#also even 'traditional chinese' has two modern systems

[niteshade925]

Why the argument of "which system of written Chinese is the 'right' one" is kinda pointless:

All 12 characters below are different forms of the character 剑/劍/jiàn (means double-edged single-hand straight sword) that have been used throughout history. Which one is the "right" way? :P

[accio-victuuri]

sharing this article from today about HB. 🤍

Nominated for "Best Feature Film" at the Golden Rooster Award: "Hidden Blade": a hidden arrow that breaks the unspoken rules of box office for literary and artistic films

A classic is a kind of work,

It continues to give rise to clouds of criticism of it,

And keep getting rid of it,

It never completes what it has to say.

Hidden Blade, whose global box office is still rising, is the box office ceiling for domestic literary and artistic films. The background of this performance is that serious films have encountered an era of shallow reading, the industry and the public have been torn apart, and box office has become an undercurrent sweeping everything. However, because literary films do not conform to the shallow entertainment psychology, their niche nature is predicted by bloodthirsty and crude evaluations, and they are ahead of schedule. They are killed by film placement rate.

The true mission of film︱Making culture visible

The turbulent clouds and red color in the broad field of vision are somewhat incompatible with the festive atmosphere of the Lunar New Year. Released on the first day of the Lunar New Year, it is a kind of performance art in itself... It is very cliché, and it is exactly the same as the self-deprecation of super commercial films. As a spy war literary film, "Hidden Blade" has achieved a breakthrough in innovative expression of Chinese films, and its heterogeneity is unique among domestic films.

The dramatic tension of too many movies relies entirely on scenes and special effects, which disappear once they leave the theater. "Hidden Blade" creates a huge psychological magnetic field, which is still exciting even if it is separated from the audio-visual environment. The tone threshold of "Hidden Blade" is not some kind of contempt for the audience, but the ultimate respect for the audience, history, and movies.

Literary films are a type of film relative to the concept of commercial films. They focus on artistic expression and cultural connotation, and try to pursue higher aesthetic values ​​and cultural significance. Their production is also different from commercial films: commercial films pursue commercial interests or mass entertainment, and take the movie box office as the main goal, while literary films focus on the artistry and cultural connotation of the film.

Transgressing norms and offending common sense, art films are pioneers of film. They often fail but expand the boundaries of film. There are two literary classics in the history of world cinema, "The Shawshank Redemption" and "Westward Journey". They failed miserably at the box office when they were first released. However, they accumulated a large number of die-hard fans through the later dissemination of images. After years of accumulation, they became indelible classics.

The core of the value counterattack between the two works is still that gold will always shine.The former's exploration of human nature and social systems has created a milestone in modern cinema, while the latter's postmodern deconstructive stream of consciousness has won resonance in an era of subversion of tradition.

As a cultural carrier, movies are the most intuitive and transparent value expression of the thoughts of the times. Although most of the classics handed down from ancient times are not the true understanding of the thinkers' era, they have been accepted by the public after years of precipitation. As a result, classics continue to increase in value over the course of history. This is the power of classics and the reason why we respect classics.

As early as in "The Death of Romance", Cheng Er used lines to express his feelings, "Movies are made for the audience of the next century." Look, for artists who break through the context of their times, the feedback they receive from the times is often lagging or misaligned, although this misalignment itself is precisely the connotation of the avant-garde. Yes, art films have always been a disadvantaged group in the industry that suffers at the box office.

In contrast to the tragic box office situation, the ambition and strength of literary films in film art awards. This is also the reason why "Hidden Blade" recently swept the 36th Golden Rooster Awards, with 8 major nominations and caused controversy among public opinion.

The existence of "Hidden Blade" is indeed an isolated example of a domestic literary film. With a box office of 931 million, it is not only the highest-grossing film in director Cheng Er's career, it is even several times the total box office of all his previous works! It's so stunning that "Hidden Blade" has always been criticized by the public, expelled from the art film camp by default in the name of "removing the highest score"!

"No one knows your name, but your achievements are immortal." The grand proposition of the unknown hero in "Hidden Blade" is more sentimental about family and country than any of Cheng Er's previous works. And does this main theme of "greatness, light, and justice" fit in with the art film's original understanding of "the world, society, and life" for individuals and the authorial expression of film language?

"Hidden Blade" is not the first of its kind to draw on commercial marketing for a literary film. At that time, "Fireworks in the Day" was announced as a romantic suspense film, and it received similar reviews and received double box office revenue. It can be seen that only true literature and art dare to joke about "super commercial films".

Cheng Er responded to this joke in an interview with "China News Weekly", "I was editing the film that day, and then they came in with their mobile phones to show me, and said that everyone still thought it was too literary, and I said let's just type a line. Come out - a super commercial film. This is a joke, and indeed no one put such a slogan in the trailer."

He said that he just found it interesting and that there was nothing to rebel about and it was not worth rebelling against. Confidence and relaxation are often qualities of an artist. These qualities make people stand out like fireflies in the dark, allowing the public to quickly pick them up from the crowd. And Cheng Er slowly titled a serious film "super commercial film" because of his humor.

Movies are not just an art of light and shadow | they are also an art that can cultivate people

Low box office is not the standard for art films. “When art is dressed in shabby clothes, it is easiest for people to recognize it as art.” However, this is not an essential representation of art, but the quality of the audience that needs to be improved. The complaints faced by "Hidden Blade" are the same as those faced by literary films as a whole, which is the contradiction between the film's authorial expression and public acceptance.

But does literature and art have to be a niche? Does it deserve to be obscure and slow-paced? Come to think of it, no one is more qualified to answer than "Hidden Blade", who has boiled the black water into a world of wealth and led the public's aesthetic appreciation with niche art!

The most representative narrative style of Cheng Er's films is "flashback narrative", which established his unique creative and imaging style. It invites the audience to participate, rely on brain supplements to build together, and gain the pleasure of decoding. It is a true "understanding", and it is easy to be confused if you don't understand. Such films pursue aesthetics and reflection, and are usually aimed at more mature and artistic audiences.

Movies are products of the cultural industry and are essentially consumed cultural products. In the context of the influx of capital and hot money into the film market and the industrialized mass production of film culture, commercial films are certainly high-return cultural snacks tailored for audiences. Even the creators of literary and artistic films are hard-pressed to avoid being judged by box office success . "The concept of influence or even kidnapping.

It is common for literary films to sell less than 5 million yuan. From Chen Zheyi softly asking the sky, "Why are elegant and gentle people scolded?" to Huang Xufeng angrily choking netizens, "I have no merit but hard work." There is no antidote in the world. The reason why literary and artistic films are criticized is often because in the fast-food era of shallow reading, literary and artistic films have to embrace the sinking market and attract non-target audiences in order to pursue box office.

But movies are just products? No, it is still a cultural expression and a carrier of social values. Comparing movies to products, then literary and artistic films are obviously not fast-moving consumer goods. When facing capital and the market, how can they be in line with the public while not losing their authorial nature? Cheng Er said, "Good-looking art films are also good commodities, and excellent commercial films are also a kind of art."

When it comes to art, most people may think that art is highbrow, aloof, and far away from daily life. And this is not the case. Yu Hua said in the roadshow of "The Mistake by the River", what does it mean to understand? In fact, it is whether it can overlap with our own life experience. If there is overlap, you can understand it. If there is no overlap, you can't understand it. That's normal.

In this explanation, understanding or not understanding is not profound. And Cheng Er has always said that the audience should not be underestimated. People who watch movies are influenced by their own likes and dislikes. Whatever they feel is what they have. Whether they understand or not is not that important.

The audience should not be too demanding to understand, and the artist should also be down-to-earth. Art for the sake of art is not true art. "Hidden Blade" is not only a literary film, but also a literary footnote to Chinese films, because it truly expresses the cruelty of history but is still full of artistic beauty. Cheng Er is very familiar with the history of the Republic of China and knows the intricate relationships between characters.

"Hidden Blade" is composed of real historical details as fine as twists and turns. When I say I can’t understand it, I’m not expressing disdain, but living in China, it’s difficult to understand the history of 5,000 years of civilization, but there is absolutely no threshold for mastering the history of the Anti-Japanese War! It is understandable that one cannot appreciate the narrative technique due to aesthetic differences, but the Internet atrocities of selling one’s soul for five cents and tainting the theme of the film are unforgivable.

There is no universal set of aesthetic rules in the world, but artists try to legislate aesthetics. Every era has its own branded dogma, until the next generation of artists establishes their own profession. Therefore, Gombrich exorcized art and said, "There is no art, only artists." He hoped that the world would stop enshrining art in shrines and use mystery and sacredness to Feeling separates oneself from the work.

There is also a similar "death of the author theory" in the literary field, which means that the author is as if dead when the work is born, and the interpretation and evaluation of the work are left to the readers. That is, there are a thousand Hamlets for a thousand readers, and there is no standard answer.

Just like we cannot require every movie to go straight to the international film festival awards, but also to hit the hearts of the audience and be a classic that will be passed down forever. We cannot require every movie viewer to have high film literacy from the beginning, and to be able to get the spiritual resonance of the creative intention. The growth of movies, filmmakers, and movie audiences requires more tolerant soil and space.

Of course, there is really little space left for literary and artistic films in theaters now! No matter at home or abroad, when the public unanimously agrees that "artistic films deserve low box office", please understand that the industry should leave some room for exploration for artistic films. Allow them to be ignorant of the customs, and only on the soil of tolerance can viable artistic flowers bloom.

Social aesthetic value orientation︱The purpose and driving force of movies

"A lame dog walks through the bombed street scene." One day, Cheng Er took a pen filled with ink and wrote this sentence on the paper. At that time, no one, including himself, knew it, but it was becoming the starting point for a movie called "Hidden Blade," and this moment of brutal aesthetics became the famous scene of the movie.

Personal aesthetics are free, but social aesthetics has a paradigm. Education and social culture will influence and standardize aesthetics and shape aesthetic orientation. Different eras and different environments have different aesthetic orientations, and different aesthetic orientations make people make different value choices. That is to say, no matter how free the aesthetics and how diverse the values ​​are, as long as the rice is sown, it will never grow into tares.

Art and commerce are the two legs of movies. Art movies are full of vitality, and commercial movies are lively. When the leg of literature and art is lame, it is not unfair that Chinese films have been reduced from regulars on the awards podium at international film festivals to regulars on the red carpet.

Yes, there is indeed a "silver-like pewter tip" in the name of art. When artistic conscience is marginalized by desire, the so-called art becomes only a barren and pale flower shelf that cannot withstand scrutiny and argumentation. But "Hidden Blade" allows us to see how an exquisite literary film is polished and shaped, and even simple film layouts contain shooting skills.

Generally, it is the director's habit to record the scene first, then the actors perform, and the cameraman follows the camera movement, but this is not the case on Cheng Er's set. Wang Yibo once mentioned that the crew respects the actors very much. The filming scene is very quiet. Once the mood enters the state, the photographer shoots directly. After the scene is finished, the filming will be finished. The filming will never interrupt the actors' brewing emotions.

In the later stage, Cheng Er slept directly in the studio and only did one thing every day, cut, cut, cut! Thanks to his almost fanatical work status, Cheng Er didn't even get exposed to the sun last year! It took seven years to sharpen a sword, just for a different Chinese movie. Incorporate the main melody into genre movies, and use the language and audio-visual rhythm of genre movies to achieve innovative expression of the main melody theme.

"A truly good movie must be more commercial than commercial and more artistic than art. For me, what I have always wanted to do is to be more commercial than commercial and more artistic than artistic." Cheng Er said this and did the same.

Cheng Er's images are full of subtle metaphors. Puppet Manchukuo, Shanghai, and Hong Kong, the spiritual narrative about the city in "Hidden Blade" permeates the architectural language of Rongzhai, No. 76, No. 567 Xiafei Road, Central Market, and Man Mo Temple; it is hidden in Japanese, Shanghai dialect, The mixture of pidgin and Cantonese arouses emotional resonance and deep thinking in the audience.

The Puppet Manchukuo, which only exists in the dialogue between Watanabe and Mr. Ye, is like a ghost with the chill of a daydream; the isolated island in Shanghai, which occupies the main part of the film, exudes luxury and inconsistency in its exquisiteness; and Hong Kong, as the hub of the international anti-Japanese united front, is full of human fireworks, revealing a simple and soothing world.

