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potteresque-ire · 1 year

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孤鴻號外野，翔鳥鳴北林。徘徊將何見？憂思獨傷心。 — 魏晋·阮籍《咏怀八十二首·其一》 The lone swan goose wails in the wilderness, The flying birds call in the northern forests. What’s there to see in the lingering? Worried thoughts and a solitary, wounded heart. — Ruan Ji (210-263 AD) “82 Songs of Dispositions, No. 1”

孤雁不飲啄，飛鳴聲念羣。誰憐一片影，相失萬重雲？ — 唐·杜甫《孤雁》 The lone swan goose doesn’t drink or eat, Flying, wailing its longing for its flock. Who would pity that piece of shadow, Lost in the million layers of clouds? — Du Fu (712-770AD) “The Lone Swan Goose”

Happy New Year everyone! 🎉🧧

Below the cut, I’m offering my interpretation of Like the Sunlight, based on the lyrics and Dd’s performance on NYE. Unlike other interpretations I’ve worked on, I’m keeping this one free from the influence of what I’ve found on the Chinese internet, whether they are interpretations from fellow fans, explanations from those involved in the production, or reviews by the media—for reasons I shall explain afterwards.

This is strictly the product of my brain, my senses, based on the words, the stage art, the choreography.

As a warning of sorts, my interpretation isn’t one of positivity, or even, one of blissful happiness. It also isn’t candy-ish. However, I do believe this song, this performance is deeply personal for Dd, revealing, sharing a facet of him that with his fame, he can no longer say in words. And in doing so with music and movements, and on one of China’s biggest stages no less, he’s letting us see that side of him, and fulfilling what he sang in Nian: 為溫暖也為尋常的人間 Stand up. For warmth, and for the ordinary humankind, stand up.

(Under the cut: Yes, this meta is also very, very long. :) )

For reference, I’m using the English lyrics translation by Xiaoman, and the official performance video posted by SMG. I'll denote the time of the lyrics (Xiaoman) video by the notation “LV 1:00″ for the 1st minute mark, and PV 1:00 for the same time mark in the performance (SMG) video. Sorry this is a little clumsy! I haven’t thought of a better way to do this.

To start, perhaps we can start with the simplest questions? As with any story, we’d like to figure out the time, the place, and the characters.

Time is the easiest—it’s provided in the first line of the lyrics (LV 0:20). There’s a slight mistranslation in the video; the line actually specifies two solar terms in the Chinese calendar—清明 Qingming, which falls on the 4th or 5th of April, and the one immediately after, 谷雨 Guyu, which falls on the 20th or 21st of the same month. Hence, this line of lyrics is better translated as: The Qingming winds are blowing, waiting for Guyu to sow the seeds. The time of when the conversation in the lyrics happens can therefore be estimated as around mid-April.

Is there a significance to this? Yes. The Chinese calendar divides the seasons differently from the Gregorian calendar, and Guyu is the last solar term associated with Spring. Spring is well on its way at the time of the song. It’s almost over.

Next, the place. This one is quite simple as well. It’s the wilderness, with wide open air where the the starry skies can be seen, with forests and its many trees, with mountains where beasts can roam.

The characters. This one a little trickier ... far trickier. The lyrics never specified who they are—in fact, the narrator doesn’t even know the name of who he’s talking to.

Who is the narrator, by the way? There are three pronouns in the lyrics — “I” (我), “You” (你), and “It” (它). Can we identify them?

Let’s start with the “It”, because the syntax actually makes it quite clear what “It” is — it’s the Lonely Nights. While Lonely Nights is plural in English, it’s introduced more as a character in the lyrics. Hence, the use of “it” rather than “they”.

And what does this “It” do? How does it interact with the other two characters, “I”, the narrator, and “You”? The lyrics says, Lonely Nights drifts away like fallen leaves of Autumn, and renews itself, like new leaves budding in Spring, on the tree branches (LV 1:17). It has a cycle then, a routine—usual as, the narrator says, the world will go on (LV 1:29). The time of renewal, he says, decides when and the narrator, the “I”, and the unnamed “You”, will meet.

This means the narrator is familiar, comfortable with Lonely Nights. He’s someone who has accepted Lonely Nights as part of life, as the way things are, as like the seasons, which may appear to come and go but don’t really, truly leave.

Nights, of course, share the same cyclic character as the seasons. They leave at dawn, return in the evening. But the narrator is specific about the kind of nights he is referring to.

They are lonely. Not only are his nights like clockwork. His loneliness is also like clockwork.

What else do we know about the narrator? We know that he has been going on long journeys, journeys that are always restricted by time, that force him to hasten his pace (LV 0:08). The translation of 趕路 (literally, rushing the road) as “rush” is technically correct, but what “rush” doesn’t convey—no single English word can convey it, to my knowledge—is the implied nature of the journey. It’s long; it invites the image of the traveller hurrying day and night without rest, whose time and effort can afford to make the journey happen and not much else. Who sees, as the journey happens, the journey being his primary task.

Such journeys, expectedly, often serves important purposes. They are often related with something life-changing, or critical for survival. Swinging by the coffee shop before work isn’t 趕路, for example, even though the coffee-deprived person may be very rushed, and may feel they can’t live without the coffee.

The narrator has gone on such long, hastened or “rushed” journeys many times. He has done it while the “You” he was talking to have dreamt for a long time.

This still isn’t specific enough, isn’t it? Not for us to understand why the narrator’s perspective is the way it is; why he equates the Lonely Nights with seasons, talks in the language of nature and not of urban life, of civilisation. The Chinese word corresponding to the most … civilised word in the English translation, “campfire” (LV:58), is 篝火. “Camp” is associated with human activity; it sounds artificial. 篝火, nonetheless, doesn’t originally mean campfire. It’s a smaller fire, lantern-like, protected by a cover weaved from bamboo. Likewise, the light in the narrator’s palm (LV 1:56), the gift for “You”, is actually specified in the lyrics as 螢火—the light from fireflies. The narrator being a member of nature is further suggested by his not being afraid of the mountain beasts—he watches the starry skies with them (LV 0:29).

Do other places in the lyrics offer more clues to who, or rather, what he is? Is there another spot in the lyrics that refers to something journey-related, and dreams? If so, that would allow us to draw a parallel and perhaps, deduce the identity of the narrator and “You”.

There is. It can be found near the end of the song (LV 3:49): Like the green grass having a dream of falling snow; like the flying bird passing through layers and layers of dark clouds.

If we apply this parallel in description, the conclusion would be …

The narrator is a bird.

Hence, his comfort around with the beasts, while, notably, also not being one of them. While the contemporary Chinese word for animals, 動物, includes birds and mammals, the lyrics’ word choice of 獸, translated as beasts, generally refers to the four-legged, big and fearsome creatures and excludes members of the avian family, which has its own word, 禽.

The narrator being a bird is implied by the dance choreography, the most obvious being at PV 2:59 where he flaps his wings:

What about the “You” the narrator is talking to then? Applying the same parallel, it would be the green grass, or something like the green grass—young (green), helpless in its inability to escape the seasons, the weather. It’s fearful. Anxious. Dreaming of and already dreading the winter snowfall in April. It’s vulnerable; depressed, some may say, prone to cry with the knowledge, the sadness that Spring will soon leave, not caring enough to stay (LV 4:16) to keep it warm.

But the “You” can’t be just the green grass. The early parts of the song make clear that this “You” not only doesn’t have a name, it shares certain qualities with the night. It’s found among the shadows of the trees under the starry skies (LV 0:29-0:47). It’s awake, if silent, in the night hours (LV 0:47). Dawn is the time the narrator asks for it to tell its name (LV 2:26), implying that the narrator is not expecting it to stay after sunrise.

More importantly, this “You” is who the narrator asks to wake up, like the sunlight. This critical line (LV 3:18) that leads to the climax of the song, that is the song’s namesake, is a suggestion, a plea. This may not be obvious in the English translation, because English doesn’t have an equivalent sentence building block in Chinese known as the sentence-final particle. Such particles—the 吧 (pronounced “ba”) after 像陽光那樣醒來 Wake up like the sunlight in this case—serve the important role of conveying the tone of the speaker. Punctuation marks were not introduced into standard Chinese texts until the early 20th century, and so, such particles are critical in communicating what the speaker actually means in written texts.

Here, the narrator is suggesting. He isn’t commanding. 吧 is softer, more polite than that. He’s asking. Hoping.

The suggestion, the plea for “You” to wake up like the sunlight also implies something important: the waking up hasn’t actually happened. That is only the wish of the narrator; the wish of the narrator that “You” will, one day, be like sunlight and be everywhere, on the crossroads, in the journeys, at sunrise, while dancing in the wind (LV 3:30). The “You”, therefore, has so far remained in the night. Echoing this interpretation, in Dd’s dance, at sunrise (PV 3:28) the “I”, the narrator’s movements turn frantic; he runs around and reaches, searches, grabs, until he finally collapses on the floor, curled up in a fetal position, despaired (PV 4:04):

He made a desperate attempt to hold on, and failed.

If the narrator is a bird—a lone bird—the lone bird is alone again. He has lost his companion for the night, his “You”. We know something more about the relationship between the narrator and “You” from this: the narrator doesn’t have the power to change the nocturnal nature of “You”; he doesn’t have the ability to transform “You”, overnight, into his company under the sun. All he can do is to bring “You” small morsels of light, in the form of small fires under bamboo covers, of lights from fireflies. The lyrics tell us what these two lights, both much dimmer, and weaker than sunlight, stand for: the stories the narrator can chat about, the small joys he has picked up during his (daytime) journey.

The narrator and “You” are not soulmates. Not yet. Their separation at sunrise explains why the narrator doesn’t know certain things about “You”, such as “You”s name. That the narrator wishes for happiness for “You” (LV 3:57), no matter where one goes (the lyrics actually doesn’t specify who’s the one going)—the phrasing making this a well-wish—not only suggests that the narrator and “You” are parting ways, it also suggests the narrator doesn’t always have a clear knowledge of where “You” will be.

