"sometimes taking a leap forward means leaving a few things behind."
i've been thinking about this quote a lot lately.
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"sometimes taking a leap forward means leaving a few things behind."
i've been thinking about this quote a lot lately.
I don't get the appeal of Lan Wangji going burn the world ultimate revenge for Wei Wuxian. When that type of persona is what Wei Wuxian ran away from in the first place because it was rigidly intolerant and he mistakenly did believe Lan Wangji was righteously vengeful.
He doesn't need to be intolerantly vengeful for Wei Wuxian to get Lan Wangji would stand by his side. Lan Wangji being a kind, patient man despite being seemingly cold, is what drew Wei Wuxian to him, and made Wei Wuxian drop his facades. Him being patient and willing to tease children, but able to urge them as well as prioritize their safety is another reason for Wei Wuxian to begin praising Lan Wangji along with the Lan juniors.
He is constantly juxtaposed to a man, Jiang Cheng, that is righteously wrathful, and who's not exactly praised by the narration of the novel. His lack of wrath and hate is what Wei Wuxian is attracted to when they are finally able to be with each other for extended periods of time. Especially when their only other interactions before Wei Wuxian passed had been Lan Wangji annoyed and (apparently) intolerant of Wei Wuxian. Wei Wuxian admired Lan Wangji's justice. He just thought that meant intolerance of him due to the wide acceptance from the entire cultivation world, was also in line with what Lan Wangji also believed. And this is disproven as soon as chapter 26.
The "revenge" he thought Lan Wangji would enact is softened to being able to tease Wei Wuxian back for the harmless banter Wei Wuxian always meant. Wei Wuxian did not want wrath and revenge on his own behalf, he wanted equality and understanding for solutions.
Lan Wangji enacting bloody hateful revenge on others misses the admiration that Wei Wuxian has for Lan Wangji's softer interactions and choices.
Xie Lian's bad luck carries so much meaning in TGCF. Like, Xie Lian has actual bad luck but wait, the bad luck is actually commentary on the self-perpetuating nature of poverty- wait, no, it's not actually bad luck at all, it was just a cover for how Jun Wu took advantage of his power to abuse Xie Lian- but wait, it's not bad luck, it's that Xie Lian keeps ending up in situations where his moral character means he refuses to disengage or ignore people's hardships even if he suffers for it. But WAIT-
inspired by 过桥米线 by 功夫包子
a story about a (toxic) romance between a police officer and an undercover informant trying to bust drug lords
instagram / twitter
Xie Lian, having just learned that San Lang is in fact Hua Cheng, the supreme ghost king who defeated 33 heavenly officials seemingly on a whim and who just crushed an entire army in the sinner's pit in a blink, the man of the legends, the greatest fear of the heavens himself: anyway. dinner at my place?
It’s the way that Lan Xichen could only see the good in Jin Guangyao and Nie Mingjue could only see the bad, and never fully acknowledge or accept the other half of jgy hence why things ended the way they did.
Cause the way those two both made sooo many excuses to justify their perspective of jgy, Lan Xichen always defending him and Nie Mingjue always accusing him.
Funny enough it was Nie Huaisang who saw both good and bad, and was the only one who accepted jgy. Even in his revenge he held jgy as an equal, almost tender in his destruction of jgy. The care he put in to kill this man is too much to say that Nie Huaisang didn’t still hold some type of love for his Yao-ge.
nhs and jgy are too much alike not to feel some type of way for each other. A twisted sense of respect and love and hatred.
Only after having met you did I discover that it's such a simple thing to be happy.
Can we take a moment to appreciate just how awesome He Xuan is?
Not only did he impersonate the Earth Master Ming Yi for decades without any of the Heavenly Officials noticing, but he also did such a good job at it that he ranked 9th in the Battle of Lanterns. Despite being an imposter, he maintained or maybe even increased the number of the Earth Master’s followers all this time. He must have answered prayers and acted like a real Heavenly Official despite being a ghost, while at the same time feeding Hua Cheng information about the Heavens. He lived alongside the targets of his revenge, had to hide his anger, and humored Shi Qingxuan’s whims. And all this time, he must have thought that this would have been his fate if Shi Wudu hadn’t tempered with it.
The amount of dedication and patience needed for this decades- if not centuries-long endeavor is truly remarkable.
Then again, I guess that’s the amount of dedication it takes to become a Ghost King.
there is something to be said about how the the two major “socially inferior” characters—wei wuxian and jin guangyao—were shown to be extremely skilled at people-reading and cognizant of the social, hm, dynamics throughout the story. not in the same exact way, of course. wei wuxian’s social competence was about knowing how to approach people and endear them to him and knowing what to ask to receive what he wants, usually in terms of information. jin guangyao was amazing at anticipating other people’s needs and what they want to hear and thereby delivering things in a way that would placate them.
i bring this point up because these were two characters granted the least amount of social grace and yet the expectation was that they must maintain the niceties or be deemed singularly arrogant (we see this happen with wei wuxian because he does end up going openly against the sects; where behaviour previously considered unobtrusive is now labelled as attitude problems lol). i mean, while i do commend wei wuxian’s attempt to present his request about the wen remnants to jin guangshan with politeness, it’s also so bafflingly out-of-place in a situation where he’s rightfully calling out the unfair atrocities the wen remnants were being subjected to. jin guangyao’s entire character is built on his specific method of rising through ranks using his honeyed tongue and ability to not let the naysayers get to him. “son of a servant” and “son of a prostitute” are thrown at them and these tags can reduce everything good they have done for the cultivation society in the blink of an eye because they are, infact, considered to be valid criticism of their character. it’s the dichotomy of it where jiang cheng and nie mingjue and jin guangshan can be crude and aggressive and predatory and receive, at most, hushed criticism but have their authority intact, while wei wuxian and jin guangyao’s very standing is threatened by the callback to their social status. how they are forced to be so aware of people and their ways of thinking and make all these interpersonal considerations while the other characters are allowed to be way less self-aware about their behaviours in social settings because their position was never threatened to begin with. how wei wuxian’s “manipulative” abilities and jin guangyao’s “cunning” were products of their treatment by the cultivation world in the first place.