Dark clouds are pressing down, devastation is everywhere, and at the end of the tunnel, the historical information in the image of the current situation is compressed into a minimalist narrative, waiting to be decompressed. Until the dark wormhole of the theater, the historical words in the spy war narrative rushed towards us...

The anti-Japanese drama consumes misery, the anti-war themes are reproduced in large numbers, and the massacres cause psychological discomfort... In the past, expressions of the history of national suffering often followed the rules of exposing cruelty, exposing blood, and even exchanging violence for violence. What is shocking about "Hidden Blade" is that it uses beauty to overcome ugliness. It is amazing: It turns out that suffering can be interpreted calmly, with warmth and depth! "You can't get involved in the frame," is the domineering determination of the man behind the scenes.

Light and heavy, cold and warm, it completes the unfinished soul judgment on a country's sin of aggression in reality. In the sense of cultural export, "Hidden Blade" integrates the isolated history of China's anti-Japanese resistance into the world narrative of the great history of World War II.

It is a message from the times to the times. In the theater, "Hidden Blade" makes us feel the power of literature and art. After walking out of the theater, you will naturally understand what the merits of the unknown are!

[moonxsuncelestials]

Realized that I never did explain the whole Omega thing and how it works on all blogs. 

So it is canon that omegas, both male and female, are extremely RARE especially among the dragons and those of draconic lineage. Magic can be used for those who are in homosexual relationships but it’s seen as extremely dangerous. Jinhai for example, could have gotten a womb via magic to produce Shangti’s heir, but with great possible risk of losing one or both Jinhai and the child’s lives, Shangti decided that it’s far too dangerous. In other verses, Siming rectifies this by blessing Jinhai with a womb since they are aware of his desires to carry the baby.

Within the case of the demons, were-communities, and the Demon Lords, but it has gotten to be more a recessive trait among them. In fact for the were-communities, the male omega is seen to be more of a rare recessive gene thus why they are even rarer among the communities. Even with magic, male omegas are still pretty uncommon and seem to only pop up a few centuries. Asmodeus is the only known demon lord who constantly switches two and from ‘Alpha’ to ‘Omega’ given he is the Demon Lord of Lust.

So using this (x) post as a guideline, I’m going say that the male omegas do have the seminal vesicle but their sperm count is pretty low; as in it’d be a miracle to father a child with someone.  ***Hence why with @thelazyeditor​ Makoto was only able to father one kitten so far. But that is also because of the trauma he’s suffered, making his womb barren.

Now Yun is going to likely be a special omega case given that he is also a first or primal dragon reborn-meaning he is THE MOST POWERFUL dragon of Hell. His sperm count is a tad bit higher than usual, almost close to a beta’s but he’s also far more fertile than he likes to admit; it’s a miracle that with how much sex/love-making he does with Beelzebub, that he only has two biological kids in his canon verse.

With that being said, the terms ‘Alpha, Beta, Omega’ are used loosely among the werebabies over on @werekxnglives​. Most modern day packs use these terms to mostly identify their sexual prowess when around humans and some packs that are more traditional sadly use this to identify their ranks; so far only the Ambrose Pack aka The Death Dealers, are the ones to use this to the extreme. 

And finally among the Gods/Deities it all depends on their preference. Most stick to the usual male/female reproductive systems, especially my Egyptian Pantheon, but they too can decide whether to have both reproductive systems or not. The only known Deity so far who is theorized to have both male/female reproductive systems, is Siming the Deity of Fate from the Chinese Patheon.

***One should note as well that the Gods/Deities can also curse/bless someone to have either both reproductive systems or just one. Or even none.

[xianyao-villainousquartet]

Headcanons for Su She

(I post way too much Su She content - it’s barely 10, but that’s a lot for me - but I have so much to say, and I can’t do that in the fanfiction I’m writing so I need to just throw it all out to calm down.)

He’s dyslexic. It’s a stretch because he’s in the Lan sect of all sects, but like how many children in our own modern time are left under the radar for certain disabilities, I think Su She may have been one of them in his own small family of scholars. He would have been regarded as simply slow for his inability to read or write correctly, chucking it up as forgetfulness or lack of attention when at truth, his brain literally can’t connect words to meaning, especially with how intricate and complicated the Chinese writing system is. So his family threw him at the Lan sect to improve it (but really just threw him in there so it wasn’t their problem anymore and they had something to say when their shameful family member is called uneducated.)

He has a trained echoic memory. Unable to read or write, Su She relies heavily on listening, so that he doesn’t fall behind on his education. He knows all 3,000 rules by heart, being able to recite any number thrown at him. He can also play any song by listening to it only once since he’s trained himself to listen intently, but the reason he plays them wrongly after building a sect is because of the trauma. He remembers how his deceased friends who died at the Burning would play it incorrectly during practice, and he unconsciously plays the notes that way. Sometimes, it’s simply because playing the music is too painful, where Su She would suffer ghostly stings as if the strings had burnt him. Unable to read music sheets, he can’t correct himself unless someone better trained does it. But even the other former lan sect disciples aren’t experts, so to make up for their mistakes, they do remixes of the tunes, or try to create new music. Modernizing classical music basically.

He is a natural hand-to-hand fighter, which is two-for-two in the Lan sect who do not engage in hand-to-hand combat. Their muscles mostly coming from insane disciplinary training like writing while hand standing. Su She excels in the little bit of physical portions in their lesson, being able to hand stand for hours and do acrobatic tricks with no problem but they don’t actually mean much to the Lan sect. Su She would’ve excelled if he had been sent to the Nie sect or Jiang sect, so he’s not untalented. He’s just incorrectly placed.

Su Minshan never intended to be like Lan Wangji. He did admire him for being an example, but Su Minshan was simply following the rules and doing his best to follow them. I also like to think he held more nuance for the rules than the actual Lan members. Where the Lan sect was fixed and rigid with their rules and Lan Xichen’s certain liberties would be considered ‘bending them’, Su Minshan was more flexible with them, which isn’t a hot take. He is an outsider after all so he had free reign to properly question these rules and come to his own conclusions. Like the rule “promiscuity is prohibited”. To Lan Qiren and his nephews, that means to not act sexual or flirtatious at all like the traditional monk. But for Su Minshan, it means to not weaponize your sex-appeal, but harmless flirting and consensual promiscuous behavior is fine. 

He was bullied for his slowness (dyslexia), being abandoned by his family, and trying to be like Lan Wangji (忘机), which gave him the nickname Su Wangji (忘记). As you can see, they have the same “Wan” character (忘) but they have different “Ji” character (机/记). They are different both phonetically and in definition where “机” has a more graceful tone and means “machine/opportunity/quick-witted” while  “记” is more direct making it easier to sound harsher and it means “to remember”, so the kids would go “JIJIJIJIJI!” which is also the chirping of insects, so while also calling Su Minshan someone forgetful, forgotten, without an identity, they also call him an insect. And in China, calling someone an insect means calling them “aimless”, so in conclusion, these children are calling Su Minshan “a nobody with no path” while mocking him to remember stuff. He doesn’t blame Lan Wangji because he didn’t spur this bullying, but after the war, Lan Wangji’s own unfair judgement against him brings forth this childish resentment for his bullying. 

His gripe with the Lan sect isn’t out of pride but because of Lan Qiren’s choice to save the books and the elite disciples instead of preserving the Lan sect as a whole. He doesn’t blame Lan Xichen or Lan Zhan because he understands that they have to listen to their elders. His hatred for the Lan sect is directly at Lan Qiren for sacrificing the lives of his friends and his teachers, the only family he knew, for his legacy and books. And it doesn’t get any easier when the reality of making such a selfish hypocritical decision that had led to the search for Lan Xichen which resulted in the burnings of cities and towns within the Jiangsu Province just for this one man who only survived by luck.

Su Minshan didn’t push Mianmian out of fear, but out of anger against Lan Wangji. Yes, he doesn’t blame Lan Wangji for Lan Qiren’s choice, but that was when he was able to calm down. But at that time, he was angered that Lan Wangji was once again willing to risk everyone’s life just for one, but afterwards, he does become ashamed of himself, and tries to right his wrong with helping, but messed up. Su Minshan then kicked himself out of the Lan sect right afterwards because he was deeply ashamed of his actions in the cave, and he never forgave himself even though Mianmian did forgive him. 

He became a sect leader because he was encouraged to by others. Like yeah, what the general crowd believes is that Su She made his sect out of feelings of inferiority, and he does have feelings of inferiority, but to become a sect leader isn’t an easy thing to do. You first of all need money, and then resources and lastly followers. He lacked the first two categories, but he must’ve gained followers during the war when he went off on his own to do what little he could to help with the war. But why would they follow Su Minshan who wasn’t that great of a cultivator? Well, cultivators and people were literally scattered after the Wens took everything of theirs, and yes, other sects were accepting disciples, but it takes confidence in thinking they will be accepted when a whole flood of other more talented cultivators were joining. Su Minshan was the more promising and safer option, and I think he proved to have leadership skills during the war now that he wasn’t clouded by the Lans, especially around the Western side of the Jiangsu province, so people gravitated towards him. 

Su Minshan doesn’t only idolize Jin Guangyao because he remembers his name, but because Jin Guangyao saving Lan Xichen and ending the war, made everyone’s death and sacrifices not meaningless. Which I think plays a bigger part of why Su Minshan tolerates Jin Guangyao’s relationship with Lan Xichen. Honestly, I think Su Minshan holds absolutely zero resentment against Lan Xichen because of the reasons I already stated, and unlike Lan Wangji, Lan Xichen doesn’t judge him negatively either. Not because he doesn’t like judging, but because he is actually aware of what Su Minshan’s genuine issue is because he’s aware of the tragedies his action caused, and it lands harder now that they are both Sect leaders, but he leaves him alone because he doesn’t want to drudge up any unnecessary pain. The damage is too great. 

I feel it in my bones that Su Minshan is the master of smack talking. It’s the reason him and Xue Yang would be able to get along. I think it’s the reason Jin Guangyao and him would be able to be as close comrades as they are. I mean devotion is good and all, but like Meng Yao and Xue Yang grew up in the streets and not the good kind, so I don’t think their casual talk is not at all what “Villainous Friends” would be. Like yeah, Jin Guangyao is trying to be all gentleman like and is constantly on edge, but I think in the privacy of his mirror room, he would speak in the strong accent that the Jiang disciples have been written to have, but ten times more harsher. Like think from a pompous British accent to the Italian expressive one. And when Jin Guangyao does have those days and Su Minshan is around, he always have the most clever, below the belt comment to make, which always gets either a jaw drop or a laugh out of the other two. Xue Yang would even do a mock bow when Su Minshan makes extremely clever ones that would’ve gone over other people’s heads.

[walkaboutrojo]

Walkabout Traditional Vietnamese Medicine in Da Nang, Vietnam

I recently had the opportunity to visit the Da Nang Traditional Medicine Hospital, a remarkable institution committed to preserving and practicing traditional Vietnamese medicine. Nestled in the heart of Da Nang, this hospital offers a unique fusion of ancient healing techniques and modern healthcare services, attracting both locals and international visitors. Stepping into the lobby, I immediately noticed the tranquility—a stark contrast to the usual hustle and bustle of typical hospitals. It’s a serene space that embodies the hospital’s focus on harmony and holistic well-being, considering not just the physical but also the mental and emotional aspects of health.

I’ve had my fair share of experiences with traditional medicine, with results ranging from mediocre to surprisingly effective. From massages to acupuncture, my interest was piqued as I toured this expansive facility. The hospital is more than just a single building; it’s a network of specialized centers, including a downtown treatment hub. The hospital’s grounds are vast, much more spacious compared to the compact city center, providing a more relaxed environment.  I was thrilled to accept their invitation to film some of the unique treatments they offer. 

Traditional Vietnamese medicine, with its roots stretching back over 2,000 years, is deeply influenced by Chinese practices but has evolved its own distinct identity, integrating indigenous knowledge and local herbs. The practice revolves around balancing the five elements—wood, fire, earth, metal, and water—alongside the principles of yin and yang, aiming to harmonize the body’s internal environment with the external world.

One of the fascinating features of the hospital is its pool, which is used for both therapeutic exercises and swim lessons for children. It’s refreshing to see such facilities that blend traditional and modern healthcare approaches. The hospital’s focus on rehabilitative treatments was evident in the neurological rehabilitation unit, where I met Dr. Linh, a specialist in the field. He explained that the hospital serves 20 to 30 patients daily in this department alone, showcasing the high demand and importance of their services.