But the narrator wants them to be soulmates. Exchange not only their heart 心, but their true heart 真心 (LV 1:14). Despite his unfamiliarity with certain parts of “You”, he also has insights about “You” that run deeper than names and locations; he knows “You” hasn’t made peace with the Lonely Nights like he has—it’s one of the reasons of “You”’s sadness, along with the passage of time, along with the carelessness of Spring (LV 4:07). He comforts “You”, tells “You” not to cry (LV 4:17). The tree branches where Lonely Nights renews itself, he says in the end, will not only be the time they shall meet again, but where beauty and goodness 美好 returns, along with Spring (LV 4:21).

This doesn’t sound like a happy story, does it? Moreover, some of you must be thinking, mumbling as well — Huh??? So Dd is singing a song about a bird and some … nighty grassy thing? What does that have to do with him? With anything?

Here’s when I refer to the poems at the start of the post. They are there, of course, for a reason.

You see, the lone bird — the lone migratory bird, in particular — has had a long history of symbolising uprooted people in Chinese literature. By uprooted, I mean the people have been separated from their homes, their home towns, and it doesn’t matter whether the separation is voluntary. Natural disasters like floods, man-made disasters like wars may have forced them to leave, or they have moved because better opportunities present themselves elsewhere.

Like the Sunshine is, I believe, about this lone bird, this displaced group of people.

True, the lyrics never specifies the kind of bird, but the narrator’s awareness of the seasons is the first, if faint clue of its migratory nature. The second, more significant clue is in the stage art — the existence of wide bodies of water and the creatures living in it, neither of which are found, or even implied, in the lyrics.

This bird flies across, or above the waters (PV 3:49):

Still, you may ask, there are many migratory birds. Why have I picked poems about the lone swan goose? Why am I imagining it as the narrator of the lyrics? My reasoning is this: while two species of migratory birds have made frequent appearance in ancient Chinese poetry—the sparrows and swan geese—it’s often the latter that was alone. Poets of old tended to depict the sparrows as happy birds, with the sight of their migration signalling the arrival of Spring. As importantly, perhaps, they were usually portrayed as flying in pairs. The swan geese, on the other hand, were associated with the autumn migration, the impending winter and the less-than-happy sentiments from long journeys away from home. Their calls were described as wails. They were often portrayed as messengers carrying morsels of news, of deep yearning, from loved ones who were too far away. Swan geese naturally fly in flocks. They also mate for life. The lone swan goose therefore suggested separation and abandonment. Loss.

But but but ..., you may argue. Why can’t it be … single and available?

* Smiles *. As a culture that heralds collectivism, being alone is rarely, if ever, considered a choice in traditional Chinese thinking. In the old times, in particular, it was considered, assumed to be a less-than-ideal thing that had happened upon the individual. At best, it was some sort of misfortune; at worse, it was a bout of irresponsibility. Both poems about the lone swan goose that started this post are more than a thousand years old. Both are depressing.

This has something to do with what a home means in traditional Chinese culture.

In the Western world and in the 21st century, we associate flying away alone from our childhood homes as part of growing up. It has its challenges, but it’s also exciting. It’s about having an adventure and seeing the world. People don’t think of it as an act of abandoning one’s home, or one’s home abandoning them. The location of the physical home doesn’t matter as much as where those who love you, and those who you love back are.

Home is where the heart is. That’s the saying.

Meanwhile, home in traditional Chinese culture is more accurately described as where the bloodline is. It’s where your ancestors are buried, where you bow before row after row of memorial tablets on Qingming. Where the elders expect their descendants to not only take care of them, but shoulder the responsibilities of maintaining the house and the bloodline, and bring glory to them all.

To be away from home for any reason, even if it’s out of necessity, therefore evokes feelings of guilt, in addition to the sadness and loneliness of being a permanent stranger somewhere else. The longstanding belief that home is where one’s ancestors are means assimilation is next to impossible, both socially and emotionally. Others in the new place don’t think of the migrant as one of them. The migrant doesn’t think of themselves as one of them.

The traditional term for people who live away from their birthplace, their ancestral hometown, is 羈旅. Many of you may be familiar with 羈 — it’s the same character as in Wuji 無羈, and originally means a bridle. 旅 means to travel. Putting the characters together, 羈旅 is a bridled traveller. In ancient times, a bridled traveller could’ve lived in his new town for years—decades, even—and be still considered a guest in the town and his house, little more than a restraint that had kept him there. The consequence of such lifelong alienation was that the deathbed wish of many such migrants was to be taken back to their home towns for burial. 落葉歸根, they called it. The fallen leaf returning to its roots.

Fallen leaves are considered uprooted, rootless.

Fallen leaves appear in the lyrics of Like the Sunshine as well (LV 1:17), describing the passing of Lonely Nights.

In 2023, China has, inevitably, absorbed some of the Western perspectives about leaving home, the independence and self-reliance it nurtures, the freedom it brings. But the old thinking remains, stubborn and at constant war with the new. The Chinese word for freedom 自由 didn’t enter the Chinese lexicon until the 19th century, as an import from Japan. Chasing one’s dream, often the cause of leaving home, is also a contemporary concept—in old Chinese usage, to dream is not a particularly good thing. Ancient Chinese preferred something more tangible. More practical.

The dream in Like the Sunshine is an example. The dream isn’t a particularly good one—snow is a danger for the green grass.

Whereas, Confucius was already preaching filial piety, laying out its rules and rituals 2,500 years ago.

Government policies also reinforce the feelings, and “guest” status, of the modern bridled traveller. Chinese are attached to the provinces of their birth by their 户口 hukou, a household registration system that allows the government to control the flow of its population within the country, which is arguably necessary due to the vast disparity in resources from province to province, and between the villages and the big cities. When a Chinese moves somewhere else—to a big city like Beijing, for example—their hukou doesn’t move with them. Without a Beijing hukou, the migrants’ rights to buy a house, even a car, in the city are restricted. They are often overlooked by companies, which prefer to hire Beijing hukou holders, while the migrants already have little safety net should they fall into economic hardship, not being eligible for most of the local government assistance programmes. Children must go back to their hukou’s province for their college entrance exams, when top universities admit students with a Beijing hukou at a much, much higher rate — in 2011, Beijing University’s admission rate for Beijing hukou holders was almost 30 times that of Dd’s home province, Henan.

While a points system is in place for those who wish to apply for a Beijing hukou, the latter remains so difficult to get, so coveted that there is a black market for it—the price tag justified by the need to “make the right connections within the government”, i.e., to bribe. The current price isn’t something I’m privy to, but back in 2012, the state media reported that it was already at 500,000 RMB (72,480 USD).

It’s a sum of money the poor can't afford, not to say such a purchase is, of course, not exactly legal.

Yet, there are still so many modern bridled travellers in China that they have a collective descriptor: 漂族 The drifting race. 漂, meaning to drift and pronounced “piao”, also appeared in the lyrics, describing the fallen leaves that, in turn, describe the Lonely Nights (LV 1:17). Fallen leaves, as mentioned before, have been used to describe the rootless—and specifically, those approaching the end of their lives.

Drifters who have drifted to Beijing are known as 北漂 — 北, or North, is from 北京 Beijing, which literally means The Northern Capital. In 2021, this population amounted to more than 8 million people, or 38.5% of the city’s permanent residents.

This population also includes Dd and Gg. Dd and Gg may be stars, but at the end of the day, they are just another two youngsters who have left their homes for a big city to try their luck.

For Dd, in particular, Beijing isn’t even the first place he has drifted to. His first was not only another city, but another country—South Korea. Of his short 25 years on this planet, he has spent 14 of them as a bridled traveller, and many of these days he wasn’t even bridled, his home being a hotel room somewhere. Everywhere. Meanwhile, expectations remain that he should view his birthplace, the city of Luoyang in Henan, as his home. He has been repeatedly asked to perform in Luoyang / Henan’s dialect, even though he has, also repeatedly, said he isn’t fluent in it (two examples from CQL’s promotional period alone: Vid 1, 1:55; Vid 2, 5:47). His selection of Cola Chicken Wings as his favourite dish for Chinese New Year (Vid, 3:56), being a cute candy aside, also suggested a certain degree of detachment from his supposed home city. Most people would have named a dish from their home place without prompting.

Yet, strangely perhaps, Dd has also exhibited a strong affinity to Home, as a concept. When it matters, his connection to his ancestral home seems almost tighter than other’s. There are hints, too, that he’s meant to be living in a home-is-where-the-heart-is home, when, with his history, many may assume that he’s comfortable, if not more comfortable with being uprooted, being rootless.

Dd was there to help with the rescue effort for the floods in his ancestral home of Henan. He was there despite of the skepticism he must know he would get, and he did get it. Meanwhile, his years drifting in S. Korea, in Beijing haven’t appeared to have assuaged his fear of the dark, which may, perhaps, be as well understood as his need for companionship. Not the “let’s go party together” kind of companionship—Dd doesn’t have a reputation as being a party animal, not even in the most gossipy, most vile of YXH blogs—but the “let’s-be-together-when-it’s-dark-and-silent” kind of companionship, the kind that requires far more closeness … intimacy, if one will, and trust. As night falls, he appears to require the presence of another human being to feel safe, to fall sleep. On record, he had sought such presence by tactile confirmation, as his old team mate once pointed out (0:44), or by finding an imitation—the voice from a non-hostile, trusted source such as the CCTV Sports Channel (23:15).

I can’t help but feel: both of these are pale substitutes of what Dd can get from a home-is-where-the-heart-is home.

Some people don’t mind being alone. Some even enjoy being uprooted. Dd doesn’t seem to be one of them.

He isn’t the only one. There are many other young Chinese drifters who have elected to drift, but also wish for an ancestral home, a home-is-where-the-heart-is home, to return to at the end of the day. The hardship of the drifting race has been well documented. Many spend the night alone in the tinniest, cheapest apartments in their new city, exhausted from a day of “rushing”, depressed from missing their loved ones and anxious about their new environment, their new job, their being from a poor province that big cities tend to look down upon.

They worry. Many have promised their families back home that they will mail back money with their higher income in the city. After all, a good fraction of them only manage to secure employment in the big cities after their family—their parents, their grandparents—exhausted most of their savings to pay for their college education. They want to repay these elders who love them. They want to bring glory to their blood line. These expectations, both from others and from themselves, have never gone away.

