"I am not an accessory...I want freedom!" : Li Haolin's critique of the comphet media expectations, toxic entertainment industry and deconstruction of 'heroism' in To Be Bero X episode 2
Disclaimer : There are two more episodes left, and things will go haywire beyond our expectations; interpretations will change. However, I do believe that the core message should not change; the vision Li Haolin has, and I hope people who have watched his previous works recognize this. Li Haolin did say that the core theme remains the same in all To Be Hero works. May I have the pleasure of reminding you that Link Click was previously named 'To Be Hero: Photo'? Yeah. That being said, I should start my yapping.
Note : If you are a Link Clicker and have gone through all the stages of emotional peculiarities when Yingdu was airing, you may have noticed, with a critical lens, that Yingdu was very vocal about the nuances and politics of the entertainment industry. The recurring dialectic between (heteropatriarchal) capitalist consumerism and subversive counter-narratives really makes me happy; it affirms that Li Haolin is a political artist.
TBHX had a massive worldwide release; of course, it is aimed at an international audience, but I am sure that releasing TBHX a short period after Yingdu's completion was something Li Haolin did purposefully. Probably, it was a deliberate nod to avid Link Click fans to keep thinking intertextually. I took that as a sign.
Link Click and To Be Hero : Photo
(If you wish to skip this section, you can, but you won't be able to understand much when I actually start talking about To Be Hero X. I will draw ample comparisons with these discussions.)
Link Click, especially Yingdu, really deconstructs the concept and construction of 'Hero' and their identity. To quote Li Haolin: Tbhx is not your usual superhero story. It is fundamentally deconstructing the typical popular narratives.
To summarise, Link Click has/shows/raises questions about
1. explicit references to the concept of 'Hero'
2. how heteronormative masculinist capitalism forges the figure of 'Hero'
3. the question of agency : The dichotomy between public and private
4. narrative identity : hero, villain or is it a blur?
5. the 'soft' power of artistic hierarchy : genre and gender
6. the politics of ordinariness in popular culture (the communist propaganda :D)
[Of course, a lot of introductory yapping is about Link Click! It's important! So I am not stopping]
1. explicit references to the concept of 'Hero'
Starting with the 'Hero' (Hero with a capital H) theme, I think the first time we were introduced to Power Rangers-type heroes in Link Click was in the Doudou episode. Oh my God, this was the only episode that really stressed me out. Anyway, the Doudou story hits so hard because it is painfully realistic; it weaves simple yet endearing love with guilt, escapism, patience, helplessness, brutal honesty, and the acceptance of vulnerability, creating an alternative form of 'heroism' that is both funny and poignant at the same time. It is truly one of the most powerful episodes in the entire season 1.
Season 2's 'hero' discourse is more nuanced, so I'll discuss it while addressing the fifth point. It continues in Yingdu.
Ah, Yingdu. Cheng Xiaoshi's studio was called 'Hero Photo Studio' (ah) before Lu Guang moved in (actually- no, 'Hero' was replaced with 'Time' after they returned from Yingdu and Cheng Xiaoshi kept the promise he made with his maa)
Cheng Xiaoshi exclaiming : am I a hero in a freaking donghua-?! (ah.)
And those lines from The Eye full version :
No matter how hard we looked in the lost and found We never could shine the moonlight underground To the point where we got sick of pretending like we are saviors Till we learn to carry on
Heroes and their savior complex: What is a hero if he does not save people? Useless, right? Heroes are built on narratives. There needs to be a villain to blame, victims to be saved, and most importantly, people to identify the hero as a hero and give the final verdict. What happens when even one parameter is missing?
It's quite amazing how Lu Guang is highlighting his fragility. He does pretend, and he has to be adamant and quite delulu in order to continue his task, or he will collapse.
The interesting thing is that there is an utterance of 'we' rather than 'I.' So, is Cheng Xiaoshi cognizant of this? Something is amiss. It beautifully haunts. It's not just a recollection of the past or their shared suffering and understanding of the world, but rather a sense of final submission on Lu Guang's part.