Thoughts while reading books about Ancient Yaoi
Don't mind me, just word vomiting. Now I'm reading more on the history of homoerotic literature in China and I really can't help linking them to my understanding on danmei written in the modern times. I'm becoming more certain that relationships in BL, especially classic BL are more based on the pre-modern model of male love, where homosexuality wasn't an orientation and homoerotic relationships were normatively ideal between an older man and a pubescent youth. The younger man, of which the modern uke/shou is modeled after is feminized but is thought of as distinct from women. Femininity isn't so much about womanhood but about sexual submission. This was the model of homoerotic relationships that would have been seen in many cultures including Ancient Greece, Ottoman Turkey, Feudal Japan and Imperial China before we entered the modern era. For the past 300 years understandings of sexuality shifted in the West, but it appears they didn't really in China up until the 20th century, after which there was a century of suppression, then China opened up to globalization.
How does all this contextualize danmei? Well a lot has been said that danmei isn't necessarily supposed to be LGBT media, at least not in the same way Western queer media is. The reality is danmei does draw from different influences including anime/manga, Western pop culture and Chinese classical literature among other things. My thought is that I would imagine it would be hard to completely discard the pre-modern understandings of male/male relationships in art, similar to gender roles. After all they have only been suppressed for a century. Which is a long time but relative to China's history, isn't that long. People are still bringing up "cut-sleeve" and that was so 2000 years ago man. That being said, nowadays there are distinct differences between modern danmei and homoerotic literature from back then:
Monogamous relationships are king. No more offering your wife to your bro in exchange for his ass sir.
LGBT identities are a thing. Western cultural hegemony for the win.
A more egalitarian model for relationships. At least compared to back then, age gap relationships with underage boys are not nearly as normalized. Really Bingqiu and Ranwan are a step up, they at least get together in their adulthood. Same goes for class status (at least couples with class differences won't automatically end tragically).
Related to number 3, the popularity of 年下 and tropes like shizunfucker. The overturning of power dynamics based on age and social ranking would have been anathema to the rich literati of back then.
No conclusion to draw here, but imagine how future scholars would view danmei now, and what that says about society.
Further Reading:
The Libertine's Friend: Homosexuality and Masculinity in Late Imperial China by Giovanni Vitiello
The Dragon's Whim: Ming and Qing Homoerotic Tales from "The Cut Sleeve" by Giovanni Vitiello
Was China Part of a Global Eighteenth-Century Homosexuality? by Matthew H. Sommer
The Daoist Art of the Bedchamber of Male Homosexuality in Ming and Qing Literature by Wanrong Zhang
All interesting reads. The last one makes mention of the first recorded fujoshi (or I guess 腐女), who wrote the only complete novel on male homosexuality written by a woman in ancient China, "with 52 chapters and 1.8 million words" (MXTX got nothing on her good god).
Hua Cheng is no longer allowed to spend time with Luo Binghe unsupervised after learning how to cry on command.
Slowly but surely posting a bunch of older art works on to my blog cause I forgot I had this accountttt
Also I don’t like to partake in fandom discussion too much, just cause all fandoms suck, but I might change that on tumblr cause I trust this place to be less insane than TikTok and Twitter
Can't get over that bit right after Jin Zixuan dies, when they're back in the Burial Mounds and Wei Wuxian is losing his shit about how everything is ruined, and he says, what am I supposed to do now?
And the narration stops to describe him hearing himself say that, and knowing just how bad that proves the situation is.
Because he's not supposed to be the one who says that. Other people say that to him. And he answers them, always. That's how this works.
That's just such a fantastic bit of characterization. I think it might be the clearest statement we ever get about how Wei Wuxian identifies, as a person.
He identifies as someone who can fix it. When there's a difficult situation that's stumping other people. That's what 'attempting the impossible' really is, for him. If he can resolve the trouble by being strong or charming or shameless, that's fine. If he can solve it by being terribly clever, that's excellent. If he has to solve it by figuring out what body part to sacrifice or what crime to commit, well then that's how it has to be.
But if he can't solve it, then he doesn't know who he is anymore.
Kith ~💘
I love my friends so much that I thought it was time I try and make fanart for them.
Rewatching Ayakashi "Bakeneko" after seeing the movie, I realized something. It's not just the movie's Medicine Seller or mononoke or even character design that feels "softer" than in the series. It's the everything. It's the whole tone. It's the sense of humor, more light and playful than the grim humor of the series. It's the degree to which the characters are relatable, understandable, or even forgiveable. It's the gentleness of the emotions they express and the degree of sincerity with which they express them. It's in how even the most awful characters show that they were better people once and that those better people are still in there somewhere.
The movie looks on humanity with a much kinder eye. In the series, the focus was on acts of brutality, largely committed by men against women, and about the rage and violence they awakened and perpetuated. Even though the patriarchal structure of the shogunate is behind the situations of the women in the Ooku, the Karakasa is not driven by violence or vengeance. It kills horribly, but when its Regret is revealed, it's far more about grief than rage. Its Truth, Kitagawa, doesn't bear a grudge against anyone--she simply can't move on from what she lost. The Karakasa's Regret is a true Regret: a longing for what was thrown away, trapping those who created it in a never-ending search for their own hearts.
So Karakasa is kinder. It's a very different kind of story.
They are so happy, so in love. Hua Cheng tenderly looks at his beloved, gently touching Xie Lian's hand 💕