They cry. At night, mostly, when nobody can see them, because they must put on a brave, mature face when the sun is up. With the guilt associated with leaving home, with the investment of time and money and effort required, the decision to leave is seldom made lightly, and many of them are set on making their journey a worthwhile one.

As one Beijing Drifter from Chongqing said: Even if I have to get on my knees, I’ll take this path to its end. (Vid,13:38)

If time and space are limited, how would I succinctly describe these drifters? How would I depict them with a simple piece of artwork? I’m no artist, and so, Google is my friend and perhaps, this is what I'll find and show:

(An off-angle shot of this in the performance is found at PV 4:28)

The hunched back, overladen with guilt and anxiety, and often, too, with the weight of expectations. The paper plane, representing their pursue for a better life. Flying high while being small, childlike and vulnerable.

The last three years of Zero COVID policy have not helped with the drifting race’s predicament. Chinese New Year is usually the time the drifters travel home to visit their family, but many didn’t for the last three years. Leaving the capital city, especially, had been heavily discouraged by the local government, for fear those who did would bring back the virus when they returned. Travelling also created a risk of being subjected to involuntary quarantine, or of being given a yellow or red COVID health code that would bar them from returning to the city, too often for long enough to jeopardise their employment.

These lone, migratory birds are, I believe, what Like the Sunlight is about, and who Like the Sunlight is for. The teary faces these drifters don’t allow to see the day, that stay awake and silent after night falls, is the “You” of the song — young (green), worried about their future and the challenges it will undoubtedly bring (winter snow), still not used to the lonely nights and wondering if anyone cares, realising that even the kindest souls can only do so much for them with their own obligations to keep, their own routines to follow (Spring).

The “You” doesn’t have a name because it’s actually a part of the lone migratory bird, the narrator. The “You” is both familiar and unfamiliar to the narrator because it harbors his deepest, most hidden if also the most unadorned and sincere feelings—feelings that must leave, return to the dark when the sun is up.

The Chinese work environment is very much survival-of-the-fittest. Competition is fierce. Work load is brutal. Youth and immaturity, sadness and fears have no place there.

I imagine, Dd chose this song because he, too, has been one of these migratory birds, one who left home at an even earlier age than others, who flew even further away than others. At 25, he has already spent more than half of his life drifting, and this experience must have left a mark on him, he who was (is) so adversed to being in the dark and being alone. One may argue that Dd is so much luckier, that his job now pays so handsomely that the financial woes that plague most other drifters will never touch him again. That is true, but no compensation can alter the fact that his job is also among the most isolating. His every move is watched, his every associate placed on a scale and judged—is Dd too good for him, or not good enough? His hastened journey, his flight through the stormy clouds of c-ent is further darkened by the thick wall of hounding paparazzis and sasaeng fans.

As turtles, we believe his heart has found actually found a home. But we also know that he’s separated from that person for most of the year. We know, too, that because of the common practices in his line of work, because of cultural norms and government policies, he can’t turn himself from a lone migrating swan goose into half of a pair of happily migrating sparrows. He can’t even be seen in the same camera shot with his him. He may not have to worry about money, but he has to worry about the ever fickle, ever brutal public opinion. He may not be anxious about his next pay check, but his industry has been ailing, and many relies on him, directly or indirectly, for their pay check.

At some point, I imagine, there’s got to be a “You” in Dd too. A “You” that is his actual age, not the age of his maturity. A “You” that, after the night falls and all is still and quiet, frets about what will come and that, just like other humans, is prone to being brokenhearted when its trust is misplaced.

A “You” that still doesn’t want to be in the dark, to be alone.

And he must have talked to this “You”, comforted this “You” inside him. He must have done so in the lonely nights, which he has made peace with after so many years of travelling, the lonely nights that he now sees as benign—always returning, true, but isn’t it just like the seasons, with their falling, drifting leaves, followed by their constant renewal on the branches? He must have shown this “You” the morsels of joy he picked up during his day time journeys. A cool skateboard trick he mastered, maybe. A new dance move. A freshly delivered box of limited edition Lego. The company he kept when these things happened; the company that made these thing happen.

He must have wished his “You” happiness. He must have wished it to be like sunlight, to be something that can be out there in the open for all to see and is light and free enough to dance on the journeys with him after the sun rises, at the many crossroads he must pass. To me, what this performance practically shouts to the world is: Dd may be taciturn, but he’s expressive. There are things deep inside him that he wants people to know, to understand, if just so that others who feel the same can whisper “Me too”. He must have been disappointed before, despaired that that hasn’t happened, that his “You” has remained in the night, that this soft, gentle part of him has to be wrapped up and hidden from public eye and he must put on a brave, mature face when dawn breaks. But he’s making peace with that too. After all, the “You” that stays in the night keeps him company when there’s no one else. He recalls the small joys of his life for it, recounts the small joys of his life to it. He exchanges his true heart with it, acquaints himself with his deepest, most unadorned, natural feelings—feelings that he keeps from other humans, from civilisation.

Despite dreading winters, this “You” in him has helped him through the winters.

I would insist that Like the Sunlight is a positive song, in that it’s about acceptance and healing—not the outcome of healing, but the process of healing. At the same time, I also recognise that it isn’t a positive song the way positivity is conventionally defined in their country: that everyone is living a happy, inspirational life, that wounds are no more than plot points leading to a climatic preaching scene. I see open wounds in the dance performance. I see pain, and I appreciate it not because I enjoy seeing anyone hurting, but because unlike so much of their country’s entertainment, it doesn’t pretend that such wounds don’t exist, or that they can be healed and numbed by some stock phrases of encouragement, a few slogans, a chant of core socialist values.

To pretend such things is to make light of pain, to diminish the humanity that makes the pain.

Healing isn’t a game of mathematics, in which fortune in one area cancels out the misfortune in another. Just because one has an illustrious career, or even, an enviable romantic life, doesn’t mean they can’t be hurting somewhere still. Healing is slow. Healing is difficult. Healing is patching a wound, the deep hollowness within, with one firefly light after another. Healing is to have the wound ripped open again and again at the most unexpected, most inconvenient of times, and still believing, insisting that the wound will close one day.

Healing is learning to accept that the hollow is there. To make peace with it. To see it as part of oneself.

Healing is to wait, to be patient season after season.

These aren’t viewpoints that public figures in China can express freely, or at least, without great care. Recognition of the existence of real, open wounds, of the pain they inflict, may be misconstrued as dissatisfaction about the country’s way of life, and the powers that be that make their way of life the way it is. Public figures in entertainment, in particular, are far better off in 2023 being talked about as role models of the government-approved kind of positivity, their work as vehicles for warm fuzziness and slogan-y life lessons. Sunlight is everywhere, always. Sunlight is a reality, never just a wish. Embraces happen under the sun and with the sun, not in and with the darkness (PV 0:40). And such things are to be represented as observations, as what the audience sees, even though the lyrics doesn’t say it, the stage art doesn’t show it, the dance choreography doesn’t suggest it.

Chairman Mao was the Red Sun.

How far does this insistence of positivity go? The following is a digital banner photographed in a Chinese hospital a week ago. The bright red banner looks, and is, congratulatory. Something very happy has happened! What is it about?

This: Good News! On 2022 December 21st, Our ER department has served more than 2 million people (Source).

The surge in patient visits was due to the country’s 180-degree turn in its Zero COVID policy, and the associated surge in hospitalisations and yes, deaths.

The next day, a crematorium’s notice wrote the following about the doubling of corpses it had processed over the course of a week: 受到了群眾的好評和領導的肯定 ... 確保年底前各項工作任務圓滿收官、爭創佳績. (The work) has been well received by the masses and affirmed by the leaders... (we shall) ensure all our year-end responsibilities will have a perfect curtain call, and strive for the best results.

This is how strong the country’s insistence on positivity is. Humans are behind the banner, the notice. Do they understand the less-than-happy, less-than-inspirational sentiments behind the ER visits, the deaths? Of course they do. But this is how much people are being pressured into saying happy, inspirational things these days. This is the length people are going to avoid saying things that are otherwise, at the intersection between 2022 and 2023.

And so, I shall say this again—the above interpretation is entirely my own, from my angsty fic writer’s brain, and have nothing to do with any interpretation, explanation or review available on the Chinese social media, which are all happily, inspirationally and most importantly, appropriately positive. It’s my being obstinate and ridiculous and delusional that makes me disagree with them, that makes me confess the following:

I have doubts about the … honesty of certain things that have been said.

The explanation offered by the studio about the stage art, for example. The explanation says, the art depicts a fantasy, which culminated to the narrator finding his lost home and that union leads to a finale of golden light passing through the clouds, waking up millions of lives and souls.

I have doubts because I have trouble matching it to what I saw. While the exact moment can’t be pinpointed due to the camerawork, the shade of red on Dd’s face suggested that the sun, the golden light, started shining at the PV 3:28 mark. At that moment, the creatures, the lives and souls remain on screen, thriving in the dark, in the nature. As the sun continues to rise, they are lost, transformed into (lifeless) objects from civilisation—things like furniture and laundry lines. Finally (PV 4:24), the lone man appears, united with his home in that he’s carrying it like a burden on his back. Not one life or soul appears after the man and the house did. Dd’s final interaction with the stage art is to walk towards the man, the uprooted house that just had a paper plane fly out of its window.

The stage art thus presents a story that is almost opposite of the explanation given: the rising sun, in fact, drives away the creatures, the lives and souls and nature that accompanied the narrator before. The civilisation the narrator returns to has nothing but a home that is rootless—in contrast its being rooted at the beginning of the performance (PV 0:10)—and its paper plane carrying, one may presume, a fragile childlike dream.

Winter is turning the corner, the explanation says in its conclusion. Warmth has arrived, unexpected. The stage effect, meanwhile, is a wild dance of drifting, yellow autumn leaves. Winter may indeed be turning a corner, but it’s more likely to be doing what the green grass has been dreaming of, afraid of. It is lurking, waiting for the right moment to bring in the cold, the snow.

As such, the stage art goes well with the lyrics—assuming my interpretation isn’t too off the mark. As such, the stage art also, in my (obstinate, ridiculous, delusional) opinion, sets the explanation’s pants on fire.