2. how heteronormative masculinist capitalism forges the figure of 'Hero'
'Heroism' is a fundamentally masculinist construction. Even the term 'virtue,' which has taken on a moral connotation in modern vocabulary, is actually associated with virility/vir (the Latin word for 'man'). Historically, justice, reason, and virtue—the three most basic tenets of heroism—were reserved for (and believed to be possessed only by) exclusively able-bodied men. Women are bestial, devoid of reason, driven by excessive passion, and therefore can never be eligible for the role of a 'Hero.' Even in recent years, the trend is that a female character has to renounce some (or all) parts of her femininity to access aggressive masculinity. Moreover, she can almost never exist without being a shadow to her male counterpart(s). In short, humanist 'Heroism' is predominantly masculine. Female characters must follow a norm to be considered a 'Hero'; they can't topple a system. The fixed binary positions of hero/heroine are heteronormative constructs. Ever wondered why, when a 'heroine' saves a 'Hero' (let's assume both are able-bodied, of equal caliber), it's considered very 'subversive'? It should just be another story of saving people, right? But...It is the normative story that sells. It sells, and that's what matters to capitalism. An alternative story of heroism will remain alternative and special (you know those companies that hire disabled people, queer people, and Black people as a form of tokenism? Then they sack them first without any legible reason or notice). A cluster of 'heroes' will never be able to compete with the 'Hero' (hero with a capital H).
Now, what kind of 'hero' is Qiao Ling?
Honestly speaking, she has been saving Shiguang's ass since the beginning of season 1. Whether it is financial help, legal help, paying hospital bills, paying their bail, or confronting difficult opponents, Qiao Ling hardly backs down. She takes risks; she is overprotective of Shiguang, but since her 'heroism' is so subtle and there is a lack of an audience to identify her as a hero, her 'heroism' goes unnoticed for the most part.
3. the question of agency : The dichotomy between public and private
I discussed a hell lot about it in my analysis of Xia Fei's character before. A few excerpts-
He (Xia Fei) is smart enough to know he is being exploited (and tbh the theme of surveillance and making him the 'morbid' object of gaze, I say morbid because in the last scene of his pv, it's a dead shot, his eyes look so dead, the camera's battery is dead. But yk what remains? his face card. The like button continually popping with likes made me very uncomfortable.
and
Also Xia Fei's story talks about another important theme of the donghua; photo! How photos taken in private spheres are meant to preserve memories of the loved ones, loved encounters. How you capture someone you love in that still image, alive with the emotion you associate with them, giving it an afterlife. The photo becomes the literal and metaphorical medium through which Lu Guang can rewrite history. Forget-me-not, remembrance. It empowers him.
-
On the contrary, for Xia Fei, it is the panopticon seizing his life and rendering it absurd. The emotive power and affect for lu guang changes into viscous institutionalised power politics for Xia Fei. Brilliant! 😭
Xia Fei is surrounded by cameras and it's the play of fate that it continues even to his private life (while befriending Shiguang)
The most perfect focus Wandering between gazes
-
Wherever there's a good position, I'll offer a smile To the lights, I lend this beautiful body To stand in the center
-
No need to guess, this complete disguise The crowd will eventually forget this mask It doesn't matter if the great fire extinguishes the truth Who will it be, perfectly concealed The stolen gaze Yeah, I know I gotta run Yeah, fake a smile in calm
It's a public performance and an elaborate enterprise of concealing the truth; the more you can hide yourself and present what the viewers want, the more success comes to your plate. But very dangerously, when the mask starts to replace your real face, you don't even process it in the beginning, but when it's realized, it's actually too late.
4. narrative identity : hero, villain or is it a blur?