Vietnam’s diverse flora provides a wealth of medicinal plants, many unique to the region. The hospital even teaches patients how to grow and use these medicinal herbs at home, integrating gardening as part of stroke rehabilitation therapy—a wonderful way to blend physical recovery with traditional practices.

The highlight of my visit was the hospital’s traditional medicine kitchen, an industrial-scale facility dedicated to preparing herbal remedies. Here, herbs are dried and processed using massive heaters before being transformed into various medicinal concoctions. Herbal medicine is the cornerstone of Vietnamese traditional medicine, with a history dating back over two millennia. The hospital’s pharmacy boasts an extensive collection of herbal remedies, many grown right on site. Patients receive personalized prescriptions tailored to their specific health conditions, formulated by experienced herbalists who continue to build on centuries of knowledge.

Another unique experience was the Dragonfire Moxibustion therapy. This traditional practice involves burning moxa, or dried mugwort, near the skin to enhance blood circulation and boost the immune system. I was invited to try it myself for some lower back pain that has plagued me for years. The sensation was surprisingly soothing—an unusual mix of warmth and coolness, much like the feeling of using an icy-hot patch. It’s fascinating how this ancient technique, adapted over time to suit local conditions, continues to provide relief in the modern age.

The hospital also offers hyperbaric oxygen therapy, where patients breathe pure oxygen in a pressurized chamber to promote healing. I was amazed to find such advanced medical technology integrated into a traditional medicine hospital. This combination of ancient wisdom and modern science exemplifies the hospital’s holistic approach to healthcare.

In addition to traditional therapies like acupuncture and acupressure, which are used to treat a variety of ailments from chronic pain to digestive issues, the hospital’s facilities are designed with patient comfort in mind. From air-conditioned rest areas to comprehensive rehabilitation centers, the hospital’s commitment to patient well-being is evident in every detail.

Visiting the Da Nang Traditional Medicine Hospital was a truly eye-opening experience. The dedication to combining traditional practices with modern healthcare solutions is impressive, and I’m grateful for the opportunity to share this journey with all of you. The hospital rarely grants filming permissions, so being able to document and present these unique therapies was a privilege. As the field of health tourism continues to grow, I hope more people will explore the benefits of traditional Vietnamese medicine.

Thank you to the hospital staff allowing me this behind-the-scenes look into an institution that honors Vietnam’s rich medical heritage while embracing the future of healthcare.

[jessica-0503]

The Digital Transformation of Education: A Close Look at the Rise of Online Language Tutorials

In recent years, technology has significantly transformed the educational landscape, enabling the rise of innovative learning approaches that offer flexibility, personalization, and efficiency. One notable example of this shift is the burgeoning popularity of online English tutoring. Through platforms like AmazingTalker, the barriers of time zones, geographical locations, and physical classrooms are being eliminated. Learners based in Phoenix, for example, can conveniently access an Phoenix Chinese lesson near me, a Phoenix Japanese lesson near me, a Phoenix Korean lesson near me, or even a Phoenix Piano lesson near me all from the comfort of their homes. Such advancements not only democratize access to diverse learning opportunities but also empower learners to take charge of their educational journey. And it’s not just about learning foreign languages, you can even master new skills like playing the piano or learning German with the Phoenix German lesson near me. Ultimately, the digital transformation powered by platforms like AmazingTalker is shaping a future where learning is more accessible, engaging, and enjoyable than ever before.

Disruptive Technology in Traditional Classroom Education

The landscape of traditional classroom education has been radically reshaped due to the rapid and continuing evolution of technology. One major change includes the shift from conventional to multimedia teaching.

Multimedia in the Classroom

Modern classrooms are increasingly utilizing multimedia resources to improve teaching techniques and learning experiences. Interactive whiteboards, video presentations, and online quizzes have replaced chalk, textbook, and traditional testing methods. These resources have not only added a fun element to learning but also cater to the different learning styles, maintaining students' attention and improving their understanding of concepts.

Internet and Research

Undeniably, the internet has transformed the face of research. Gone are the days when students were required to spend hours in libraries to gather information. Today, they can access a world of information at their fingertips. Search engines like Google, educational websites, and online journals have made it a lot easier to find, extract, and analyze information. However, this also demands digital literacy skills to discern credible from non-credible sources and avoid plagiarism.

Transition from Traditional Books to E-books

The advancement of technology has led to the rise of e-books, threatening the existence of traditional books. Students are increasingly finding e-books more convenient due to their portability and easy accessibility. Instead of lugging around heavy backpacks, they can carry an entire library on their digital devices. E-books also allow features like text search, dictionary look-up, and digital bookmarking that enhance the reading experience. However, traditional books are still preferred by some students due to the tactile experience they provide, which e-books could not replicate. A balance between the two, depending on the context and personal preference, can provide the best teaching and learning outcomes.

To conclude, while technology has disrupted traditional classroom education, it certainly has brought many positive changes that are transforming the teaching and learning process. However, the end result depends on the effective and responsible use of these advanced tools.

Embrace the World of Online Learning Platforms

Online learning platforms have opened up a world of opportunities for learners across the globe. They eliminate geographical barriers and make education more accessible to everyone anywhere, anytime. These platforms are known for their affordability, flexibility, and global reach.

Affordability: Most online learning platforms provide cost-effective solutions compared to traditional learning systems, and AmazingTalker is no exception. Students can choose teachers based on their budget and requirements. These platforms also eliminate costs related to transport and accommodation that are usually involved with traditional learning environments.

Flexibility: Online learning platforms allow learners to juggle their studies alongside work or other commitments. They allow for self-paced learning, so you can complete your courses at a speed that suits you. With AmazingTalker, you can choose lessons at any time that matches your schedule, providing even more flexibility.

Global Reach: Online learning platforms have the capacity to connect learners and educators from all around the world. For instance, AmazingTalker offers courses in 48 different languages, which demonstrates the breadth of its global reach.

Mobile Learning - Learning on the Go

Today, learning is not confined to four walls. Mobile learning, through apps and websites, provides the convenience of accessing course content from anywhere and at any time, effectively turning downtime into productive learning time. With interactive apps, learners can engage with the course material more actively.

Accessibility: Mobile learning allows you to access your course material at your convenience, be it while commuting, waiting in a queue, or during a lunch break.

Interactivity: Most mobile learning apps include interactive features such as flashcards, quizzes, and video content to make learning more engaging and enjoyable.

Progress Tracking: Most learning apps provide features for tracking your progress, helping you to stay focused and motivated.

In conclusion, online learning platforms like AmazingTalker offer a more affordable, flexible, and globally accessible learning solution. These platforms, coupled with the convenience and interactive capabilities of mobile learning, are revolutionizing the way we learn, making education more accessible to everyone, everywhere.

Embracing the Future of Learning: Online English Tutoring

Online English tutoring has been steadily rising in popularity, emerging as a flexible, accessible, and effective way to learn the English language. The advantages it offers are countless, making it an appealing alternative to traditional language learning methods.

Advantages of Online English Tutoring

Flexibility & Convenience: Online English tutoring grants learners the freedom to study at their own pace and schedule. Whether you're an early bird or a night owl, you can tailor the learning experience to your lifestyle.

Personalized Learning: Online tutoring allows for a customized learning experience. Tutors can modify their teaching techniques and materials to suit the individual needs and learning style of each student.

Access to Qualified Tutors: Through online platforms like AmazingTalker, students can connect with certified, experienced tutors worldwide.

However, as with any evolving technology, there are also challenges associated with online English tutoring.

Challenges of Online English Tutoring

Technical difficulties: From unstable internet connections to hardware problems, technical issues can disrupt online learning.

Less personal interaction: Though video calls enable face-to-face communication, some students might miss the personal touch of traditional, in-person tutoring.

Self-discipline requirement: Since learning from home provides a comfortable environment, it might require more self-discipline from the students.

Despite these challenges, technology continues to enhance the efficiency and accessibility of online English tutoring.

Tech-Driven Enhancements in Online Tutoring

Technology has made it possible to provide a more interactive and engaging learning experience. For example, learners can now:

Use interactive whiteboards to visualize concepts better.

Use instant messaging for real-time feedback.

Access recorded lessons for revision purposes.

Use various digital tools to make the learning process more engaging and fun.

In a nutshell, online English tutoring, with the aid of technology, is revolutionizing the way we learn languages. Platforms like AmazingTalker are at the forefront of this revolution, offering students the ability to learn from the comfort of their homes with flexible scheduling options, transparent pricing, and the freedom to choose from a pool of qualified tutors. With the right approach and mindset, mastering English online can be an incredibly rewarding journey.

Discover AmazingTalker: An All-Inclusive Online Language Learning Platform

AmazingTalker is a comprehensive online language learning platform that connects learners with highly-qualified tutors across the globe. The platform offers customized materials and personalized learning experiences to help individuals meet their language learning goals effectively and efficiently.

Unparalleled Features and Benefits

With AmazingTalker, you gain access to the following features and benefits:

Personalized One-on-One Teaching: AmazingTalker focuses on delivering a personalized learning experience. Learners can expect to receive one-on-one attention and customized materials tailored to their specific needs.

Transparent Qualifications: Transparency is key on this platform. You can view the qualifications and experience of tutors before deciding to book a lesson with them.

No Contractual Obligations: AmazingTalker does not bind learners with contracts. The pricing is transparent, and the lesson options are flexible.

Choice and Flexibility: Learners have the flexibility to choose teachers based on their budget, requirements, and schedule. Furthermore, they can discuss the course content with teachers before classes and book a 25-minute trial lesson.

Diverse Language Offers: AmazingTalker offers online courses in 48 different languages, including, but not limited to, English, Japanese, Korean, Spanish, French, and German.

The Role of AmazingTalker in English Language Tutoring

As one of the languages offered, English tutoring is a key component of AmazingTalker's services. The platform promotes interactive learning, and its tutors adopt effective teaching methods to help students improve their English skills, whether in listening, speaking, reading, or writing.

Testimonials from AmazingTalker’s Users

Let's hear directly from those who have used AmazingTalker:

Maria, a professional from Spain, says, "AmazingTalker has made learning English a breeze for me. I was able to choose a tutor who perfectly fits my learning needs. The one-on-one teaching style has significantly improved my English."

Jake, an English language student from Korea, shares, "I’m impressed by the level of expertise of the tutors on AmazingTalker. The tutor I selected was very helpful and patient. I highly recommend AmazingTalker to anyone wanting to learn English."

With AmazingTalker, learners can expect a superior online language learning experience meticulously designed with user convenience and effectiveness in mind.

Embracing the Future of Education with AmazingTalker

In the dynamic era of technology, education has inevitably experienced a transformative shift. Especially in the realm of online English tutoring, the impact has been profound. Learners from across the globe now have the privilege of accessing premium English lessons from the comfort of their own homes. Online platforms like AmazingTalker have indeed shattered the traditional barriers to language learning by offering a user-friendly and interactive interface that caters to individuals of different learning paces and styles. Furthermore, not only does AmazingTalker connect learners with highly skilled tutors, but it also caters to a broad range of budget considerations, ensuring that quality education remains accessible to all. As we advance further into the digital era, the future of education technology and online English tutoring seems promising. If these advancements continue at the current pace, the day when every person, regardless of location or circumstance, can conveniently access comprehensive and exceptional education, is not far. So, let's embrace this forward-looking approach to learning with AmazingTalker, a platform that is genuinely committed to making education more inclusive, engaging, and rewarding.

[drew-mga2022mi6021]

World Building | The Population

Solarpunk Characters by ParisCityPop

Further diving into the understanding of my world, I also needed to understand the people, not just the events and topography of my world. These decisions directly enhance and affect the events of the story as well, so it is important that I get these details correct.

How big is the population?

Sri Lanka as an island nation is 22 million people strong, with 630 000 people residing in Colombo alone.

How did they become a part of the world?

Sri Lanka is a culturally diverse, multi-ethnic country. This is mainly due to being a massive international trade hub prior to the 21st century. Due to its advantageous position in the centre of the Indian Ocean, merchants from both the West and the East used to visit the country frequents. Of those, these were some people of note;

The British

The Dutch

The Portuguese

The Romans

The Arabs

The North Africans

The Persians

The Indians

The Chinese

African Slaves (brought to the country by Colonials who were ruling at the time)

In modern times, many people are descended from a mix of Sri Lankan blood and at least one of these parties.