The thing I can say about the explanation is … it’s positive; it’s a good thing to say on record. Even the flood isn’t real.

Another thing I can say is: to everyone reading this, please trust your senses. Please believe whatever the performance makes you feel is real. Don’t let anyone tell you, this is the proper interpretation. Don’t listen to anyone who says, this is how you’re supposed to think. Including me. Including this post. Even if a language barrier exists, music is universal. Art is universal. Movements are universal.

Okay, this is getting ridiculously long, which is hardly surprising 😊. One last thing. Some may be asking (assuming you haven’t all fallen asleep)—do I think there are candies in this performance?

Frankly, I don’t think there are any on the surface. Not in what was sung, or illustrated, or danced. However …

If you’re a lover / follower of LRLG like I do, you may remember the famous episode (#6, published 2020/12/25) that talked about Dd keeping Gg’s ring in his pocket while he sang. Another confession: the ring part was never my favourite from the episode. Instead, it was this tiny piece of conversation that few likely recall:

(Context: Dd had to make an overnight car trip to somewhere else after the show. Gg was staying. They just joked / wishful thought about Dd bringing Gg with him.) ❤️: You know what to do after you get on the car? 💚: Didn’t you say you’re leaving with me? ❤️: Turn on video conferencing. I’ll watch you sleep.

While fake rumours are officially fake, certain elements have made repeated appearances—such as, Gg and Dd often have their video conferencing on, even when they are doing their own things. They keep each other company that way. And this snippet from LRLG isn’t the only one that further specifies what happens at night—that when they are apart, Gg and Dd would have their video conferencing on when Dd goes to bed, and Gg turns it off after Dd falls asleep. This candy made a strong impression on me because I recalled how much Dd disliked the dark, and being alone, and I thought, how comforting it must be to him for that dislike to be acknowledged, to be taken seriously as a thing to be addressed. I’m an aroace; I can’t say I know much about romantic love. But something I do know about love—any kind of love—is this: it’s to give the other person what they need and not what I think they need; it’s to not question why they need it, to not brush the need off because it doesn’t apply to me, because I don’t understand it.

This three-line conversation was filled with love. Gg, offering what Dd needed matter-of-factly. Dd, being comfortable enough with the offer for him to keep the silliness going.

This offer had to have been made many times before. This offer had to have been received, and appreciated, many times before.

Imagine Dd on his journey after this conversation, him drifting off into slumber while clutching his cellphone, the latter dimly glowing in the dark vehicle as Gg watched him. Who can say that Gg wasn’t, at that moment and at every other moment like this, being the firefly light in Dd’s palm?

He must have made so many firefly lights for Dd. The firefly lights that Dd shows his “You” in lonely nights.

He must have been the fire under the woven bamboo. He in his long coat and oversized scarf, his eyes playful and twinkling like embers, his smile bright and warm and sweet like the fallen petals that mark the passage of time. He must be very good at fighting off winters—he who can’t make a proper snowball to save his life.

And when the lonely nights visit again, when Dd’s “You” is awake and silent and waiting to hear stories, Dd gets chatty.

We all know this, right? Dd always gets annoyingly, adorably chatty when this fire under the bamboo lights up. 💚💚💚

#pie metas

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playitagin · 1 year

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1979年4月7日機動戦士ガンダム」放送開始。UC0079「ガンダム大地に立つ」

#Apr.07.1979.#Mobile Suit Gundam #ガンダム0079 #初代ガンダム #ガンダム大地に立つ!!#GUNDAM ON THE EARTH #Amuro Ray #ZAK-Ⅱ #gif

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nccwa · 18 days

Text

網友面面觀

藝文世界副刊

陳漢平

（5月&6月徵文：網友與我） 2024-05-11 02:02 ET

人生在世，不能沒有朋友。良好社交生活，是快樂泉源、健康密訣、財富動力。早在網路時代之前，在商場職場上「建立人脈」，西方人稱之為「打網」（Networking）。可見人際關係發展，首先為了事業，然後才為了愛情。

在科技圈裡，有一種網友，最令人敬佩。他們像江湖上的俠客，路見不平，拔刀相助。早年我參加科技論壇群組，曾遇過這樣的網友，他們對朋友只有付出而不期望回報。當我使用科技產品遇到瓶頸，正在求助無門時，這樣網友會挺身而出，他們只要三言兩語，就如當頭棒喝、醍醐灌頂，立刻振聾發聵、指點迷津，使難題迎刃而解。受到這種網友的精神感召，之後當其他網友遇到難題時，我也樂於主動施援。●

架設全球網路最早原因��原本無關風月，不是為了娛樂交友，而是為了科技研究。

網際網路上第一則訊息，在1969年，從我的母校洛城加大傳送到史丹福大學。傳送成功那一刻，師生們都雀躍不已、奔走相告，其興奮程度不下於同年的阿姆斯壯登陸月球。

隨後全美各地各大學，陸續加入網路，電腦科系研究生們開始設立帳號，傳送電子郵件。

電子郵件裡除了交換研究成果之外，難免東拉西扯、故作幽默，聊一些雞毛蒜皮、風馬牛不相及的小事。這些人成為世界上第一批網友。

或許當時也有情竇初開的研究生，趁別人不注意，偷偷傳送愛情告白給暗戀的人，那就是世界上第一場網戀。

●

在網際網路之前，全世界最熱門的交友平台是什麼呢？它也是一種網，是「業餘無線電網」，也遍布全球、無遠弗屆。它的呼叫信號是CQ，是英文Seek You的諧音。

別小看這種「無線電網」，它是今日行動電話的起源。另外也是今日「網路群組」的起源。群組的前身是「網路聊天室」，最有名的聊天室借用了無線電網的術語，稱為ICQ，在2000年代曾在互聯網上風行一時。

當年想問鼎白宮的美國參議員高華德，曾炫耀自己是無線電網的鐵粉，經常透過無線電網，和全球「無線網友」聊天，在台灣有人曾收到他的呼叫信號，和他聊過天。

我在新竹交大時，曾參加校內「無線電研究社」，是全球無線電網的一個連結站。記得當年曾有人問我們：「你們是業餘無線電網會員嗎？」我們很驕傲地回答：「不是，我們是職業的。」

後來「無線電網」擴充領域，在汽車上加裝「無線電收發機」，成為一種行動通訊裝置，稱為「公民頻道」（Citizen Band）。夜間開車的貨車司機們喜歡用來和陌生人聊天、瞭解路況。

其後，逐漸演變成行動電話、智慧手機，不讓個人電腦專美於前。

●

「工欲善其事，必先利其器。」如想善於結交網友，首先要找到一個適合自己發揮的平台。這個平台，是個舞台，有時形同擂台，是網友們注目焦點。

其次，還要有熟練的自我表達技巧，將自己的人格特質、想表白的重點，以最有效的方法傳達給對方。

於是，「簡訊文學」就應運而生了。它的最大特色是使用最簡短字句、最少字數、最帶衝擊力方式、最可愛表情符號等，來包裝訊息。唐詩的迷人之處，是簡潔明快。網友的簡訊也效法唐詩，如蜻蜓點水，在平靜水面上激起陣陣漪漣。

除了表達自己之外，網友們尚須充分瞭解對方。在網路時代，如想瞭解你的網友，並不算太難，只要善於運用網路資源。「凡走過的，必留下痕跡。」在網路上，很難長久保護個人隱私。更何況有些人還刻意打知名度，增加自己的見網率、點擊率和網路聲量。

谷歌上有對方的生平、學歷、經歷；IG上有對方的照片；領英上有對方的職場履歷；臉書上有對方的同學、朋友、四等親屬。無論他做什麼事、參加什麼社團、寫什麼文章、發表什麼意見，在網路上都可以找到蛛絲馬跡。

●

登山有山友，唱歌有歌友，喝茶有茶友，旅行有旅友，上網自然就有網友。許多山友、歌友、茶友、旅友，在組成網路群組之後，也都變成了網友。

這種「實體朋友」的「網友化」，是一種潮流趨勢。目前許多同學會、校友會、同鄉會、專業協會，在「網友化」之後，非但不會式微，反而更加蓬勃發展。

實體朋友的缺點，首先受限於地理位置，朋友們必須住在同一個城市，至少要在同一個地區。其次，每次聚會都要安排恰當的場所，每人都要開車、停車。見面時必須穿著整齊、舉止端莊。還要準時到場，適時離場，其間注意力要集中，別接電話、滑手機。網友化之後，就海闊天空、任意翱翔，不再受任何限制了。

網友和實體朋友相比，有多項優點。首先，兩人都保留住一些私密空間，不會為日常生活小事而相互干擾，也不會因對方在場，而時時刻刻保持謹言慎行。

其次，兩人興趣不盡相同，生活步調也不一致，網友平時可隨興過自己的日子，不必勉強配合對方。

另外，無人有完美個性和外貌，隔著距離，各人都能好好包裝自己，塑造出完美形象，使對方更加喜愛自己。同時，也能任意美化對方，使對方符合自己理想標準，而更加喜愛對方。

當然，網友也有幾項缺點。因不能見到面，心裡總是感到不踏實，缺乏安全感。

因沒有朝夕相守，有時關心對方，卻不知道他此刻在哪裡、做什麼事，難免心中忐忑不安。並且，對方將來如發現了自己一些缺點，感情會不會生變？還有，自己將來發現了對方一些缺失，熱情會不會消減？

●

除非有一天，網友中有一方痛下決心，要「快刀斬亂麻」，坦然面對現實，使雙方揭開神祕面紗，約好見一次面。如果雙方或一方不滿意，乾脆「長痛不如短痛」，免得一直猜測疑惑吊胃口。

像這樣虛擬網友相約會面的場合，有人稱之為「奔現」，大概是「奔跑現身」的意思。如果奔現失敗，就稱為「翻車」，意思不言而喻。

網路上充斥著一些「奔現翻車」的冷笑話。其實大家對此應該「哀矜勿喜」，別幸災樂禍地去消遣他們。

●

網友交往雖然趣味盎然，但也有風險。一方雖有心投入情網，另一方卻可能已布下天羅地網，就像蜘蛛編織了巨網，等著獵物自投羅網。「網路如虎口，行人小心走。」要記得「防人之心不可無」，有意結交網友的人，需善於好好保護自己。