Let alone heroes, villains, or contradictions, all of us are a cluster of fragmented or gap narratives trying to make sense of each other's existence. The reason we resonate with others is that some of our own narratives click with theirs. Our narratives have gaps, and we fill those gaps with what we want to believe. The way we perceive others, forge relationships with others, or even ourselves fills in the gaps in the storytelling. That's how we become complex human beings. Objectively, we are on a perpetual stage of liminality, but to make it easier for our subjectivity, we appropriate narratives according to our ease and taste.
A few months ago, I would easily lose my calm over the 'Is Lu Guang evil?' debate. Now, I feel that it is actually important. Lu Guang himself doesn't identify as a 'Hero.' The problematization of Lu Guang's stance as a 'Hero' is important. Remember the fable-esque story of the forest fire that began featuring in S2 and continued in Yingdu? Who was the culprit? Who was the hero? We may NEVER know. When you are searching for the absolute truth, after a point in time, you realize that absolute truth has no practical value. If you have watched Akira Kurosawa's Rashomon (I strongly recommend this movie; please watch it), you know how people choose a narrative for their own convenience and continue their lives with it, however contradictory they might be from each other. This is what really happens in our daily lives. The problem arises when one narrative is weaponized by a certain group and preached as the grand narrative, and the people who believe in alternative narratives become victims of persecution.
The similar story follows in creating the figures of a 'Hero' or a 'villain.' Until now, Xia Fei and Lu Guang's characters have subverted those horizons of expectations the most in the Link Click universe.
5. the 'soft' power of artistic hierarchy : genre and gender
First, I would like to mention a few lines from Virginia Woolf's A Room of One's Own
Speaking crudely, football and sport are 'important'; the worship of fashion, the buying of clothes 'trivial'. And these values are inevitably transferred from life to fiction. This is an important book, the critic assumes, because it deals with war. This is an insignificant book because it deals with the feelings of women in a drawing room.
Sadly, there will be even a tiny residual of internalized misogyny even when we grow up. It's hard to deal with and that's why it's very important to point out. Romance and shipping is for feminine minds, therefore 'trivial' as a genre. War narratives and heroic battles talk about 'serious' topics, therefore it has an actual 'plot.'
Firstly,
the notion of heroism is inextricably linked with patriotism. In modern-day popular narratives, we may not see the blatant nationalism, but there always remains an echo of 'sacrificing for our own people.' Who are these people? Heroism can't exist if there is no distinction between 'us' and the 'other.' Dulce et decorum est pro patria mori. (Very rough translation: It is one's sweet duty to die for his fatherland/country.)
Heroic narratives are war narratives. If you change the perspective, your hero becomes a villain. We always like to see ourselves at the end of suffering as people who have been wronged; injustice has been thwarted against us, and it's our hero's duty to save us.
I know this is more relevant to tbhx, but if you look closely, Link Click implicitly builds upon this: the hierarchy of gendered genres.
Also, Lu Guang's commentary on art, fiction, and philosophy was much more than just shits and giggles. He equates Shakespeare with donghua and manhua; all of these are forms of popular art with different modes of presenting philosophy. Donning a mask and playing a character from Shakespeare's play and cosplaying as a donghua or manhua character are not that different. Lu Guang questions the hierarchy of high culture and low culture. He writes his diary in Latin and Mandarin; he is undoubtedly a fierce scholar. He respects alternative belief systems such as Tarot cards, traditional Chinese medicine; indigenous or pagan forms of knowledge that are often looked down upon by modern Western scientific disciplines (I will write a separate post on this). The crux of my discussion is that Lu Guang continuously identifies the various forms of hierarchy in social beliefs and art and questions their validity. It's a form of soft power that no one bats an eye at, but many do not realize that it shapes how they process information. It is very much linked to the gendered hierarchy, as misogyny and the exclusion of women are very pervasive. And this brings to our last point : the question of power.
6. the politics of ordinariness in popular culture (the communist propaganda :D)
Lmao. Did I say communist propaganda? wth sure.
I will start my combined discussion from here.
