Zhen Ping, Yan Yujin and his dad, and so many more.

And this…. this doesn’t even cover all the amazing platonic relationships, only some of the most interesting or prominent ones. Any romance in the show, while present, pales in comparison to the friendships and family bonds. This show will take every Feel you have at your disposal and batter them in the best way.

If you choose to watch, please scream with me. This show is a journey I have taken multiple times, and the plot is so seamless, complex, and intricate that each and every watch brought new information and more pain/awe at how flawlessly the entire story was plotted. Every event has a purpose and ties into the story.