虛擬網友就像虛擬貨幣一樣，有人利市百倍，有人血本無歸。虛擬網友也像虛擬實境遊戲一樣，雖當時令人著迷得如痴如醉，最後卻似海市蜃樓，消失得無影無蹤。

網路是虛擬的，網友卻不能是虛擬的，必須真有其人、真有其事、真有其心。歸根究柢，科技只是在模仿大自然現象。在虛擬世界裡所發生的事，不論再怎麼離奇，在現實生活中也照樣會發生。

真正朋友，無論實體或虛擬，都需要開誠布公，不能太過於理想化，每人有優點也有缺點，形勢有佳境也有逆境。雙方要能苦樂同享、榮辱與共，承受得起時間和環境考驗，要可長可久、不離不棄、互相照顧扶持、安慰鼓勵。

●

今日網路的虛擬世界，如同古代的武俠世界。走在江湖路上，會遇見俠客，也會遇見盜賊。

在網路上有緣相逢，結為投契的網友，其中的點點滴滴、雪泥鴻爪，都值得珍惜回味。（寄自加州）

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harvardwang · 2 months

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歷年交通部航海人員測驗通過名單

榮譽榜

2021/03/12

歷年交通部航海人員測驗通過名單

112年度第四次交通部航海人員測驗通過名單

李友賢陳冠廷吳悅恩紀琪云湯育銘廖子軒金智勇

李悦恩陳芮蓁鄭楚玄吳怡儒陳冠典林政閔郭彥呈

林昕穎柯博壬樊洪範王　曦陳紜璽金祺昌彭吉民

112年度第三次交通部航海人員測驗通過名單

吳峻安陳威仁吳舜齊歐乃瑄何凡宜賴冠勳唐聖傑

張傑李沐澤張安志張哲源黃曉祺鄔翎民鄭淞元

黃建智陳俊儒林秉緯董翊河賴柏安黃勖堯叢浩日

黃維貞莊妤薇童威凱宋家興黃苡寧呂俊諺王敬

陳奕丞

112年度第二次交通部航海人員測驗通過名單

曾傑興　陳飛馹　洪笥宸　黃薏珊　黃柏豪　王聖燁

廖柏銜　蔡怡安　黃博裕　郭裴珞　潘家偉　李　韡

112年度第一次交通部航海人員測驗通過名單

吳建鋕　鄭乃豪　吳奕翰　李峰綸　呂孟修　柳理鈞

鄭衣涵　彭盈瑾　吳姿樺　蘇榆傑　林宏宇　邱　頎　

陳加寶　黃盈樺　許秉毅　黃祥銘　柯秉志　蔣鈞傑

謝印荃　蔡佳佑　施健安　顏毅祺

111年度第四次交通部航海人員測驗通過名單

劉耀文　李光燡　鄭名登　張謝仁傑　臧紹棠　藍囿竣

陶子天　卜　野　蔡沛全　屈恩霆　　戴維彥　黎丞軒

陳坤華　陳宇祺　莊凱傑　劉柏裕　　張宸瑄　林子軒

應德樫　吳玟玟　陳莞昀　許家洋　　王彥翰　董昀澍

秦詡洋　蔡國禎　蕭瑋呈

111年度第三次交通部航海人員測驗通過名單

蔡承展王邦宇李明穎王哲明陸泓瀚陳冠元

薛雅琪黃維慈楊鈞皓蘇柏鴻翁定謙張澄明

紀明輝劉家綺陳昭穎林佩諠謝明翰潘品瑜

呂信宏

111年度第一次交通部航海人員測驗通過名單

吳雨修　陳彥旭　王柏騰　王靖元　龔俊霖　高家維

陳麒元　劉朝瑞　邱毓媜　高瑜懃　郭紋均

110年度第四次交通部航海人員測驗通過名單

陳兆群　陳孟唐　楊智凱　蔡欣哲　陳冠宇　蕭可豪

葉建邑　黃彥欽　陳奕岑　傅振宣　陳志瑜　林儀靜

林俋帆　廖懿德　陳明穎　陳平宏　林宇晏　金莒譯

鄭貫良　曾榮威　林佳虹

110年度第三次交通部航海人員測驗通過名單

黃子駿高平羲李順意林禹丞林義昇蘇善豪劉永上賴映璿

楊展銓涂珮甄王昱翔汪筳逸李香霖方立文呂子聖蔡金洧

鄭學禮張登壹洪子晴羅加舜金知永陳冠瑜黃怡瑄劉姿瑩

劉子琳李挺瑋劉文揚

110年度第二次交通部航海人員測驗通過名單

本次測驗因疫情取消。

110年度第一次交通部航海人員測驗通過名單

陳銘堯曾冠銘胡峻瑋蘇文芯林濬承許慶成姚羽珊楊智凱

侯書堯廖英順李毓寧賴政穎王鈺馨黃子庭賴秉程詹興瑋

慕丞林彣珊鍾采君劉峻廷邱晉偉張皓翔余崢陳宗慶

孫靚

109年度第四次交通部航海人員測驗通過名單

朱峻葳黃紹輔謝添旺朱正育張廣澄楊秉鈞林澔暐高伯宗

連泓安顏筱甄蔡淙和黃伯凱

109年度第三次交通部航海人員測驗通過名單

王律翔馬碩澤秦得仁鄭琰勳徐允恩許碩軒涂修銓曾宇質

蔡翔宇王順漢蔡朝景陳昱言陳建智蕭丞恩郭宜雯洪脩益

紀以謙郭博彥洪閔德朱芳琪呂偉豪王啟哲康翠芳劉沛禎

蕭仕揚

109年度第二次交通部航海人員測驗通過名單

鄞嘉慧曹彤吳祐緯林宥宗何勝揚黃靖翔陳威宇石光仁

潘千瑞余柏樟沈芳妤王昱筌游家慶沈琮德沈得桓曾丞佑

劉彥輝龔世宇林彥均郭偉達呂學杰林昆毅蘇聖欽陳翰

109年度第二次交通部航海人員測驗通過名單

本次測驗因疫情取消。

108年度第四次交通部航海人員測驗通過名單

洪郁雯李吉林安蕎張家偉陳立朋吳東翰姚冠名郭學頤

陳昫耘顏情晴陳均軒簡呈宇楊翊愷

108年度第三次交通部航海人員測驗通過名單

許至賦曹家豪吳哲瑋黃信鈞陳道賢楊智雄陳冠恩劉奕頡

黃熙宇洪佳琦張博堯陳冠丞楊政達葉重宏吳宛蓉陳柏霖

張宇鈞胡榮發楊崇杰顏碩慧蔡承叡黃昶豪許釗華陳致恩

陳語謙

108年度第二次交通部航海人員測驗通過名單

林怡馨林佩璇曾玟靜李明戚瑋宣徐廣圻陳以諾孫暐翔

楊沛珍鄭為遠張朝復涂易瑜吳旻憲洪榮佑馮郁軒吳佩芸

陳琇瑩翁浥迪蔡定志陳彥均葉志鵬許心茹

108年度第一次交通部航海人員測驗通過名單

喬䒩薷陳子博孔繁軒楊旻桓李名仁歐嘉玲陳奕鴻黃臣延

盧至恒馬菀嚀許䟫源龔士翔劉宏倫

107年度第四次交通部航海人員測驗通過名單

吳晴杰陳家馨劉仲傑林政廷李孟霖陳銘仁

107年度第三次交通部航海人員測驗通過名單

廖振超江欣學潘祥漢洪正霖張豪中陳民旻陳弈叡葉原銘

鄭亘庭葉祐廷葉信旻曾多郁鄭凱軒陸宜宗陳冠璿張寶智

江佳臻楊曜宇趙國程

107年度第二次交通部航海人員測驗通過名單

邱瑜惠許郁培陳翰星陳昱先莊蕙羽曾宇鞍張睿宏陳靜儀

周琬絨吳協益王相智許瑋庭邱子倫閆景宇吳宗憲莊爾修

107年度第一次交通部航海人員測驗通過名單

林宏洋王宗政曾詩忠郭沂道范廣玉郭阜達黃　笙游竣凱

林群翔林谷翰汪宗宇王竣薰黃煜超賴仁傑李俊廷黃赫立

陳柏皓蘇泓文林祥億呂柏樺吳錫安李孟霖林資堯蘇美娟

吳宗翰沈丞潁戴岳軒張家瑋黃孝瑞范家銘沈文彬廖尉翔

黃炫縢曾詠鈞陳妙盈李庭瑜梁秉辰葉馨憶辛萬億陳維萱

許志豪張閎涵詹皓閔吳連恩洪綺郁

106年度第四次交通部航海人員測驗通過名單

許詠媛蔡政宏林峻民許秦維林駿吉趙瀚恩張皓翔張晏碩

李珮瑜王　騰張睿鈞李聖昱張文憲范乃歡蔡博文洪嘉揚

曾威榮陳政廷

106年度第三次交通部航海人員測驗通過名單

陳柏翔王翊名孫朝義王泓逸許文豪龔世豐葉宗憲

106年度第二次交通部航海人員測驗通過名單

黃彥文邱光輝林羿羚馬瑞遠傅志豪劉耘辛陳政廷朱冠溱

王奕云邱胤文陳彥均徐　旻葉品樂童銘澄林瑞紘林佳泓

林胤名沈立翔陳盈佐王崇任方建宏朱　昱馬崇恩施振宇

田宗翰吳承翰賴昱傑林承緯黃至煒簡舒苗吳佳霖黃幸星

吳珮瑗魏郁庭蘇育萱王映庭黃致捷許秉閎粘銘翔巫嘉瑋

莊逸椽鄭哲誠鄭崴鴻邱亭芝曹廷筠郭柏賢施奕如廖柏彰

毛漢瑜許明理蔡承杰孫大程

106年度第一次交通部航海人員測驗通過名單

黃基軒江重毅鐘承志許雅如林伯翰吳仲軒王家偉張家瑜

藍家盛黃祺翔蔡孟欣林于暄楊婷儒林煒翔戴俊丞袁乙天