Additionally, the original inhabitants of Sri Lanka (back when the island was known as "Thambapanni"; meaning copper sands) were the Naga and Yaksha tribes. According to the Mahavamsa and Dipavamsa (credible historical texts that detail the various ruling periods of Sri Lanka), he first known king of Sri Lanka was Prince Vijaya, who was banished to Sri Lanka from Sinhapura along with 700 of his men. The story goes that the young prince defeated a yaksha, and eventually went on to marry the daughter of a yaksha clan member; Kuweni. It is from here, and implied couplings between other members of Vijaya's clan and the inhabitants of Thambapanni that Sri Lankan are considered to be descended from.

Later on, many adopted different cutures, traditions, beliefs and dialects based on which of the nine provinces of Sri Lanka that they lived in.

Is there a class system?

Previously, during colonial rule, yes. In modern times, it is far more nuanced. Income is distributed proportionate to the total amount of work put in by a given organisation. Thus, an organisation of 10 people that works very hard should have their salary split equally amongst themselves. This is a very exploitable system, and is one of the systems the main character finds themselves trapped in.

The hardest workers are considered to be farmers and others who source food for the country, and thus they are the highest paid. This society places more priority on locally owned businesses as well, thus they pay equal rates to, and sometimes more than most mega-corporations. The price of the Sri Lankan rupee has also exponentially shot up, as a result of the plentiful resources of the country (1 US Dollar = 50 Rupees), which leads to an overall successful country anyway. Even those that are poorest are given sufficient aid by the government in order to live a semi-comfortable life, provided that they have a job. If not, they are given the option to either work for the government, find a job within a certain period of time or simply, not receive aid if any of the above two are not pursued.

What are the genders, races and species?

Sri Lanka adopted a more liberal mindset post colonialism, and as such it is not uncommon to see several people express themselves beyond the social standards set by the western gender binary. The population of Sri Lanka split by biological sex assigned at birth is equal to 52% female and 48% male.

The main races of Sri Lanka are as follows;

Sinhalese

Tamil

Malay

South Indian

Burgher

Mixed Race

There are others, but they mainly fall into the category of Mixed Race as a result of being borne of one of the settling countries that arrived to Sri Lanka pre-20th Century. The most dominant of the races are Sinhalese and Tamil people (the latter of which is split into Sri Lankan Tamil and South Indian Tamil), with the others representative of less than 10% of the population.

What are the languages spoken in Sri Lanka?

The most common language spoken is Sinhala, followed closely by Tamil and finally, English. The official languages of the country are listed as Sinhala and Tamil, however the language used to most universally converse in most urban areas like Colombo is English. Most people in Colombo are bilingual, and as such tend to mix and match languages as they please while talking. This mode of speaking is known as Singlish (Sinhala + English, the most commonly mixed languages).

There are other minor languages spoken in the country as well, such as the language spoken by the Veddah people (Veddah) who live in the central forests of Sri Lanka. Interestingly enough, Veddah and Sinhalese share a few common words, which may suggest a common linguistic origin at some point in the past. Modern Sinhalese itself seems to take from several places, such as Portuguese, Dutch and Sanskrit, and there are several variations and dialects of Sinhalese and Tamil that exist across the country. The most "conventional" form of Sinhala is that which is spoken in the Western province and in Kandy.

Other than this, a small portion of the population is fluent in other languages, such as Chinese Mandarin, Arabic, Aramaic, Portuguese, Dutch, Italian, and Urdu.

Were there any racial conflicts?

As mentioned earlier, the biggest racial conflict that occured was the 30 year civil war. Besides this, there were minor undertones or racism up until the turn of the 2010s, when people began to forego their grudges against those that fought in the war.

What resources do they enjoy?

The people of Sri Lanka enjoy many resources such as locally produced foods, three main ways to power local technology (solar, wind and water), free healthcare, free education, easily accessible public transport systems, a healthy climate even in urban areas, several biologically and culturally diverse locations, several culturally significant areas, a minimum of 5 days paid leave from work for holidays and a centralised water and electricity grid.

What resources do they lack?

The main thing that this society lacks is a proper system for labour laws. Due to hard work and community being prioritised, the work force is easily exploitable by corporations, specifically if the workers themselves like the job that they are doing.

[satoshi-mochida]

Shadow of the Ninja Reborn delayed to summer, ‘Comparison’ trailer

Gematsu Source

Publishers Natsume Atari and ININ Games, and developer Tengo Project have delayed Shadow of the Ninja Reborn from its previously planned spring release window to summer, the companies announced. It will be available for PlayStation 5, Xbox Series, PlayStation 4, Switch, and PC via Steam with English, Japanese, French, Italian, German, Spanish, Korean, Simplified Chinese, and Traditional Chinese language support.

In the west, Shadow of the Ninja Reborn will be available both physically and digitally for PlayStation 5 and Switch, and digitally for all other platforms. The console versions will retail for $29.99 / €29.99, and the PC version for $19.99 / €19.99. Retailer listings will soon be available on ININ Games’ website.

In Japan, Shadow of the Ninja Reborn will be available both physically and digitally for PlayStation 5, PlayStation 4, and Switch, and digitally for all other platforms. It will be priced at 4,440 yen.

Here is an overview of the game, via ININ Games:

Developed by the Original Team, Carefully Remastered after 33 Years

KAGE Shadow of the Ninja is a ninja-themed side-scrolling action game released by the Japanese game developer Natsume on August 10, 1990, for the Nintendo Entertainment System (NES). At that time, the game received high praise from players and the industry for its excellent controls, innovative hanging and climbing actions, well-designed levels, and adrenaline-pumping background music, especially in the action game genre and cooperative gameplay. Now, after 33 years, this game, considered a classic by many players, is being remastered once again by the original team. Even though the average age of the team members is now 55, their passion for game development remains strong.

Exquisite Pixel Art and Refreshed Visuals

While maintaining the 16-bit retro art style, this remake utilizes new technologies to enhance the visuals with finer details and richer content. The two ninja protagonists, Hayate and Kaede, have been completely redesigned, and all the level scenes and enemies have been redrawn. It is believed that these carefully crafted characters and scenes will provide players with a visually stunning experience.

Diverse Combat Options with a Variety of Weapons and Ninja Tools

In addition to the usual weapons like ninja swords and chains for direct attacks, this remastered version adds new throwing ninja tools such as the gunpowder gun, cannonball, and shurikens for long-range assaults, as well as powerful weapons like the giant club and machete for close combat, and auxiliary tools like iron caltrops and healing rice balls. Players can make full use of these weapons and ninja tools to engage in battles.

Cooperative Gameplay: Rediscover the Joy of Playing Together

As a brand-new remastered work based on KAGE Shadow of the Ninja, this game continues the classic cooperative mode. Of course, you can also choose to play solo with one of the two characters or team up with a friend to face the challenges and defeat formidable enemies.

Reviving Classic Melodies: Enhanced Music Experience

Regarding the music production, in addition to the contributions of Tengo Project’s Hiroshi Iwatsuki, the renowned composer Iku Mizutani, who has created many excellent music tracks for KAGE Shadow of the Ninja and various classic NES games, once again participates in creating the game’s music. The re-arranged classic melodies will be presented in a more modern way, providing players with a more immersive and adrenaline-pumping experience. As with the original version, Dynamic Pro handled the illustrations! The key visuals/character illustrations are also by Dynamic Productions, as was the case with the first version in 1990.

Dynamic Production – Since its establishment in 1969, Dynamic Productions has been engaged in the management of manga artists, novelists and manga authors, including Go Nagai, as well as producing newly drawn manga, planning various events and managing the copyrights of its artists.

Mikio Tachibana – Born 11 May 1976 in Saitama Prefecture. After working as an assistant to Go Nagai, he made his debut in 2004 and has since published serialized works such as Mazinger Otome and Mazinger Otome Taisen. He continues to publish short manga, newly drawn manga and illustrated works in all genres.

Watch a new trailer below. View a new set of screenshots at the gallery.

Comparison Trailer

[jensscholz]

Unveiling the Mystery: Exploring the World of Vaping

‍

Vaping has become increasingly popular recently, but what exactly is it? Vaping consists of inhaling and then exhaling the vapor that is directly produced by an electronic device often called a vape. This device, also known as an e-cigarette or vape pen, typically consists of a battery, a heating element, as well as a tank or cartridge filled with e-liquid.

When the user activates the device, then the heating element quickly vaporizes the e-liquid, inhaling and exhaling as a vapor. Vaping allows its users to enjoy the sensation of smoking without any of the harmful effects of traditional tobacco cigarettes.

The history of vaping

The concept of vaping, as we know it, dates back to the 1960s when Herbert A. Gilbert filed a patent for a device that would allow smokers to inhale flavored air. However, it wasn't until the early 2000s that vaping as we know it today started to gain traction. Chinese pharmacist Hon Lik invented the first modern e-cigarette in 2003 after his father, a heavy smoker, died of lung cancer.

Lik's invention used a battery-powered heating element to vaporize a nicotine solution, providing a smoke-free alternative to traditional cigarettes. Since then, vaping has evolved rapidly, constantly introducing new devices and flavors.

Types of vaping devices

A wide variety of vaping devices are available, at sites like justvape catering to different preferences and levels of experience. The most common types include:

Vape pens are very compact and easy to use, making them ideal for beginners. Vape pens typically consist of a battery, tank, and coil. They are often used with pre-filled cartridges or disposable tanks.

Box mods: Box mods are bulkier and more potent than vape pens. They offer some advanced features, such as variable wattage and temperature control, allowing users to customize their vaping experience. Box mods are commonly used with refillable tanks.

Pod systems: Pod systems are portable and user-friendly. They consist of a battery and a pod filled with e-liquid. Pod systems are popular among those who prefer a hassle-free vaping experience.

Mechanical mods: Mechanical mods are unregulated devices typically used by experienced vapers. They do not have any safety features and require manual adjustments to control the power output.

Understanding e-liquids and flavors

E-liquids, also commonly known as vape juices, are the liquids used in vaping devices. They typically contain a base liquid, nicotine (optional), flavorings, and additives. The base liquid, propylene glycol (PG), and vegetable glycerin (VG) carry the flavor and create vapor when heated. Nicotine, if present, provides the familiar throat hit and nicotine buzz.

E-liquids come in many flavors, including traditional tobacco, fruit, dessert, and beverage flavors. Some manufacturers even offer options to customize your flavor blend. It's important to note that while e-liquids may contain nicotine, they don't produce the harmful tar and other chemicals found in tobacco smoke.

Vaping vs. Smoking: a comparison

Vaping and smoking are two very distinct ways of consuming nicotine, but they have several key differences. When it comes to health risks, vaping is less harmful than smoking. Traditional cigarettes contain thousands of toxic chemicals, including tar and carbon monoxide, linked with serious health issues like lung cancer and heart disease.

Vaping, on the other hand, eliminates combustion and produces vapor instead of smoke, reducing exposure to harmful toxins. However, it is worth noting that vaping is not without risks, especially for non-smokers and young people who may be drawn to the appealing flavors and marketing tactics of e-cigarette companies.

Common misconceptions about vaping

Despite its growing popularity, vaping is still surrounded by misconceptions. One common misconception is that vaping is as harmful as smoking. While vaping is not entirely risk-free, it is a less harmful alternative to smoking. Another misconception is that vaping is a gateway to smoking.

However, studies have shown that the majority of vapers are former smokers who have successfully switched to vaping as a way to quit or reduce their smoking habit. Additionally, there is a misconception that secondhand vapor is harmful. While more research is needed, current evidence suggests that secondhand vapor is significantly less harmful than secondhand smoke.

Tips for beginners in the world of vaping

If you're new to vaping, here are some tips to help you get started:

Choose the suitable device: Consider your needs and preferences when selecting a vaping device. Vape pens, for example, are a great option for beginners, as they are easy to use and maintain.

Start with low nicotine strength: If you are a former smoker, start with a lower nicotine strength and gradually decrease it over time. This will help you adjust to the lower nicotine levels and reduce your nicotine dependence.

Experiment with flavors: One of the advantages of vaping is the variety of flavors available. Try different flavors to find your favorites, and be bold and explore new ones.

Stay informed: Stay up to date with the latest research and regulations surrounding vaping. It's essential to stay knowledgeable about potential health risks and changes in the vaping industry.

The future of vaping technology

As vaping continues to gain popularity, the future of vaping technology looks promising. Manufacturers are constantly innovating and improving vaping devices to enhance the user experience. We can expect to see considerable advancements in battery technology, temperature control, and safety features.