Heroes are these big, big people with big, big superpowers-very flashy, very cute, and very demure. Can ordinary people afford to be a hero? It's not a new question, but I can't remember anyone who has dealt with this topic the way Li Haolin has.
I have talked about this before. This genre reflects Li Haolin's vision in his various works. Take, for example, an episode from To Be Hero: Leaf, where little children are playing on the midnight streets, where all the adults have gone for a factory strike. There is a HUGE focus on ordinary people. The reason I remember Eisenstein's Battleship Potemkin's Odessa Steps sequence is not because it was a government-funded Russian film to preach communism, but because it showed how to decentralize your focus from grand narratives in artistic representation (for example: navy mutiny and soldiers fighting) and strike the audience with alternative, lesser important narratives (normal people suffering from the war). Digressing from the crime-suspense plot and delving deep into Emma's experience, weaving the Shiguang story with hers in 'Keep in Mind' was not truly a necessity plot-wise, but Haolin felt compelled to do so. To the person who mentioned in their post: 'link click' centers around two young boys who are struggling to pay their debt. I will forever be indebted to you. It's all there, but we need to identify it.
Now that I have discussed all of that, let's dive back into To Be Hero X. Just a list so that I don't forget things,
1. Moon and her plight : Idol culture and how relationship rumours affect female idols' public reputation
2. how corporate dehumanizes people
3. Private queer lives and politics in entertainment industry: Wreck and Nice's relationship as a twofold critique on the audience.
So, Moon.
Can you imagine how disturbing it is to be romantically associated with a person just because you signed a contract with a company? For three years, her main identity was someone's girlfriend, whom she didn't even love. She used to be a travel vlogger, a woman who constantly travels and archives different experiences. If you are into the earliest feminist discourses, women traveling is a frequent topic. From Mary Wollstonecraft to Virginia Woolf - everybody acknowledges that. From THAT, she became someone's girlfriend. The sheer humiliation. The most heartbreaking part is that it is the people's expectations which curbed her teleportation powers; it can only open to Nice's side. Moon can't leave Nice. But is Nice bound to her? I don't think there were any suggestions like that.
If you have already guessed it, then congratulations! You are right; Moon's experience as a female idol is actually a microcosmic representation of how women are treated in a heteropatriarchal society.
When they were hatching the plan to 'free' Moon, Lin Ling said :
'Since Nice is a perfect husband, you can't say no to his proposal.'
Of course! If a man is handsome, virtuous, a respectable 'Hero', and the people love to see the heroine as the Hero's partner, how dare the heroine refuse this proposal? The Moon's consent does not matter. It would be a narrative so audacious and absurd that it would not sell. Champagne problems, ha?
And that woman who constantly speaks corporate said: "We have locked them in the same room for a whole month without any other engagement. Of course, they will grow feelings for each other." Ah, fuck-ass logic. Before you jump on me saying, 'But oh, what about the propinquity effect?' and shit, it is a very heteronormative notion to assume that a man and a woman will always develop romantic feelings for each other. Many people (me, I am the many people) headcanon that Moon is queer, aro-ace, and a strong independent woman—I second all of these, but my point is Moon doesn't need a thesis paper on her sexual preference or romantic orientation to reject Nice or Nice's substitute. Again, Lin Ling is Nice's substitute! Imagine the horror: you are shipped with a man you don't love, and people want you to marry him. Then the fucking company doesn't even have the basic courtesy to inform you that that man died, and now you are playing the same game with a substitute! It's a double violation of Moon's dignity. So, Moon is just a mindless idk animal? You throw a man assigned to be her husband or his decoy WITHOUT her consent and EXPECT her to fall in love with him? I mean, Moon would eventually know about Lin Ling's identity...wha-what was the point of excluding her from the discussion and keeping her in the dark? If it was just work, then why wasn't she consulted before the step was taken? She is the central figure, and she has no say in any of the mayhem unfolding.