陳厚凱詹前奕黃耀德吳宜興

105年度第四次交通部航海人員測驗通過名單

張雅嵐謝翔任連育瑩蘇冠綸宋亞翰吳清元楊子毅陳威仲

謝晉銘陳奕儒邱欣灝陳柏文羅　穎黃奕姉劉曉青陳宣余

105年度第三次交通部航海人員測驗通過名單

陳柏宏洪翊庭楊卓翰陶玉龍黃馨億張耿豪陳裕翔欒又鈞

劉昊融

105年度第二次交通部航海人員測驗通過名單

施自雄蘇群閎蔡瑞洋張紹敏楊佳銘曾泰航高舜業吳中博

甘龍諭褚原鑌彭有國

105年度第一次交通部航海人員測驗通過名單

馬亞聖黃湣傑許鼎宗陳昱中陳祈維陳奕睿賴立凱王玉萱

李靖群蔡雨諦郭丞恩賴啟堯呂昭諭洪振華賴澔興郭家豪

林志華洪敬翔邱元昱李翊甄陳柏奕陳琬菁蔡岱庭

104年度第四次交通部航海人員測驗通過名單

黃昱維溫宇晴柯昂里楊涵媜溫威霖林明正芮佩霖彭如軒

林雅婷蔡佳頴黃文孝林顯隆葛瑞翔劉珮芬張嘉琳黃崑育

周明翰鄭素惠林奕豐林文琦廖芝瑩黃冠惟曾彥鈞許瑋麟

劉家豪林昭年楊松儒戴瑋儒廖庭雅陳柏宇郭家愷林勇吉

104年度第三次交通部航海人員測驗通過名單

曾慶峰李尚儒

104年度第二次交通部航海人員測驗通過名單

林松杰蔡銘全吳育恩宋政杰劉博華許珮瑤賴俊丞謝柏軒

郭明駒劉心瑀古偉寧林宴週阮皇宗

104年度第一次交通部航海人員測驗通過名單

梁騰皓賴均和鄧紹彬行淑絹李健為陳泰睿魏文志林威丞

杜恩瑜陳昱辰鐵翔雲倪昇暉張嘉棋林茂聯江　盈謝政良

黃德倫劉宗諺詹欣怡楊宗岳簡得晉蕭翔懌李常榮曾宇浩

藍晨愷郭寧佑洪浩竣林子正高志忠

103年度第四次交通部航海人員測驗通過名單

洪紹航徐志穎郭晉愷張仕翰凃松騏曾文衡鄭智文鄧琨憲

曾善群楊鎧溥方冠融洪琮恩陳雅俐林慧華游林鴻盧文傑

蔡有倫聶秀軒駱俊明劉暉弘殷裕翔陳泓銘賴孟輝林俞錞

陳畇廷黃子容彭繼威吳東橋康路恩林燿志張文成黃欣婷

黃文駿張　庭簡佑任彭家慶張　皓鄭任硯楊建隆劉家宏

林逸嘉蘇泊僑蘇盈瑛曾子樵陳履安高偉智莊承翰吳榮三

103年度第三次交通部航海人員測驗通過名單

許國威陳俊傑吳聯成黃登羣夏暘竣羅凱俊陳佳歡楊承儒

顏宏旭林哲弘曹雁棋黃郁茵曾姿儀王雅瑜廖　罡張修振

陳韋智鍾裕臣林維麒邱彥翔李明軒趙立紘蔡曉蓉張韶邠

103年度第二次交通部航海人員測驗通過名單

李廷恩王俊皓劉向森戴憶芳劉承惠蔡文鐘薛湘樺許智勇

關百亨張立杰陳俊宏林奇陽卓明峰王建豐方正揚簡顯蘊

魏均婷吳佳宜許家霖陳逢駿曾勇程楊瀚昇郭仲鈞霍中璟

李宜庭蔡東軒陳宏明賴昱中江宇奇林凱俐吳佑財饒旻晉

張桓碩張丹齡黃俊嘉盧國光楊世華林靖勳張簡久揚

103年度第一次交通部航海人員測驗通過名單

陳冠宇余慧倫林子均吳紫綺黃安源蔡怡倩楊韻潔謝宗儒

徐仲維黃鈺荃王怡靜周昱伶蕭敬詒蘇鈺涵張峪稱黃仁遠

呂俊麟胡家齊王銓朗陳坤新鄭慧賢林旻佐范弘軒陳亞權

洪碩謙王振豪何紀宏鞠慧航簡荐普許有勝胡維岑蔡易樺

103年第一次河海人員特考通過名單

陳思樺黃子寧林家暉辛金山陳仁玉周心如林宗賢施睦庭

102年度第四次交通部航海人員測驗通過名單

楊偉民李政德張家瑜劉育菖陳昶廷詹智丞張婷茹劉鈞瑋

莊清彥李珊銘涂世達陳翊瑋龔　恆王玉婷陳志杰葉玳鑛

陳明宏鐘郁甯劉羿成王煇荃葉艾棋

102年度第三次交通部航海人員測驗通過名單

林千又陳子循趙炳荃周東穎呂伯樂王重隆張家銘彭姿凱

孫境佑胡家芸陳端容林宗賢曾琬茹蔡能玄林芯羽駱昱如

梁益齊鄭家茹黃建舜林沛儒駱文斌施睦庭

102年度第二次交通部航海人員測驗通過名單

林宏豪王新一戴怡琳何明得陳宗彥蘇柏諺邱郁茹林冠志

唐涫鐄柳建廷朱至祥張煐慰莊惠閔陶孝慈蕭松鍇許世昊

陳保丞郭��杰伍紋萱詹雅棋 ��雙安江佩玲朱威銘蔡舜文

陳清

102年第二次河海人員特考通過名單

李芳王立偉張煐慰童思叡林柏伸林永惟邱睿騫林晉宏

陳冠廷楊雙安呂昱賢芮偉霖陳長宏林皓群

102年度第一次交通部航海人員測驗通過名單

謝傑宇陳俊宏鍾智堯葉益成郭盈萱

102年考選部第一次河海人員特考通過名單

洪海洲蔡宗勇林甫育李妍萱劉晉平陳伯齊楊德正林忻怡

許曉佩陳央傑潘逸妍李昱錡陳羿君吳岱鴻黃家聲賴信銓

林龍全楊博鈞林易昌羅煥昇榮志豪劉政杰黃賓弘黃冠中

林志諺簡政躍黃揚庭柳亭玲

國立高雄科技大學航運技術系. 網頁設計 DESIGNGOGO

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brassaikao · 5 months

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台灣 2024 立委當選名單

基隆市：林沛祥（中國國民黨）台北市第1選區：吳思瑤（民主進步黨）第2選區：王世堅（民主進步黨）第3選區：王鴻薇（中國國民黨）第4選區：李彥秀（中國國民黨）第5選區：吳沛憶（民主進步黨）第6選區：羅智強（中國國民黨）第7選區：徐巧芯（中國國民黨）廣告（請繼續閱讀本文）第8選區：賴士葆（中國國民黨）新北市第1選區：洪孟楷（中國國民黨）第2選區：林淑芬（民主進步黨）第3選區：李坤城（民主進步黨）第4選區：吳秉叡（民主進步黨）第5選區：蘇巧慧（民主進步黨）第6選區：張宏陸（民主進步黨）第7選區：葉元之（中國國民黨）廣告（請繼續閱讀本文）第8選區：張智倫（中國國民黨）第9選區：林德福（中國國民黨）第10選區：吳琪銘（民主進步黨）第11選區：羅明才（中國國民黨）第12選區：廖先翔（中國國民黨）桃園市 …

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castiel2462 · 5 months

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雖然票還沒開完但情況遠比我想的更糟，目前柯文哲+侯友宜票數超過61%輾壓賴清德，也就是驗證我之前一直說的現在台灣親中國的人高達六成，尤其年輕人過半數支持親中派的柯文哲是非常大的問題，相較於2020年蔡英文橫掃八百多萬票狠甩韓國瑜+宋楚瑜的盛況台灣人的素養完全是倒退

立法委員更慘，林靜儀落後顏寬恒、張廖萬堅落後廖偉翔、莊競程落後黃健豪、江肇國落後羅廷瑋，台中幾乎全軍覆沒，更別說王鴻薇、馬文君、徐巧芯這些人品德有問題的人票數遙遙領先

四年後年輕世代的首投族會讓情況更糟，中國對台灣的資訊戰可說是全面勝利

就如同多年以來我不變的呼籲，有能力有機會的人真的要趕快移民時間不多了，要為台灣打拼身處哪裡都可以不一定要待在台灣

假設台灣人團結我願意獻上我的生命，但如果台灣人決定用選舉親手將台灣變成中國的一部分那大家真的要為自己跟家人留後路沒有必要跟那六成的人同歸於盡，不值得

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natumark · 5 months

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今現在いる自作キャラクター何人居るのかなという個人的興味による名前を並べ立てるだけの場所