Additionally, as the demand for more sustainable options grows, we may see an increase in the development of eco-friendly vaping devices and e-liquids. However, it's essential to balance technological advancements and responsible marketing to ensure the safety and well-being of vapers.

[xtruss]

US Poorly Prepared For Post-Western Order

— Sun Xihui | July 06, 2023

Illustration: Xia Qing/Global Times

A recent article in Foreign Affairs pointed out, the world is entering a "post-Western era," and China and other countries have moved forward while the US remains stagnant. China is preparing for the arrival of the post-Western order, while the US is not.

The current world is mired in a difficult situation. Disorder and fragmentation are prominent features that observers tend to use to define it. In the past few decades, China has re-emerged as a major power, with the second largest economy and showing an ever-greater presence on world stage. Many have begun to discuss China's role in the world.

The current world order was set up and developed along Western lines of thinking. With the relative decline of Europe and the US in terms of strength and influence, the world order is bound to be different than before. Against the backdrop of the world gradually shifting toward a "post-Western order," the world needs a new and rational "order." China's long-standing commitment to peaceful development and diplomatic principles has earned it increasing international credibility, and many countries see China as a major driver in promoting a just and reasonable international political and economic order. However, it is evident that the West finds it hard to sit idly by, and the cultural traits of the West also determine that they cannot tolerate the "pain" of other countries' peaceful development.

The US significantly enhanced its military strength and comprehensive national strength through two world wars. Especially after the end of World War II, the traditional Western powers were either destroyed or weakened by the war, resulting in a brief period of an American "unipolar world." Faced with the rapid recovery and rise of the Soviet Union, the US, relying on its strong power and influence, attempted to rebuild the Western world, that is, by granting to aid Europe and other developing countries. It did so not out of genuine internationalism but to maintain its dominant position after WWII and respond to challenges from the Soviet Union.

It can be seen that since the end of WWII, especially after the end of the Cold War, the US has sought to maintain its absolute advantage in national strength and establish American hegemony over the entire world. Actively rallying allies and partners is an important means and method to achieve this. Even after the collapse of the Soviet Union, the US has continued to do so. It vigorously promotes Western values and political systems to distinguish between "us" and "them."

On the one hand, the US hypes the "China threat theory" while smearing or ignoring some of China's initiatives and proposals aimed at promoting peaceful development and win-win cooperation. This reflects the strategic anxiety of the US in the face of the trend - the rise of the East and the decline of the West. The first is anxiety about its hegemonic position, and the second is anxiety about the international order it leads. Since its establishment, the People's Republic of China has always advocated equality among nations, a world of harmony in diversity, and the democratization and rule of law in international relations.

China is well aware of the challenges that a chaotic world can bring to a country. Since modern times, China had been invaded by Western powers due to its weak national strength and even faced the danger of national extinction. In the face of crisis, the Chinese people had shown strong national unity and patriotism.

The differences in the international perspectives of China and the US are also reflected in the issue of the Russia-Ukraine conflict. NATO, led by the US, did not disband after the end of the Cold War but instead expanded eastward multiple times, continuously squeezing Russia's strategic space. The US' external actions reflect its strategic thinking, which prioritizes American hegemony and Western supremacy. The so-called rules-based international order emphasizes a set of rules formulated by the West, led by the US, to maintain its interests. By doing so, it aims to maintain or guarantee the long-term dominance of the West, especially the US, and to dominate and shape an international order that is favorable to it. China emphasizes the need to uphold the sovereignty and interests of both Ukraine and Russia in the Russia-Ukraine conflict, supports Ukraine's sovereignty claims, and also emphasizes the need to consider Russia's security interests and demands. China maintains a truly objective position on the Russia-Ukraine conflict, supporting an international order based on the United Nations Charter and international law and opposing Western hegemony and power politics.

The article is compiled by Global Times reporter based on an interview with Sun Xihui, an associate research fellow with the National Institute of International Strategy at the Chinese Academy of Social Sciences.

[meanderful]

Singapore Stint

City Life

It turned out that Singapore was an excellent transition point between Indonesia and the UK—upon taking a taxi from the airport to our hotel, Sam and I marvelled at the clean, modern cars driving along in an orderly fashion on the smooth, wide roads; but though Singapore lacked the chaos of Indonesia, it was still warm and humid.

Sam had found us a hotel within a mall, which gave us quite the Singapore experience. our room was on the 8th floor and overlooked a park and a large highrise, but the hotel entrance was inside the mall itself, so we made our way through a maze of escalators and past flashing billboards and glassy shops to get to our room. There was even several vast climbing walls stretching up through the middle of the mall.

Upon arriving, Sam headed out to meet Seth, our longtime friend from uni who moved out to Singapore a few months ago with his wife, Helen. The two of them went out for dinner with Seth’s colleagues to a hawker’s market. Singapore, with its love of being neat and ordered, has done away with the typical Asian street food vendors. They’re now all regulated and so ply their trade in what can only be described as something resembling an old London market full of food stalls that host cuisines from all the different nationalities that call Singapore home. The food was apparently both very tasty and cheap!

Our last few days away zipped past. We spent a couple of days exploring the city either via foot or using the MRT (Singapore’s metro system). Athough I’m not a massive fan of cities and I missed the chaos and energy of Indonesia, Singapore turned out to be really interesting. It was a glassy modern place, loaded with interestingly shaped highrises. We walked along the waterfront to see the famous lion statue spouting water and the iconic Marina Bay Sands, a hotel that consisted of three highrises with a vast boat-shaped structure balanced across them, covered in trees to make a kind of floating sky garden.

Photos Above: an example of a highrise with Singapore's signature sky gardens; the two of us in front of the Singapore lion; the Marina Bay Sands hotel

The city state is home to 5.4 million people, of whom 4 million are permanent residents. Though the official instructional language is English, the permanent residents are majoratively ethnically Chinese, Malay, and Indian and this multiculturalism was really evident—besides people speaking “Singlish” (a lovely, merged version of English), it also has distinct cultural hubs, so we made sure to visit Little India, Arab Street, and Chinatown.

Little India had some of the chaotic feeling that we missed from Indonesia, consisting of a maze of roadside shops touting everything from clothes through to phone repairs and a sumptuous array of Indian food. We wandered through the streets and sampled fantastic South Indian food, then drifted down Ara street to walk around the walls of the Sultan’s Mosque, with its vast golden dome.

Photo Above: the Sultan's Mosque near Arab Street

We found that Chinatown was extra decorated as we were visiting so soon after the Lunar New Year. We visited the Buddhist Temple, which welcomed tourists in besides worshippers. It spanned across several floors, with amazing golden statues and statuettes on each floor. On the top floor, the entire ceiling was hung with beautiful golden lanterns, making for a spectacular view for meditators to take in.

Photos Above: Chinatown decorations; inside the Buddhist temple; its roofs from the outside

We also visited a Chinese tea house with Helen and Seth, sharing a pot of jasmine tea the traditional way (which involves a complicated process of pouring tea from one teapot to another, then into one tiny vessel for sniffing, until finally it is poured into a miniscule teacup, from which you can take about three sips before starting the whole process again). Especially considering I’m not a fan of tea, it was absolutely delicious.

It was wonderful to spend time with Seth and Helen. Besides spending the majority of Sunday together, moving from Chinese tearoom to restaurant to coffee shop, we also visited them in their flat for a takeaway evening. And then while Sam and Seth went out for drinks another night, the Helens hung out (and honestly, we chatted nonstop for a solid four hours about all manner of things, but especially our love of BOOKS and reading and fiction and generally everything that’s amazing about stories).

Photos Above: Seth and Sam out for drinks; the four of us in a beautiful and far too fancy coffee shop

A Tropical Respite

As I struggle being in cities, Sam had very graciously let me plan a long day out to the Gardens by the Bay, a large garden park right on the water. The gardens felt very reflective of Singapore—a merging of traditional park and modern technology. We began amid the Supertrees, 12 iconic structures that harvest solar energy for the park and are covered in literally hundreds of thousands of plants. We took a lift up the inside “trunk” of the tallest of them (which is apparently the height of a 16-storey building) to an observation deck to look out at the view across the city. I noticed several workers held in place with climbing harnesses on the spindly “branch” structures to do some painting work and felt a swoop of vertigo.

Photos Above: me gazing up at the largest of the Supertrees; the view from the observation deck at the Marina bay Sands hotel with its boat structure and the workmen tethered to the "branches"

We also wandered along a kind of boardwalk curved between several of the Supertrees to get a wider view across the city and the Supertree themselves.

Photos Above: peeking through the "branches"; across the grove of Supertrees; wandering along the walkway

The park has three conservatory-domes. The Cloud Forest dome was the largest of the three, a huge, curved structure containing a “mountain” inside it. This mountain had a long waterfall cascading down its side and was covered in plants. We took a lift up the middle of the mountain and then slowly climbed down it via a walkway and found that the plants at the top were from cooler climes while those at the bottom mirrored the flora of a tropical rainforest. There was also an Avatar experience within the conservatory, which meant that there were several sculptures depicting creatures from the blockbuster film dotted amid the borders and a couple of gimmicky technological games to take part in—we weren’t so fussed by this aspect of it. This aside, I especially loved this dome, given my fascination with tropical plants. Sam captured my childlike wonder in a series of photos that I have artistically and not at all tongue-in-cheeked named: “Helen Gazes at Plants”.

Photos Above: the cloud forest waterfall; a view from the other side of the cloud forest "mountain"; walking along the dome's boardwalk with a view of the city through the glass; together at the top of the "mountain"; inside the waterfall

Photos Above: Helen Gazes at Plants (Part I: Cloud Forest)

The second conservatory was called the Flower Dome. We were less impressed with this one—though the succulent, Mediterranean, and Baobab sections were really cool, it was less spectacular and the piece de resistance was an incredible tacky, plasticky display set up for the Lunar New Year that seemed to be the draw for most other visitors.

Photos Above: Helen Gazes at Plants (Part II: Flower Dome)

Finally, we wandered through Floral Fantasy. This conservatory was almost like an art installation, with creative displays made of both living plants and dried flowers making for an explosion of colour. There was also a large glassy display case, which we realised, when we peered closer, housed a number of Poison Dart Frogs from the Amazon, coloured black with vivid blots of either bright blue, yellow, or green.

Photos Above: Helen Gazes at Plants (and Frogs) (Part III: Floral Fantasy)

Home Sweet Home

All too soon, our visit rolled by. Before my brain had really grasped what was going on, we were packing up, moving through the airport, boarding the plane home. Fourteen hours later, and exactly four months and one day after we left British soil, we landed in London to be greeted with a hug from my dad.

Of course, it was bloody freezing, but impressively the sun was out to help make the transition back just that little bit easier.

Thank you for coming along on this journey with us—the last few months have been such incredible, transformative experience for us and though we’re sure it’ll take some adjusting being back in the UK, we’re also really excited to begin setting up our new home together in Bristol.

And so with that, it’s time to say, for this trip at least… that’s all folks!

[theliterateape]

The Bizarre Inflation of Crises Via Platform

by Don Hall

Depending on where you turn your gaze, the world is collapsing in completely different ways

During any given week in the past several months the thing to be concerned/afraid of/outraged by was:

A rogue wave that washed a tourist overboard from the deck of a cruise ship.

The rogue faction of Republican Congressional Representatives holding Kevin McCarthy’s balls to the fire.

Biden’s hypocrisy in also having classified documents in a cardboard box in his garage.

Random black people throwing tantrums in retail stores and destroying property.

White women calling the cops on black people not throwing tantrums and destroying property.

The movement to replace pasteurized milk, oat milk, almond milk, an soy milk with raw milk.

Environmental activism throwing soup on famous paintings.

Respectively, each of these horrors of the modern world can be found on: CNN, MSNBC, FOX, Faceborg, Twitter, TikTok, and a coupla podcasts. Each platform seems to prioritize a different threat to us all but none of them are what I’d call big issues.

For about a week straight I thought the biggest issue facing Americans was trend of retail customers (mostly black according to the torrent of videos presented) who, when told their check won’t be cashed or they can’t just steal stuff or any number of inconvenient but benign interactions, go completely apeshit, destroying displays, trashing POS system equipment, and screaming incoherently throughout.

It turns out that these situations are pretty rare but, if you crawl down that specific rabbit hole, this is happening everywhere at alarming rates.

I believe the tendency for college administrators to cave in to the demands of the Twitter mob is that when you’re getting your news of the world from one or two social media sources (and, let’s face it, journalists from all forms of more traditional media are doing exactly that) you only see the algorithm pumping out the inflation of this or that crisis depending on the day and the platform.