Moon could be a sorted woman totally comfortable with her heterosexuality and still say no to Nice, even if he is the last surviving man on Earth. She just doesn't like him; it's that simple. That should be the end of the debate. However, people are not ready to accept that. The audience of the 'To Be Hero X' world and the real audience of 'To Be Hero X' donghua both should question themselves: is it okay to still enforce a relationship between them when the woman clearly expresses her sheer irritation at this fake relationship?
And that staged marriage plot! A perfect woman can either be a wife or a dead wife. Part of the reason Lin Ling cries while holding Moon during Moon's 'death' scene is that Moon has to metaphorically and literally die and withdraw herself from the narrative in order to chase the freedom she deserves. She can't exist with her individuality and agency in this world; capitalism and heteronormativity will not allow that.
Also, Moon's mock attempt at suicide is not funny. If I remember correctly, Li Haolin said in the Link Click art book interview that Liu Siwen and his girlfriend's story was something he actually took from a real-life story from a newspaper. Contrary to the happy ending in episode 5.5, the girl actually ended her life.
Another thing I want to mention is Moon from Lin Ling's perspective. In that interview, Lin Ling said
: Moon is not my girlfriend, she is my goddess.
It is not a typical 'romantic' declaration. Lin Ling acknowledges his position and accepts the fact that he will never be able to reach an equal position with Xiao Yueqing. That's why Yueqing is an inspiration to be admired from afar. And do you know why he accepts this? Because he respects Xiao Yueqing. During their one month together, Lin Ling realized that she never loved Nice to begin with. Lin Ling was the person she learned to be a bit softer. "Lin Ling is a much better name," she said. There is no possibility of assuming a relationship (which, honestly, most men don't even pay heed to. If I love you, I will be eligible to be with you, I will make you fall for me, and then how will you be able to say no to me? This is the general logic. Annoy, cross boundaries, violate personal space, and then coerce the woman into falling in love with you because YOUR love is so pure, omg) when the other party doesn't reciprocate. Lin Ling can still love her, but the love will not be actualized. I think Lin Ling was really upset when he learned that Yuqqing was forced to be in a fake relationship with Nice. He didn't want to hurt her more. The idol-fan relationship was fine, but in my opinion, Lin Ling did see her as more than an idol. His simple efforts to make things better for Xiao Yueqing without the illogical hope that 'if I do this, she will fall in love with me' make their relationship very humane. There might be a desire to be with her, but it never becomes the determining motive. I think Lin Ling would say this to Xiao Yueqing: Ti voglio bene. The literal translation of this Italian phrase is 'I want good for you,' which feels more impactful to me than its allegedly more intense romantic cousin.
Whatever the nature of the feelings Lin Ling had for Xiao Yueqing, if more people had this kind of feeling for others in our world, the world would be a much better place than it is today.
I love Li Haolin for how he tries to liberate heterosexual relationships from heteronormative constraints. In a sense, he introduces a splash of queerness into those relationships. Haolin's hetero couples are couples not merely because they share the same room as a boy and a girl. He portrays heterosocial relationships in a beautiful way. There is room to explore and form different kinds of human bonding. If things were normal, maybe Moon would form a really good friendship with Lin Ling. I feel that Lin Ling is the best interpreter of Moon as a human in tbhx.
2. how corporate dehumanizes people
Moon clearly has a more marginalized space in the dynamic, but how does one process power and position thrown towards them without their full control? Nice's character makes us ponder over this. Power and privilege come with a price. For Moon, she still had room to be subversive because things were clearly not working in her favor. What excuse does Nice have in this regard? It's much more complex. His death was so comical and absurd that until a new character is introduced in the second episode, we don't even feel that a real person has died. THAT is the power of perspective and storytelling. Lin Ling didn't quite process what he saw and perhaps didn't feel the need to bother. And Moon... yes, Moon had her reasons and irritation towards Nice, but it was really appalling to see that she did not even feel a little sad about Nice's death. How bitter must her workplace be? How much does capitalism isolate people to the point where fellow sufferers do not even bat an eye at each other? I am not blaming Moon, but I am asking you to consider the horrifying simplicity in this admission: so what if he died? You arranged for another one? Well, I felt chills. Imagine, one day you die, and then, very unfortunately, you didn't actually die and return to see a clone of yourself performing better than you probably could have done. Corporate not only dehumanizes people but makes people dehumanize each other and that's how it thrives.