なお、名前は登場時のもので表記するが婚姻などの理由で作中で姓が変わっていることが判明している人物は、基本的に「旧姓(新姓)名前」と表記する。

また、同一作品あるいは別作品で別名を使用（偽名や名字違い、表記揺れなど）している場合は、名前ごとに「/」で区切る。

竜ヶ崎菖蒲（『Dreamerシリーズ』『暁』）

唐鞠人（『Dreamerシリーズ』）

唐清成（『Dreamerシリーズ』）

唐夾乎（『Dreamerシリーズ』）

葛原慎/葛城慎（『Dreamerシリーズ』『暁』『愛と誠』）

徳蘭咲莉/葛城咲莉（『Dreamerシリーズ』『暁』）

野々宮累/Ｙ（『Dreamerシリーズ』『暁』『キメラの箱庭』）

野々宮恵/Ｘ（『Dreamerシリーズ』『暁』『キメラの箱庭』）

羽生媛乃（『Dreamerシリーズ』）

芹沢雪緒（『Dreamerシリーズ』）

神冥鳳（『Dreamerシリーズ』『暁』）

村上道嘉（『Dreamerシリーズ』『暁』）

桃川匠（『Dreamerシリーズ』『暁』）

菊加乱離（『Dreamerシリーズ』）

小野宮斗真/小野宮トニー（『Dreamerシリーズ』『暁』）

黒沢蓮雨/黒澤蓮雨（『Dreamerシリーズ』『暁』）

白川鈴花/白河鈴花（『Dreamerシリーズ』『暁』『砂漠の薔薇』）

藤堂果梨（『Dreamerシリーズ』『暁』）

安東陵哉（『Dreamerシリーズ』『暁』）

椿薫/烏夜月長/椿和久（『Dreamerシリーズ』『暁』）

浅倉香/水葱/烏夜水葱（『Dreamerシリーズ』『暁』）

日仁/姫宮日仁（『Dreamerシリーズ』『暁』『天国に結ぶ愛』）

浦上更長（『Dreamerシリーズ』）

ロイス＝クロノス（『Dreamerシリーズ』）

於季（『Dreamerシリーズ』）

葛城眞明（『Dreamerシリーズ』『暁』）

咲/葛城咲子（『Dreamerシリーズ』）

信（『Dreamerシリーズ』）

尊（『Dreamerシリーズ』）

すずめ（『Dreamerシリーズ』）

光一/烏夜光長/沙羅光長（『Dreamerシリーズ』）

海二/烏夜海長/海（『Dreamerシリーズ』）

空三/葛城空明（『Dreamerシリーズ』）

四葉（『Dreamerシリーズ』）

山五/烏夜頼長（『Dreamerシリーズ』）

六花（『Dreamerシリーズ』）

七火（『Dreamerシリーズ』）

風八/烏夜風頼（『Dreamerシリーズ』）

九華（『Dreamerシリーズ』）

菊加康朝（『Dreamerシリーズ』）

富永朝頼（『Dreamerシリーズ』『暁』）

夕/富永夕姫（『Dreamerシリーズ』『暁』）

舞/吉条舞（『Dreamerシリーズ』『暁』『愛と誠』）

杉尾景平（『Dreamerシリーズ』『暁』『愛と誠』）

高泉明道（『Dreamerシリーズ』『暁』）

藤子/高泉藤子（『Dreamerシリーズ』『暁』）

宗浦静信（『Dreamerシリーズ』『暁』）

宗浦佐予/黒沢紗綾（『Dreamerシリーズ』『暁』）

竜ヶ崎紫陽花（『Dreamerシリーズ』）

竜ヶ崎紫苑（『Dreamerシリーズ』）

葛城新名（『Dreamerシリーズ』『愛と誠』）

沙羅亰一郎（『Dreamerシリーズ』）

菊加理汰郎（『Dreamerシリーズ』）

岡崎煌大（『Dreamerシリーズ』）

長谷川謙輔（『Dreamerシリーズ』）

丹羽勇磨（『Dreamerシリーズ』）

井崎保（『Dreamerシリーズ』）

藤堂俊也（『Dreamerシリーズ』）

安東明仁（『Dreamerシリーズ』）

桜井晋右衛門（『Dreamerシリーズ』）

古賀翔平（『Dreamerシリーズ』）

池田綾之助（『Dreamerシリーズ』）

若宮千歳丸（『Dreamerシリーズ』）

加納梨子（『Dreamerシリーズ』）

若宮江与（『Dreamerシリーズ』）

上原千夏（『Dreamerシリーズ』）

神冥奈々子（『Dreamerシリーズ』）

板額常葉（『Dreamerシリーズ』）

巴静（『Dreamerシリーズ』）

桂木歩実（『Dreamerシリーズ』）

乱崎望（『Dreamerシリーズ』）

村井潤（『Dreamerシリーズ』）

橋元文佳（『Dreamerシリーズ』）

竜ヶ崎葵（『Dreamerシリーズ』『愛と誠』）

唐六連（『Dreamerシリーズ』）

菊加玖蘭（『Dreamerシリーズ』）

村上章広（『Dreamerシリーズ』）

高村澪子（『Dreamerシリーズ』）

村上実保（『Dreamerシリーズ』）

徳蘭晴名（『Dreamerシリーズ』『愛と誠』）

葛原(徳蘭)稔（『Dreamerシリーズ』『愛と誠』）

葛原睦（『Dreamerシリーズ』）

野々宮佳澄（『Dreamerシリーズ』）

野々宮露佳（『Dreamerシリーズ』）

村上音羽（『Dreamerシリーズ』）

桔梗（『Dreamerシリーズ』）

飛済彩瀬（『Dreamerシリーズ』）

華前朔耶（『Dreamerシリーズ』）

魚谷麗美子（『Dreamerシリーズ』『私だけのあなた』）

柳沢璋司/リッソ（『Dreamerシリーズ』）

仲村真理命/アルク（『Dreamerシリーズ』）

佐崎のの/シルウァーティ（『Dreamerシリーズ』）

篠原花代子/ヴェッタ（『Dreamerシリーズ』）

三輪凛/ラージャ（『Dreamerシリーズ』）

沙羅京/オルカ（『Dreamerシリーズ』）

梶神流/イースイ（『Dreamerシリーズ』）

亜苙恭一/ピテーコ（『Dreamerシリーズ』）

纓田大輝/ウル（『Dreamerシリーズ』）

風雅萌華/トゥナ（『Dreamerシリーズ』）

古森貴雄/フーリー（『Dreamerシリーズ』）

瑠璃満/ローリ（『Dreamerシリーズ』）

工藤明人/リュープ（『Dreamerシリーズ』）

村宇治龍星/レオンテ（『Dreamerシリーズ』）

橘田奏/チィーガル（『Dreamerシリーズ』）

八百津李央/レニェ（『Dreamerシリーズ』）

舞園博美/シュラン（『Dreamerシリーズ』）

高梨宗治/ロントラ（『Dreamerシリーズ』）

高梨愛美/ムルシェ（『Dreamerシリーズ』）

橋爪実果/プフェー（『Dreamerシリーズ』）

戸ノ塚義洋/レーエ（『Dreamerシリーズ』）

沙羅保光（『Dreamerシリーズ』『暁』）

沙羅都（『Dreamerシリーズ』）

沙羅(芹沢)茜（『Dreamerシリーズ』『天国に結ぶ愛』）

黒沢ラウル（『Dreamerシリーズ』）

黒沢琳芳（『Dreamerシリーズ』）

鹿苑要（『Dreamerシリーズ』）

飛鳥千広（『Dreamerシリーズ』）

藤宮美春（『Dreamerシリーズ』）

春宮寺鷹美（『Dreamerシリーズ』）

倉本菊（『暁』）

倉本楓（『暁』）

戸蔵百合（『暁』）

透（『暁』）

美奈子/竺川茗/姫宮美奈子（『暁』『天国に結ぶ愛』）

江宮礼仁/江宮礼史（『暁』『天国に結ぶ愛』）

馬場園彰/竺川彬良（『暁』『天国に結ぶ愛』）

藤宮倫子/藤宮(姫宮)倫子（『暁』『天国に結ぶ愛』）

竺川葵子/竺川(渡邊)葵子（『暁』『天国に結ぶ愛』）

竺川彬彦（『暁』『天国に結ぶ愛』）

千鶴/姫宮(江宮)千鶴（『Dreamerシリーズ』『暁』『天国に結ぶ愛』）

江宮礼護（『暁』『天国に結ぶ愛』）

衆樹綴（『キメラの箱庭』）

徳富延寿/徳富槐（『キメラの箱庭』）

群千在（『キメラの箱庭』）

上久世揚羽（『キメラの箱庭』）

百千拓人（『キメラの箱庭』）

濱野桜海（『キメラの箱庭』）

穂末涼（『キメラの箱庭』）

上久世浅黄（『キメラの箱庭』）

鈴鹿真昼（『キメラの箱庭』）

藤波杏七（『キメラの箱庭』『私だけのあなた』『春の墓標』）

陣内柚斎（『キメラの箱庭』『私だけのあなた』『春の墓標』）

黒森真那（『キメラの箱庭』）

柳泉文目（『キメラの箱庭』）

葛木眞/葛木䰠（『キメラの箱庭』）

夜長葵（『キメラの箱庭』）

代永蒼/ソーマ（『キメラの箱庭』）

衆樹享（『キメラの箱庭』）

衆樹聖（『キメラの箱庭』）

紀野蘭花（『キメラの箱庭』）

紀野國香（『キメラの箱庭』）

衆樹すばる（『キメラの箱庭』）

出水隆明（『キメラの箱庭』）

四倉真夜（『キメラの箱庭』）

小野田トム（『キメラの箱庭』）

葛木魁（『キメラの箱庭』）

群千秋成（『キメラの箱庭』）

荻谷純（『キメラの箱庭』『私だけのあなた』『春の墓標』）

穂末純（『キメラの箱庭』）

マヤン＝リュナー・ヴァルト（『キメラの箱庭』）

杉崎和義（『私だけのあなた』）

杉崎惟義（『私だけのあなた』）

峯岸心愛（『私だけのあなた』）

御影優（『春の墓標』）

御影秀（『春の墓標』）

和泉賢路（『春の墓標』）

鴻池麻理（『砂漠の薔薇』）

朝霧浪漫（『砂漠の薔薇』）

鴻池理人（『砂漠の薔薇』）

臼井史也（『砂漠の薔薇』）

戸来（『荒れ野の茨』）

惣間（『荒れ野の茨』）

井貫（『荒れ野の茨』）

半田冬葵（『物言わぬ花』）

フリードリヒ（『物言わぬ花』）

鈴木司狼（『物言わぬ花』）

鈴木虎徹（『物言わぬ花』）

鈴木未沙（『物言わぬ花』）

鈴木宗馬（『物言わぬ花』）

アリア/Arianne Luisa Calberry（『Links of Destiny』）

ジーク/Siegward Selecis Schwarza（『Link of Destiny』）

ベル/Bernardo Emanuel Thiers（『Link of Destiny』）

リディアン/Lydian La René Ostinato（『Link of Destiny』）

エリー/Ellie Gillian Simons（『Link of Destiny』）

ジャック/Jack Law Herschel（『Link of Destiny』）

ケイト/Kate Lyl Rainer（『Link of Destiny』）

フィル/Philipp O'Carolan（『Link of Destiny』）

シェイラ/Sheila McMahon（『Link of Destiny』）

ラウロ/Lauro Carnevale（『Link of Destiny』）

尹依琳（『Link of Destiny』）

レイ/日向零鬼（『Link of Destiny』）

日向優鬼（『Link of Destiny』）

日向瑞鬼（『Link of Destiny』）

フローリァ/近衛桐鬼（『Link of Destiny』）

ジュリア/Julia Crache Schwarza（『Link of Destiny』）

リディ/Lydios Alks Rilvale（『Link of Destiny』）

辰水龍眞（『Link of Destiny』）

睦溜藍岬（『Link of Destiny』）

フューラー/Frank Feurer（『Link of Destiny』）