Hop on YouTube and if you ever once typed in “Wednesday Dance Sequence” to revisit Jenna Ortega’s fun dance in that Netflix behemoth, you’ll be convinced within two days that no one on the planet isn’t obsessed with this dance—young women recreating it, side-by-side reactions to these young women recreating it, groups recreating it on public streets. I think I spent almost two hours watching this and wondering what the world was doing about this overwhelming addiction to a minute long dance sequence on a show.

Here’s where it gets even thornier:

At over three billion downloads, TikTok has become one of the world’s biggest platforms. It is estimated that over 100 million Americans engage on TikTok on a monthly basis. TikTok, and to a lesser degree their Chinese parent company ByteDance, have been under fire for attempting to capture Americans’ data.

What do they do with that data? They silo you in communications (certainly there’s a nefarious Chinese plot to sublimate our children but according to certain segments of Twitter, so are teachers, right wing parents, CRT prognosticators, and drag queens. Get in line CCCP… ). They stratify what you see based on what you've seen. If I swipe up and catch a video of two skateboarders beating the shit out of each other and I watch it to the end, I guarantee that I will see hundreds of exactly the same video.

In essence, we aren’t creating these divisions amongst us, we are being herded into these camps. As long as we still get our news and cultural critique from these platforms (television, radio, digital media, and social networks) in exclusion of a more robust sort of curiosity about things, we are doomed to think the world is ending one video at a time.

[salonmmorg]

How people think numbers in different languages

In Wales today, about 80% of pupils are taught maths in English, but 20% are taught in modern Welsh. The new system was actually created by a Welsh Patagonian businessman for accounting purposes, but it was eventually introduced into Welsh schools in the 1940s. In the older, traditional system, (which is still used for dates and ages), 92 is written dau ar ddeg a phedwar ugain, or “two on ten and four twenty”. Now, 92 is naw deg dau, or “nine ten two”, much like the system used in East Asian languages. Numbers in the modern Welsh system are very transparent. It’s normally hard to control for these factors when studying people from different cultures – but one language offers a fascinating solution. Of course, there are many other reasons why children from different countries might have different mathematical abilities, including how maths is taught and attitudes towards education. Those from the US, France or Sweden were more likely to use 42 individual unit blocks, while those from Japan or Korea were more likely to use four blocks of ten and two single-unit blocks, which suggests that the children’s early mental representation of numbers may have been shaped by their language. In one study, first-grade children were asked to represent numbers like 42 using blocks of tens and units. For example, children who count in East Asian languages may have a better understanding of the base-10 system. There’s growing evidence that the transparency of a counting system can affect the way we process numbers. Psychologists call systems like these “transparent”, where there is an obvious and consistent link between numbers and their names. Japanese and Korean also use similar conventions, where larger numbers are created by compounding the names for smaller ones. Here, 92 is written jiǔ shí èr, which translates as “nine ten two”. And in Danish, the word for 92 is tooghalvfems, where halvfems, meaning 90,is an abbreviation of the Old Norse word halvfemsindstyve, or “four and a half times twenty”.Īnd in English, words like “twelve” or “eleven” don’t give many clues as to the structure of the number itself (these names actually come from the Old Saxon words ellevan and twelif, meaning “one left” and “two left”, after 10 has been subtracted).Ĭontrast this with Mandarin Chinese, where the relationship between the tens and the units is very clear. What is the best age to learn a language?įor example, in French, 92 is quatre-vingt douze or “four twenties and twelve”.The most logical counting systems use words that reflect the structure of this system and have regular, straightforward rules – but many languages use complicated and messy conventions instead. Nearly all cultures today use the same decimal, or base-10, number system, which arranges the digits 0-9 into units, tens and hundreds, and so on. In fact, one Western country actually overhauled its entire counting system within the last century, to make it easier to teach and do mathematics. But it’s not just a matter of semantics – as early as 1798 scientists suggested that that the language we learn to count in could impact our numerical ability. Other languages do a much better job of describing digits. Which is why it might surprise you to hear that the English for 92 isn’t a great way to describe the number, and some languages are even worse. By the time we’re adults, the connection between numerals and their names is almost automatic, so we barely give them a second thought. If I asked you to write down the number “ninety-two”, you wouldn’t have to think twice.

[bao3bei4]

fan language: the victorian imaginary and cnovel fandom

there’s this pinterest image i’ve seen circulating a lot in the past year i’ve been on fandom social media. it’s a drawn infographic of a, i guess, asian-looking woman holding a fan in different places relative to her face to show what the graphic helpfully calls “the language of the fan.”

people like sharing it. they like thinking about what nefarious ancient chinese hanky code shenanigans their favorite fan-toting character might get up to⁠—accidentally or on purpose. and what’s the problem with that?

the problem is that fan language isn’t chinese. it’s victorian. and even then, it’s not really quite victorian at all. 

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fans served a primarily utilitarian purpose throughout chinese history. of course, most of the surviving fans we see⁠—and the types of fans we tend to care about⁠—are closer to art pieces. but realistically speaking, the majority of fans were made of cheaper material for more mundane purposes. in china, just like all around the world, people fanned themselves. it got hot!

so here’s a big tipoff. it would be very difficult to use a fan if you had an elaborate language centered around fanning yourself.

you might argue that fine, everyday working people didn’t have a fan language. but wealthy people might have had one. the problem we encounter here is that fans weren’t really gendered. (caveat here that certain types of fans were more popular with women. however, those tended to be the round silk fans, ones that bear no resemblance to the folding fans in the graphic). no disrespect to the gnc old man fuckers in the crowd, but this language isn’t quite masc enough for a tool that someone’s dad might regularly use.

folding fans, we know, reached europe in the 17th century and gained immense popularity in the 18th. it was there that fans began to take on a gendered quality. ariel beaujot describes in their 2012 victorian fashion accessories how middle class women, in the midst of a top shortage, found themselves clutching fans in hopes of securing a husband.

she quotes an article from the illustrated london news, suggesting “women ‘not only’ used fans to ‘move the air and cool themselves but also to express their sentiments.’” general wisdom was that the movement of the fan was sufficiently expressive that it augmented a woman’s displays of emotion. and of course, the more english audiences became aware that it might do so, the more they might use their fans purposefully in that way.

notice, however, that this is no more codified than body language in general is. it turns out that “the language of the fan” was actually created by fan manufacturers at the turn of the 20th century⁠—hundreds of years after their arrival⁠ in europe—to sell more fans. i’m not even kidding right now. the story goes that it was louis duvelleroy of the maison duvelleroy who decided to include pamphlets on the language with each fan sold.

interestingly enough, beaujot suggests that it didn’t really matter what each particular fan sign meant. gentlemen could tell when they were being flirted with. as it happens, meaningful eye contact and a light flutter near the face may be a lingua franca.

so it seems then, the language of the fan is merely part of this victorian imaginary we collectively have today, which in turn itself was itself captivated by china.

--------------------

victorian references come up perhaps unexpectedly often in cnovel fandom, most often with regards to modesty.

it’s a bit of an awkward reference considering that chinese traditional fashion⁠—and the ambiguous time periods in which these novels are set⁠—far predate victorian england. it is even more awkward considering that victoria and her covered ankles did um. imperialize china.

but nonetheless, it is common. and to make a point about how ubiquitous it is, here is a link to the twitter search for “sqq victorian.” sqq is the fandom abbreviation for shen qingqiu, the main character of the scum villain’s self-saving system, by the way.

this is an awful lot of results for a search involving a chinese man who spends the entire novel in either real modern-day china or fantasy ancient china. that’s all i’m going to say on the matter, without referencing any specific tweet.

i think people are aware of the anachronism. and i think they don’t mind. even the most cursory research reveals that fan language is european and a revisionist fantasy. wikipedia can tell us this⁠—i checked!

but it doesn’t matter to me whether people are trying to make an internally consistent canon compliant claim, or whether they’re just free associating between fan facts they know. it is, instead, more interesting to me that people consistently refer to this particular bit of history. and that’s what i want to talk about today⁠—the relationship of fandom today to this two hundred odd year span of time in england (roughly stuart to victorian times) and england in that time period to its contemporaneous china.

things will slip a little here. victorian has expanded in timeframe, if only because random guys posting online do not care overly much for respect for the intricacies of british history. china has expanded in geographic location, if only because the english of the time themselves conflated china with all of asia.

in addition, note that i am critiquing a certain perspective on the topic. this is why i write about fan as white here⁠—not because all fans are white⁠—but because the tendencies i’m examining have a clear historical antecedent in whiteness that shapes how white fans encounter these novels.

i’m sure some fans of color participate in these practices. however i don’t really care about that. they are not its main perpetrators nor its main beneficiaries. so personally i am minding my own business on that front.

it’s instead important to me to illuminate the linkage between white as subject and chinese as object in history and in the present that i do argue that fannish products today are built upon.

--------------------

it’s not radical, or even new at all, for white audiences to consume⁠—or create their own versions of⁠—chinese art en masse. in many ways the white creators who appear to owe their whole style and aesthetic to their asian peers in turn are just the new chinoiserie.

this is not to say that white people can’t create asian-inspired art. but rather, i am asking you to sit with the discomfort that you may not like the artistic company you keep in the broader view of history, and to consider together what is to be done about that.

now, when i say the new chinoiserie, i first want to establish what the original one is. chinoiserie was a european artistic movement that appeared coincident with the rise in popularity of folding fans that i described above. this is not by coincidence; the european demand for asian imports and the eventual production of lookalikes is the movement itself. so: when we talk about fans, when we talk about china (porcelain), when we talk about tea in england⁠—we are talking about the legacy of chinoiserie.

there are a couple things i want to note here. while english people as a whole had a very tenuous knowledge of what china might be, their appetites for chinoiserie were roughly coincident with national relations with china. as the relationship between england and china moved from trade to out-and-out wars, chinoiserie declined in popularity until china had been safely subjugated once more by the end of the 19th century.

the second thing i want to note on the subject that contrary to what one might think at first, the appeal of chinoiserie was not that it was foreign. eugenia zuroski’s 2013 taste for china examines 18th century english literature and its descriptions of the according material culture with the lens that chinese imports might be formative to english identity, rather than antithetical to it.

beyond that bare thesis, i think it’s also worthwhile to extend her insight that material objects become animated by the literary viewpoints on them. this is true, both in a limited general sense as well as in the sense that english thinkers of the time self-consciously articulated this viewpoint. consider the quote from the illustrated london news above⁠—your fan, that object, says something about you. and not only that, but the objects you surround yourself with ought to.

it’s a bit circular, the idea that written material says that you should allow written material to shape your understanding of physical objects. but it’s both 1) what happened, and 2) integral, i think, to integrating a fannish perspective into the topic.

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japanning is the name for the popular imitative lacquering that english craftspeople developed in domestic response to the demand for lacquerware imports. in the eighteenth century, japanning became an artform especially suited for young women. manuals were published on the subject, urging young women to learn how to paint furniture and other surfaces, encouraging them to rework the designs provided in the text.

it was considered a beneficial activity for them; zuroski describes how it was “associated with commerce and connoisseurship, practical skill and aesthetic judgment.” a skillful japanner, rather than simply obscuring what lay underneath the lacquer, displayed their superior judgment in how they chose to arrange these new canonical figures and effects in a tasteful way to bring out the best qualities of them.

zuroski quotes the first english-language manual on the subject, written in 1688, which explains how japanning allows one to:

alter and correct, take out a piece from one, add a fragment to the next, and make an entire garment compleat in all its parts, though tis wrought out of never so many disagreeing patterns.

this language evokes a very different, very modern practice. it is this english reworking of an asian artform that i think the parallels are most obvious.

white people, through their artistic investment in chinese material objects and aesthetics, integrated them into their own subjectivity. these practices came to say something about the people who participated in them, in a way that had little to do with the country itself. their relationship changed from being a “consumer” of chinese objects to becoming the proprietor of these new aesthetic signifiers.