Next, I would ask you to remember or re-read the third discussion; the question of agency : The dichotomy between public and private. Just replace Xia Fei with Nice. Heck, listen to Xia Fei's character song and if that doesn't make you remember Nice-
fake a smile in calm
3. Private queer lives and politics in the entertainment industry: Wreck and Nice's relationship as a twofold critique on the audience.
*sighs*.
I thought Haolin would just tease us with a iykyk rivals-enemies to lovers trope between a hero and a villain. Like, people who want to ship, ship. I really didn't expect him to pick shiguang, reverse the colour scheme and maintain the trauma and go : did you like my doomed yaoi?! 😃 man-
Haolin's obsession with widows needs to be studied. He pulled the similar string thrice in Yingdu and it's just the second episode in tbhx. Chill, man.
Back to analysis...what should I say? Let's assume you are Wreck.
you look at him like this. You wanted to be a hero with Nice together. So, for Wreck, to be a hero really meant to be with Nice.
Then one day, a script shattered everything. He became a hero, you became his villain, a literal stepping stone for him, so that his trust value increases.
The flashback suggests that Nice would frequently visit Wreck's house, probably the only place he could call 'home.' Nice would let his imperfect but real, unguarded self liberate in front of him.
And then suddenly, one day, he calls Moon his 'goddess.' You text him, call him, and send letters, but he doesn't reply. You shared a private life beyond the gaze of the camera and the prompt of scripts with him, and the company doesn't feel the need to inform you of his death. You reached there for the much-awaited encounter because nothing makes sense to you. The moment he speaks, a world shatters in your heart; he doesn't seem like your Nice. Still, you urge him to speak, almost pleadingly, because nothing makes sense and you hold onto that one tiny belief that things are still okay; maybe it's just a play. Then the illusion breaks. You can't tolerate it anymore and implore the imposter to speak the truth. He says that Nice committed suicide. He died.
People will remember Moon as an individual and someone who had an emotional dynamic with Lin Ling. But Wreck makes us mourn for the original Nice who died.
I don't know if Wreck knew that Nice was capable of doing something like that. He had already begun to cry, and when he heard the truth, he didn't even say things like, 'It can't be possible,' or 'How can it be possible?' Probably, it was more than possible, and that's why he was so tortured and disturbed. Wreck fell to his death with a smile, thinking that perhaps he might finally be able to be together with Nice peacefully.
Now, after everything, people will come and say: 'Ah, they were best friends.' Sure, they were. And that doesn't sit mutually exclusive to being lovers. What I feel is that it is a very conscious narrative within the narrative that Haolin deliberately put forth to unfold the compulsory heterosexuality and queer erasure in the viewership. Fans in the tbhx world forgot Wreck and didn't bother to understand what made him a villain. If tbhx donghua fans do the same after knowing the other perspectives, it's really... just, um, disappointing. You are proving Haolin's point, and you are the type of fans being criticized in the show. If Wreck were a female villain, my god.
I mean, yeah, I am kind of tired of 'proving' that they were lovers. It's the basic lack of media literacy.
I HAVE YAPPED TOO MUCH HELLO
did moon really survive? we don't know. did nice really die? we don't know. did wreck really die? i don't know. did LIN LING REALLY survive? I DON'T KNOW.
But I don't think those will totally topple these reflections.
Special note :
hello, today is this head emptu's birthday. please give him blessings and pray that he does not bite through the longevity noodles. He has a wife at home. and a sister. please. He has a family.