マリア/Maria Muriel Lowell（『Link of Destiny』）

ルーネリア/Runelia Michelle Iris-Queen（『Link of Destiny』）

サミュエル/Samuel Stefan Iris-Queen（『Link of Destiny』）

姫百合/宇都宮鬼百合（『Link of Destiny』）

播磨鬼菊（『Link of Destiny』）

日向蘭鬼（『Link of Destiny』）

エレーヌ/Helene（『Link of Destiny』）

カムイ/Kamui（『Link of Destiny』）

マヤ/Maya（『Link of Destiny』）

風銀流睡（『Link of Destiny』）

レイヴン/Raven（『Link of Destiny』）

カナリー/Canary（『Link of Destiny』）

ピーコック/Peacock（『Link of Destiny』）

パロット/Parrot（『Link of Destiny』）

ティール/Teal（『Link of Destiny』）

カイト/Kite（『Link of Destiny』）

ロビン/Robin（『Link of Destiny』）

ピジョン/Pigeon（『Link of Destiny』）

ジル/Silfried Wishel Schwarza（『Link of Destiny』）

アリオス＝アレイオス/Arios Areios（『Link of Destiny』）

ジェイド＝オリアーナ/Jade Oriana（『Link of Destiny』）

幽鬼（『Link of Destiny』）

カイル/海/Kyle Schwarza（『Link of Destiny』）

ソラリス/天/Solaris Schwarza（『Link of Destiny』）

アイリス/Iris Athala Wessux（『Link of Destiny』）

ルエィス/LEis（『lost story』）

ハリェン/XaRien（『lost story』）

ジ(ク)セロ/XixCero（『lost story』）

リュスヴェ/LuCвe（『lost story』）

ノーデュンレ/HoDunle（『lost story』）

オムスミェト/OmCмed（『lost story』）

ファミンシェ/FaMinXià（『lost story』）

エルフィ/HelFi（『lost story』）

エィラ/AίRra（『lost story』）

ネフォーラト/NefŌraD（『lost story』）

レオム/ReUm（『lost story』）

レオミン/ReUmin（『lost story』）

フレィディス/FlaDis（『lost story』）

ウィーノヴ/ViNov（『lost story』）

リルリュスヴェン/Lir'LuCвen（『lost story』）

フリューゥル/FlüWl（『lost story』）

ジャスティン/Justine（『無題』）

エレナ/Elena（『無題』）

クリスティー/Christy（『無題』）

ジュリエッタ/Giulietta（『無題』）

アーテー/Ate（『無題』）

シャルロッテ/Charlotte（『無題』）

双葉＝沙羅（『名のない長編』）

双葉＝檀（『名のない長編』）

双葉＝芹子（『名のない長編』）

榊＝竜胆（『名のない長編』）

榊＝桔梗（『名のない長編』）

榊＝藤浪（『名のない長編』）

山吹（『名のない長編』）

柾（『名のない長編』）

芙蓉（『名のない長編』）

撫子（『名のない長編』）

柘榴（『名のない長編』）

リリー/Liliana-Lilynette Eminy（『天使な悪魔!!』）

セバス/Sebas-Severo Eugenie（『天使な悪魔!!』）

ジム/James-Robert Caria（『天使な悪魔!!』）

シリウス/Sirius-Procyon Laxness（『天使な悪魔!!』）

リアム＝リーガン/Liam-Regan Lupin（『天使な悪魔!!』）

ピーター/Peter-Petillant Oscar（『天使な悪魔!!』）

ルシファー/Lucifer-Narcissus Arrowfone（『天使な悪魔!!』）

レグルス/Regulus-Arcturus Laxness（『天使な悪魔!!』）

アーサー/Arthur-Eric Williams（『天使な悪魔!!』）

メアリー/Mary-Reserva Lisse（『天使な悪魔!!』）

スピカ/Spica-Perle Laxness（『天使な悪魔!!』）

アリス＝ティー/Alice-Ttie Caria（『天使な悪魔!!』）

フィアナ＝フィー/Fiana-Fee（『天使な悪魔!!』）

ミッシェル/Michelle-Louise Stuart（『天使な悪魔!!』）

カタリーナ/Katharina Herrstein（『天使な悪魔!!』）

ドロシー/Dorothy-Daisy Hades（『天使な悪魔!!』）

ローズ/Roselia-Rosetta Eminy（『天使な悪魔!!』）

ハロルド＝ハウリー/Harold-Hawley（『融解温度黙示録』）

スーザン＝ホウ/Susan-Ho/Susan-Flay Ros Marlunica（『融解温度黙示録』）

ディア＝クラレンス/Dia-Clarence-Melgart Arnold Onestry（『融解温度黙示録』）

アメリア/Amelia Emu（『融解温度黙示録』）

ティエリオ/Tierio Emu（『融解温度黙示録』）

ゴードン＝ラックズベリー/Gordon-Racksberry/Gordon-Racksnes Berylrield Ros（『融解温度黙示録』）

クロード神父/Claude-Melvin（『融解温度黙示録』）

オンディーナ＝バルバッラ/カルラ＝マリカ/Ondina−Barbarra/Karla-Marika（『融解温度黙示録』）

ギュンター/Erich Günther（『融解温度黙示録』）

マックス/Maximilian Günther（『融解温度黙示録』）

ジェラルド＝ステロ/Gerardo-Stello（『融解温度黙示録』）

メイリン/Meilin（『融解温度黙示録』）

ソロモン/Salomon Keller（『融解温度黙示録』）

メリエル/Meriel Knott（『融解温度黙示録』）

ヴィオラ＝エレイン/Violet-Sara-Elaine Iris-Queen（『融解温度黙示録』）

ジャック＝アンドリュー/Jack-Andrew/Jean-Baptiste−André（『融解温度黙示録』）

コルネリウス/Cornelius Keller（『融解温度黙示録』）

カスパル/Kaspar Keller（『融解温度黙示録』）

ヨハンナ/Johanna Keller（『融解温度黙示録』）

ザシャ/Alexander Keller（『融解温度黙示録』）

リカルダ/Ricarda Keller（『融解温度黙示録』）

ナディヤ/Nadja Keller（『融解温度黙示録』）

フリードリヒ/Friedrich Keller（『融解温度黙示録』）

クラウディア/Claudia Keller（『融解温度黙示録』）

オーウェン＝ホウ/Owen-Ho Ros Marlunica（『融解温度黙示録』）

エル＝ペルリック/El-Perlick（『融解温度黙示録』）

メリー＝アン/Marry-Ann（『融解温度黙示録』）

第一使徒シミオン/Simeon（『融解温度黙示録』）

ダイナ/Dinah（『融解温度黙示録』）

第二使徒ハイメ/Jaime（『融解温度黙示録』）

第三使徒フアン/Juan（『融解温度黙示録』）

第四使徒アンドレイ/Andrei（『融解温度黙示録』）

第五使徒フィリパ/Filipa（『融解温度黙示録』）

第六使徒ナータン/Nathan（『融解温度黙示録』）

第七使徒マタエウス/Matthaeus（『融解温度黙示録』）

第八使徒トマ/Thomas（『融解温度黙示録』）

第九使徒ジャコバ/Jacoba（『融解温度黙示録』）

第十使徒アダイ/Aday（『融解温度黙示録』）

第十一使徒ジュード/Jude（『融解温度黙示録』）

第十二使徒マッテーオ/Matteo（『融解温度黙示録』）

第十三使徒ヨゼフ/Yôsēp̄‎（『融解温度黙示録』）

第十四使徒パヴレ/Pavle（『融解温度黙示録』）

アリス/Samuel-Florence Allison（『PP.アンダーランド』）

白うさぎ/スノゥ/Bearice-Phyllis Gloster（『PP.アンダーランド』）

チェシャ猫/キャット/Victoria Raymond Torrington（『PP.アンダーランド』）

キティ/William Raymond Torrington（『PP.アンダーランド』）

帽子屋/ブラック/Patricia-Louis Fox（『PP.アンダーランド』）

帽子屋/ホワイト/Patrick-Kate Fox（『PP.アンダーランド』）

ハートの女王/Justine-Le-Mary Heartfilia（『PP.アンダーランド』）

紅茶屋/ティー/Raphael-Edwin Keith（『PP.アンダーランド』）

香水屋/ティア/Gabriel-Edward Keith（『PP.アンダーランド』）

時計屋/ティム/Mickael-Edmond Keith（『PP.アンダーランド』）

ヤマネ(眠りねずみ)/ドール/Emanuel-Irene Fitch（『PP.アンダーランド』）

ハートのジャック/Silfried-La-Alexandra Heartfilia（『PP.アンダーランド』）

伯爵/ドードー/Sin-Clara-Clarence Arnold（『PP.アンダーランド』）

占い師/芋虫/Kristine-Noelle Walsingham（『PP.アンダーランド』）

伯爵夫人/カナリア/Cecilia-Emily Arnold（『PP.アンダーランド』）

トカゲのリズ/Kimberley-Hector Lipscomb（『PP.アンダーランド』）

三月うさぎ/Thomas-Malcolm Olsen（『PP.アンダーランド』）

ウミガメモドキ/Ramona-Thelma Monroe（『PP.アンダーランド』）

#大陸暦紀年史 #Dreamerシリーズ #暁 #天国に結ぶ愛 #キメラの箱庭 #私だけのあなた #春の墓標 #荒れ野の茨 #砂漠の薔薇 #物言わぬ花 #道化の肖像 #Link of Destiny #lost story #天使な悪魔!!#融解温度黙示録

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