--------------------

i want to talk about this through a few pairs of tensions on the subject that i think characterize common attitudes then and now.

first, consider the relationship between the self and the other: the chinese object as something that is very familiar to you, speaking to something about your own self vs. the chinese object as something that is fundamentally different from you and unknowable to you. 

consider: [insert character name] is just like me. he would no doubt like the same things i like, consume the same cultural products. we are the same in some meaningful way vs. the fast standard fic disclaimer that “i tried my best when writing this fic, but i’m a english-speaking westerner, and i’m just writing this for fun so...... [excuses and alterations the person has chosen to make in this light],” going hand-in-hand with a preoccupation with authenticity or even overreliance on the unpaid labor of chinese friends and acquaintances. 

consider: hugh honour when he quotes a man from the 1640s claiming “chinoiserie of this even more hybrid kind had become so far removed from genuine Chinese tradition that it was exported from India to China as a novelty to the Chinese themselves” 

these tensions coexist, and look how they have been resolved.

second, consider what we vest in objects themselves: beaujot explains how the fan became a sexualized, coquettish object in the hands of a british woman, but was used to great effect in gilbert and sullivan’s 1885 mikado to demonstrate the docility of asian women. 

consider: these characters became expressions of your sexual desires and fetishes, even as their 5’10 actors themselves are emasculated.

what is liberating for one necessitates the subjugation and fetishization of the other. 

third, consider reactions to the practice: enjoyment of chinese objects as a sign of your cosmopolitan palate vs “so what’s the hype about those ancient chinese gays” pop culture explainers that addressed the unconvinced mainstream.

consider: zuroski describes how both english consumers purchased china in droves, and contemporary publications reported on them. how: 

It was in the pages of these papers that the growing popularity of Chinese things in the early eighteenth century acquired the reputation of a “craze”; they portrayed china fanatics as flawed, fragile, and unreliable characters, and frequently cast chinoiserie itself in the same light.

referenda on fannish behavior serve as referenda on the objects of their devotion, and vice versa. as the difference between identity and fetish collapses, they come to be treated as one and the same by not just participants but their observers. 

at what point does mxtx fic cease to be chinese? 

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finally, it seems readily apparent that attitudes towards chinese objects may in fact have something to do with attitudes about china as a country. i do not want to suggest that these literary concerns are primarily motivated and begot by forces entirely divorced from the real mechanics of power. 

here, i want to bring in edward said, and his 1993 culture and imperialism. there, he explains how power and legitimacy go hand in hand. one is direct, and one is purely cultural. he originally wrote this in response to the outsize impact that british novelists have had in the maintenance of empire and throughout decolonization. literature, he argues, gives rise to powerful narratives that constrain our ability to think outside of them.

there’s a little bit of an inversion at play here. these are chinese novels, actually. but they’re being transformed by white narratives and artists. and just as i think the form of the novel is important to said’s critique, i think there’s something to be said about the form that fic takes and how it legitimates itself.

bound up in fandom is the idea that you have a right to create and transform as you please. it is a nice idea, but it is one that is directed towards a certain kind of asymmetry. that is, one where the author has all the power. this is the narrative we hear a lot in the history of fandom⁠—litigious authors and plucky fans, fanspaces always under attack from corporate sanitization.

meanwhile, said builds upon raymond schwab’s narrative of cultural exchange between european writers and cultural products outside the imperial core. said explains that fundamental to these two great borrowings (from greek classics and, in the so-called “oriental renaissance” of the late 18th, early 19th centuries from “india, china, japan, persia, and islam”) is asymmetry. 

he had argued prior, in orientalism, that any “cultural exchange” between “partners conscious of inequality” always results in the suffering of the people. and here, he describes how “texts by dead people were read, appreciated, and appropriated” without the presence of any actual living people in that tradition. 

i will not understate that there is a certain economic dynamic complicating this particular fannish asymmetry. mxtx has profited materially from the success of her works, most fans will not. also secondly, mxtx is um. not dead. LMAO.

but first, the international dynamic of extraction that said described is still present. i do not want to get overly into white attitudes towards china in this post, because i am already thoroughly derailed, but i do believe that they structure how white cnovel fandom encounters this texts.

at any rate, any profit she receives is overwhelmingly due to her domestic popularity, not her international popularity. (i say this because many of her international fans have never given her a cent. in fact, most of them have no real way to.) and moreover, as we talk about the structure of english-language fandom, what does it mean to create chinese cultural products without chinese people? 

as white people take ownership over their versions of stories, do we lose something? what narratives about engagement with cnovels might exist outside of the form of classic fandom?

i think a lot of people get the relationship between ideas (the superstructure) and production (the base) confused. oftentimes they will lob in response to criticism, that look! this fic, this fandom, these people are so niche, and so underrepresented in mainstream culture, that their effects are marginal. i am not arguing that anyone’s cql fic causes imperialism. (unless you’re really annoying. then it’s anyone’s game) 

i’m instead arguing something a little bit different. i think, given similar inputs, you tend to get similar outputs. i think we live in the world that imperialism built, and we have clear historical predecessors in terms of white appetites for creating, consuming, and transforming chinese objects. 

we have already seen, in the case of the fan language meme that began this post, that sometimes we even prefer this white chinoiserie. after all, isn’t it beautiful, too? 

i want to bring discomfort to this topic. i want to reject the paradigm of white subject and chinese object; in fact, here in this essay, i have tried to reverse it.

if you are taken aback by the comparisons i make here, how can you make meaningful changes to your fannish practice to address it? 

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some concluding thoughts on the matter, because i don’t like being misunderstood! 

i am not claiming white fans cannot create fanworks of cnovels or be inspired by asian art or artists. this essay is meant to elaborate on the historical connection between victorian england and cnovel characters and fandom that others have already popularized.

i don’t think people who make victorian jokes are inherently bad or racist. i am encouraging people to think about why we might make them and/or share them

the connections here are meant to be more provocative than strictly literal. (e.g. i don’t literally think writing fanfic is a 1-1 descendant of japanning). these connections are instead meant to 1) make visible the baggage that fans of color often approach fandom with and 2) recontextualize and defamiliarize fannish practice for the purposes of honest critique

please don’t turn this post into being about other different kinds of discourse, or into something that only one “kind” of fan does. please take my words at face value and consider them in good faith. i would really appreciate that.

please feel free to ask me to clarify any statements or supply more in-depth sources :) 

[writingwithcolor]

Blending Mythos Respectfully

@sapphicq submitted:

Hi all! I’m trying to write an urban fantasy that explores oppression in a world that is basically the same as ours, except with magic, while incorporating magical systems and mythologies of multiple cultures. I’ve done an okay amount of research on each one that I’d like to include (still need to do more for sure, especially considering how colonization has effected mythologies). However, I’m struggling a bit on how they should coexist, since in the world I’m writing about they’re present and tangible. One example of this is fox spirits in East Asian mythology. Japanese, Korean, Vietnamese, and Chinese mythologies each have a nine-tailed fox, and though my research says that the myth originates from Chinese mythology, it also says that each of the fox spirits carry different connotations of malevolence, benevolence, and how widespread they are, depending on which culture’s mythology is being referred to. 

The same sort of thing has been popping up quite a lot in a lot of my research. I started to wonder if I could explain these similarities within world as “different cultures have come up with different names and customs surrounding the ‘same’ thing,” considering mythology in the real world from an anthropological perspective. However I don’t want to overgeneralize, especially considering that these different mythological figures are meant to be present and tangible. If I went that route, I wouldn’t want to say something like ‘actually, benevolent fox spirits do exist, and Korean mythology about fox spirits is wrong since Kumiho are pretty strictly malevolent,’ which would obviously be an implication. All this to say: do you have any tips for multiple mythos coexisting in a way that respects the various cultures they come from?

Avoid Round Pegs in Square Holes

A mistake you sometimes see Western authors make when dealing with mythology in urban fantasy settings is to confine the universe’s worldbuilding to a particular mythology or force the rules of a single culture’s folklore onto other cultures. For instance, here at WWC, we get a lot of questions asking how to represent supernatural creatures from multiple cultures respectfully alongside fae from Western Europe, and it's fairly obvious that the author plans to treat all supernatural creatures as fae. Urban fantasy based on Greek mythology or Christian mythology often falls into the same trap. 

I think a writer can demonstrate greater creativity by embracing these differences. I think a potential way to deal with contradicting mythos between cultures is to come up with compelling reasons why differences exist. What world-building systems, philosophies and real-life phenomena allow for a framework that explains the simultaneous existence of commonalities and differences? As you know, in anthropology, there are theories that emphasize cultural diffusion as a way to explain similar customs within the same region, but there are also theories that hold that multiple cultures can develop the same traditions and principles independent of each other (See: existence of 0, lost-wax bronze casting, astronomical calendars and the use of wheels). The answers I’ve given are mostly technological. However myths and belief systems serve very real social functions as ways to keep people together and cultivate norms and mores. Lesya expands on the utility of intentional cultural diffusion below.

Similarly, within evolution, there are instances of species having common features because of a shared ancestor, but also instances where species without shared ancestors evolve to have similar features because they exist in the same environment. I believe flippers are examples of both types of evolution in marine animals.  Thus, I think you need to question your assumption that “different cultures have come up with different names and customs surrounding the ‘same’ thing.” As the world is daily proof, they sometimes do, but they also sometimes don’t. 

-Marika

First, props to you for sending us this ask. You have been thinking about this a lot and have done research into building an urban fantasy that doesn’t do the thing of putting all Asians under one umbrella. 

Second, I’m going to agree with Marika here. Rather than go for the generalization route, revel in everyone's differences. It's a way for you to acknowledge the variations in the mythology, that not all have the same origins though there may be some similarities. Instead, they may have reached the same conclusions. My advice for blending mythologies is to lean into it, and not create a homogeneous umbrella. You can make something amazing with that. 

-Jaya

Hybridity Through Diffusion

So a myth originated in China. This does not mean Chinese tellings have the monopoly on what a telling is. Marika and Jaya have gone into a possible solution, here, but what I’m going to examine here is a mental framework that a lot of people get stuck in that is actually ahistorical.

Cultural appropriation as we know it is shockingly recent when it comes to history. In the modern day, ownership boundaries of myths have become very strict because of primarily European colonialism picking and choosing everything it likes about a mythos, and, this is important: not letting up on the oppression of those peoples. There’s also a strong preference to kill those colonialism deems “wrong”, instead of creating a hybrid culture.

Historically, this got a lot more fluid.

What happened historically was primarily cultural diffusion, wherein open trade, intermarriage, and shared borders made it that myths, customs, and cultural practices were (mostly) freely exchanged without massive power imbalances happening, and then modified to fit local beliefs.

Key word: mostly. Because yes sometimes it happened that one place took over another place and imported all of its customs (see: China, Rome, the Mughals), but… often* the ruling power either backed off, was fought of, or otherwise left the region, leaving the common people to do whatever they wanted with the carcass of what had been imposed on them. Or sometimes, even, the imperial forces would actively create a hybridized culture in order to better rule others.

* in places where the ruling power has NOT backed off on oppression and assimilation, even if the colonialism is very old, then this is invalid and the power dynamics of appropriation are still at play.

Because, historically, there was a lot less incentive to simply genocide the peoples you took over (which is what made armies that did destroy all they took over so noteworthy). People were needed to keep providing food and materials, even if the new person got the resulting taxes. 

This meant there were a lot more common people to play with the stuff imported by the imperial culture. And there was a lot more incentive to hybridize your customs to the common people’s customs, leading to the sometimes-hilarious situations like “Rome assigns an equivalence in their pantheon for literally every mythology they encountered, which was a lot.” 

This also explains early Christianization, because it was a lot safer to simply adapt what you already had to make it better for your own ends than curbstomp everything that was “wrong” to your worldview. Ireland’s mythology survives in huge swaths, because it was either Christianized wholesale, or it was about “historical humans” and not fae. Norse mythology was similarly adapted for Christian worldviews, which means we unfortunately have no idea what the pre-Christian myths were.

So instead of thinking in terms of ownership, think instead in terms of diffusion. 

Myths get imported along with food, cloth, or anything else necessary for life. Myths were, historically, a way for people to explain the world around them, both in place of and alongside science. “Ghost marches” are really common, globally, because if you have wind howling in the forest, it’s going to sound like predators, and predators mean go inside and lock the door. Weaving goddesses are also common, because weaving was so necessary to survive the elements.

Sometimes trade relationships soured, and you get bad associations with the imported stuff. Sometimes the relationship stayed great for long enough it got completely adapted. This doesn’t mean any one myth is “right”, nor does it mean you have to erase historical trade links. It just means you look at the historical context, understand that cultural exchange often used to be a lot more two-way than it is in modern appropriation times, and figure out what that means for your worldbuilding.

~ Mod Lesya

[janecrockeyre]

scum villain is a greek tragedy disguised as a regular tragedy disguised as a comedy disguised as a danmei

this is going to be long, and this is only PART ONE.

a.k.a, Analysing the plot of Scum Villain’s Self Saving System through Aristotle’s Poetics, because I Have Mental Issues

Part One: Introduction and the Tragic Hero

Scum Villain’s Self Saving System is a tragedy disguised as a comedy, unless you’re Shen Yuan, in which case it’s a mixture of a romance and a survival horror. It's a fever dream. It's a horrible, terrible book that made me feel new undiscovered emotions when I finished reading it. 

The thing is... SVSSS shares characteristics with some of the most famous tragedies in the West, such as Oedipus Rex, Medea, Antigone, the Oresteia... if you haven’t read these, I’ll explain everything. But the gist of my argument is this: SVSSS is the perfect tragedy. In triplicate. 

Tragedy as a genre is old as balls and so it has meant slightly different things to different people over the last few thousand years. I'll be focusing on ancient Greek tragedy, which was performed at the yearly Festival of Dionysus in Athens during the 500-350s BC (give or take a hundred years). Aristotle, when writing about this very specific subset of tragedy, had no idea that one day Scum Villain would be written, and then that I would be using his work as a way to look at Shen Qingqiu’s Funky Transmigration Mistake. Anyway!

Greek tragedy greatly influenced European dramatic tradition. I have a lot of opinions about white academics idolising and upholding the classics as the "paragon of culture" but I'll withhold them for now. I have no idea if MXTX has read Greek tragedy or not, so don't take this as me saying they are writing it. 

In my opinion, tragedy is a universal human constant. We are surrounded by pain and hurt and none of it makes any sense, so we seek to process that pain through drama, art, literature, etc. We want to understand why pain happens, and how it happens, and try to make sense of the senseless. The universe is cold and cruel and random. Tragedy eases some of that pain. 

On that note: Just because I am analysing Scum Villain through a Greek lens doesn't mean that it was written that way. I'm pasting an interpretation onto the book when there's probably a very rich and deep history of Chinese tragedy that I just don't know about. If you ever want to talk about that, please, god, hit me up, I would love to learn about it!! 

Anyway, tragedy. MXTX is excellent at it! Mo Dao Zu Shi? Painful dynastic family tragedy. Heaven Official's Blessing? Mostly romance, but she managed to get that pure pain in there, huh? 

But in my opinion, Scum Villain holds the crown for the most tragic of her stories. MDZS was more of a mystery. TGCF was more of a romance. Neither of them shy away from their tragic elements. 

Scum Villain would fit right in between the work of Sophocles, Euripides and Aeschylus. How? Let me show you. Join me on my mystery tour into the world of "Aristotle Analyses Danmei..."

Part One: The Tragic Hero

What is a tragic hero? Generally, Greek tragic heroes are united by the same key characteristics. He must be imperfect, having a "fatal flaw" of some kind. He must have something to lose. And he must go from fortune to misfortune thanks to that fatal flaw. 

There are two (technically three) tragic protagonists in SVSSS and all of them are tragic in different but formulaic ways. Each protagonist has their own version of “hamartia” or a “fatal flaw”. 

Actually, hamartia isn’t necessarily a flaw - rather, it is a thing which makes the audience pity and fear for them, a careful imperfection, a point of weakness in the character’s morality or reasoning that allows for bad things to happen to them. For example, in Oedipus Rex, the king Oedipus has a “fatal flaw” of always wanting to find the truth, but this isn’t exactly a flaw, right? Note: this flaw can be completely unwitting, as we see with Shen Yuan. It can also be something that the protagonist is born with, some kind of trait from birth or very young. 

Shen Yuan

Shen Yuan’s “hamartia” is his rigid adherence to fate and his inability to read a situation as anything but how he thinks it ought to be. He believes that Bingmei will grow into Bingge, and it takes several years, two deaths, and some truly traumatising sex to convince him otherwise. 

Shen Jiu

Shen Jiu’s fatal flaw is his cruelty. It is his own sadistic treatment and abuse of Binghe which directly leads to his eventual dismemberment. This is kind of a no-brainer. Of course, it isn't all that simple, and as an audience we pity him for his cruelty as much as we fear it because we know it comes from his own abuse as a child. This just makes him even more tragic. Delicious. 

Luo Binghe

Luo Binghe’s fatal flaw is a complicated mix of things. It is his position as the “protagonist” which compels him to act in certain ways and be forced to suffer. It is his half-demonic heritage, something entirely out of his control, which sets in motion his tragic reversal of fortune when he gets yeeted into the Abyss. He also, much like Shen Yuan, has the propensity to jump to conclusions and somehow make 2 + 2 = 5. 

As well as having their respective “flaws”, all three protagonists match the rough outline of a good tragic hero in another way: they are in a position of great wealth and power. Even when you split the different characters into different “versions”, this still holds true. Yes, Luo Binghe is raised a commoner by a washerwoman foster mother, but his dad is an emperor and he also ends up becoming an emperor himself. 

Yes, Shen Jiu is an ex-slave and a victim of abuse himself, but Shen Qingqiu is a powerful peak lord with an entire mountain’s worth of resources at his back. 

Shen Yuan is a second generation new money rich kid. 

Bingge is a stereotypical protagonist with a golden finger. Bingmei is a treasured and loved disciple with a good reputation and a privileged seat by his shizun’s side. 

In a tragedy, having this kind of good fortune at the beginning of your story is dangerous. Chaucer says that tragedy is (badly translated into modern english) “a certain story / of him that stood in great prosperity / and falls out of high degree / into misery, and ends up wretchedly”. If we follow this line of thinking, a good tragedy is about someone who has a lot to lose, losing everything because of one fatal point of weakness that they fail to address or understand. 

If we look at Shakespeare, this is what makes King Lear such a fantastic tragic protagonist. He is a king in control of most of England, who from his own lack of wisdom and excess of pride, decides to split his kingdom apart to give to his daughters, favouring his murderous, double crossing progeny, and condemning his only actually filial daughter to death. He loses his kingdom, his mind, and his beloved daughter, all because of his own stupidity.

This brings us to:

Part Two: Peripeteia

This reversal of fortunes is called peripeteia. It is the moment where the entire plot shifts, and the hero’s fortunes go from good to bad. Think of it like one of those magic eye puzzles, where you stare at the image until a 3D shark appears, except you realise the shark was always there, you just couldn't ever see it, waiting for you, hungry, deadly, always lurking just behind that delightful pattern of random blue squiggles. 

Each tragic hero has their own moment of peripeteia in SVSSS, sometimes several:

Shen Qingqiu

In the original PIDW, SQQ’s peripeteia presumably occurs when he finds out that Bingge didn’t perish in the Abyss but has actually been training hard to come and pay him back. There’s really not much I’m interested in saying here - as a villain, OG!SQQ is cut and dry, and the audience doesn’t really feel any pity or fear for him. As Shen Yuan often mentions, what the audience feels when they see OG!SQQ is bloodlust and sick satisfaction. There is also the trial at Huan Hua Palace, which I will talk about in Shen Yuan’s section. 

Shen Yuan (SQQ 2.0)

One of SY’s most poggers moment of peripeteia is the glorious, terrifying section between hearing Binghe for the first time after the Abyss moment, and getting shoved into the Water Prison. 

“Behind him, a low and soft voice came: “Shizun?”

Shen Qingqiu’s neck felt stiff as he slowly turned his head. Luo Binghe’s face was the most frightening thing he had ever seen.

The scariest thing about it was that the expression on his face was not cold at all. His smile wasn’t sharp like a knife. Rather, it showed a kind of bone-deep gentleness and amiability.”

This is the moment of true horror for Shen Yuan, because he knows what happens next: the plot unfurls before him, inevitable and painful, and he knows that death awaits him at Luo Binghe's hands (lol). Compare it with the bone deep certainty with which he faces his own downfall during the sham of a trial later in the chapter (I’ve bolded the important part):

“In the original work, Qiu Haitang’s appearance signified only one thing: Shen Qingqiu’s complete fall from grace. [...] Shen Qingqiu’s heart streamed with tears. Great Master… I know you’re doing this for my own good, but I’ll actually suffer if she speaks her words clearly. This truly is the saying “not frightened of doing a shameful deed, just afraid the ghost (consequences) will come knocking”!”

After the peripeteia is usually the denouement where the plot wraps up and the threads are all tied together leaving no loose ends, but because this tragedy isn’t Shen Yuan’s but the former Shen Jiu’s, it’s impossible to finish. 

Shen Yuan cannot provide the meaningful answers that the narrative demands because 1) he doesn’t have any memory of doing anything, and 2) he wasn’t the person who did them. Narratively, he cannot follow the same path as the former SQQ because he lacks the same fatal flaw: cruelty. 

This is why Binghe doesn’t kill him - because he loves him, rather than despises him. And this is why Shen Yuan has to sacrifice himself and die for Luo Binghe in order to save him from Xin Mo: because the narrative demands that denouement follows peripeteia, and SQQ’s fate is in the hands of the narrative. 

(Side note: I believe that this literal death also represents the death of OG!SQQ's tragic arc. The body that committed all those crimes must die to satisfy the narrative. SQQ must die, like burning down a forest, so that new growth can sprout from the ashes. After this, Shen Yuan's story has more room to develop instead.)

It must happen to show Bingmei that SQQ loves him too. And this brings us to Bingmei.

Bingmei

Bingmei has two succinct moments of utter downfall. The first is a literal fall - his flaw, his demonic heritage, leads his beloved shizun to throw him down into the Abyss. From his point of view, SQQ is punishing him simply for the status of his birth. He rapidly goes from being loved and cherished unconditionally, to being the victim of an assassination attempt. 

He realises that he is totally unlovable: that for the crimes of his species that he never had a hand in, he must pay the price as well: that his shizun is so righteous that no matter what love there was between them, if SQQ sees a demon, he will kill it. Even if that demon is Bingmei. 

The second moment is when SQQ dies for him. Again, from his point of view, he was chasing after a man who was struggling to see him as a human being. Shen Qingqiu’s death makes Bingmei realise that he has been completely misunderstanding his shizun: that SQQ would literally die for him, the ultimate act of self sacrifice from love: that SQQ loved him despite his demon heritage. 

Much like King Lear holding the corpse of his daughter and wailing in sheer grief and pain because he did this, he caused this, Bingmei gets to hold his shizun's cold body and cry his eyes out and know that it was his fault. (Kind of.)

(Yes, I’m bringing Shakespeare into this, no I am not justifying myself)

Maybe I'm a bit sadistic, but that scene slaps. Let me show you a comparison of scenes so you get the picture. 

Re-enter KING LEAR, with CORDELIA dead in his arms; EDGAR, Captain, and others following

KING LEAR

Howl, howl, howl, howl! O, you are men of stones:

Had I your tongues and eyes, I'ld use them so

That heaven's vault should crack. She's gone for ever!

I know when one is dead, and when one lives;

She's dead as earth. Lend me a looking-glass;

If that her breath will mist or stain the stone,

Why, then she lives.

[...]

 KING LEAR

And my poor fool is hang'd! No, no, no life!

Why should a dog, a horse, a rat, have life,

And thou no breath at all? Thou'lt come no more,

Never, never, never, never, never!

Pray you, undo this button: thank you, sir.

Do you see this? Look on her, look, her lips,

Look there, look there!

Dies

Versus this scene in SVSSS: 

Luo Binghe turned a deaf ear to everything else, greatly agitated and at a loss of what to do. He was still holding Shen Qingqiu’s body, which was rapidly cooling down. It seemed like he wanted to call for him loudly and forcefully shake him awake, yet he didn’t dare to, as if he was afraid of being scolded. He said slowly, “Shizun?”

[...]

Luo Binghe involuntarily held Shen Qingqiu closer.

He said in a small voice, “I was wrong, Shizun, I really… know that I was wrong.

“I… I didn’t want to kill you…”

PAIN. SO MUCH BEAUTIFUL PAIN. Yes, I know Shakespeare isn’t Athenian, but he was inspired by the good old stuff and he also knew how to write a perfect tragedy on his own terms. Anyway. I’ll find more Greek examples later.

This post was a bit all over the place, but I hope it has been fun to read. Part Two will be coming At Some Point, Who Knows When. This is a bit messy and unedited, but hey, I’m not getting paid or graded, so you can eat any typos or errors. Unless you’re here to talk to me about Chinese tragedy, in which case, please pull up a seat, let me get you a drink, make yourself at home.

ps: if you want to retweet this, here is the promo tweet!