#one year scene(一年景)

[chinesehanfu]

【Historical Reference Artifacts】:

Court Maid in Portrait of Empress Cao in Song Dynasty(Wife of Emperor Renzong)

[Hanfu · 漢服]Chinese Song Dynasty (960–1279 AD)Traditional Clothing Hanfu Photoshoot

Court Maid Attire in Song Dynasty “今为臣，是助舟行水上，分水之桨也，与衣妆无系”

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💃🏻Model： @秦卿卿

📸Photo： @杜甫大人的日常

🔗Weibo：http://xhslink.com/892PMs

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[rikeijo]

Hi! I've heard somewhere that some lines of Yuuri's speech at the press con in episode 5 were mistranslated and that because of this, the speech comes across as if Yuuri doesn't know what exactly he is feeling for Viktor. I can't tell if it's really mistranslated, but I always found the subs in this scene a bit confusing. So, I'd love to know: how would you translate his speech?

Hi! Thank you for the ask!

I must admit that I've never properly watched Eng sub or dub version, and even though I bought the US edition to someday discuss some translation choices (that's imo super fun thing to do ✨) my only laptop that had a built-in DVD player broke down >.<

Sooo, I searched online for his speech in subtitles, but I'm not sure if the subtitles I've found are official...

"My theme in this year's Grand Prix series is "love". I've been helped by many people in my competitive skating career thus far, but I've never thought about "love" until now. Though I was blessed with support, I couldn't take full advantage of it. I always felt like I was fighting alone. But since Victor has showed up to be my coach, I've seen something totally different. My "love" isn't something clear-cut like romantic love, but the more abstract feeling of my relationships with Victor, family and hometown... I was finally able to realize that something like love exists all around me. Victor is the first person I've ever wanted to hold on to. I don't really have a name for that emotion, but I've decided to call it love. Now that I know what love is and am stronger for it, I'll prove it myself with a Grand Prix Final gold medal!"

If this is the official translation, then well, the overall message is close, I'd say, but at the same time, hmm... If you wanted to base a ""deep"" character analysis on it, it could probably lead you in a wrong direction... Especially the end is just mistranslated.

今年のグランプリシリーズで僕がテーマにするのは〝愛〞です。My theme for this year's Grand Prix series is "love".

今までのスケート人生いろんな人に助けられながらやってきましたが、愛について考えたことは一度もありませんでした。In my life as a figure skater until now, I've come to the place, where I'm now, while being helped by a lot of different people, but I haven't even once thought/pondered about "love".

恵まれた環境にいながらそれを生かしきれず、１人で戦っているような気持ちでずっといました。けど、ヴィクトルコーチが現れて、僕の見ていた景色は一変しました。I've always been in a very favorable ["for me to be a figure skater" in this context] environment, but I wasn't able to make a full use of it and I always felt as if I had been fighting alone. But, Coach Victor appeared and the scenery I see [that is: the way I see the world around me] changed completely.

僕の愛。それは分かりやすい愛や恋ではなくて、ヴィクトルとの絆や家族や地元に対する微妙な気持ち。My love. It's not [general] love or romantic love that is easy to understand, but my bond with Victor, and the lukewarm way I feel about my family and my local community. [This sentence, imo, is often mistranslated, but you can also argue about how it should be interpreted in Jp. However, to do that you have to be able to notice nuance just from the intonation of the sentence... For example, imo, because of where the VA makes a pause in the sentence, it should be "general love or romantic love that is easy to understand" and not "general love that is easy to understand or romantic love", but grammatically both option are possible. "微妙", when you look for the definition in a dictionary, is often translated as "subtle" or something similar ("abstract" is just a mistranslation, tho), but, imo, from the context, it should be the more modern meaning of the world, which basically means nowadays "not bad, I guess, but I don't really know". That's why Yuuko was offended by Yuuri's word choice. Also, based on the intonation and grammar (no need to have two "や"s in one sentence when giving examples) "bond with Victor" and "feelings towards family and local community" are two separate issues.]

ようやく自分の周りにある愛のようなものに気づくことができました。At last I was able to notice the love-like thing that is around me.

初めて自分からつなぎ止めたいと思った人、それがヴィクトルです。The first person that I myself [the vector of the action starts from Yuuri, it's an allusion to what the Nishigoris talk about with Victor in ep. 2] wanted to tie to me [and don't let them go] is Victor.

その感情に名前はないけど、あえて愛と呼ぶことにしました。This feeling doesn't have a name, but I decided to dare to call it "love".

愛を知って強くなった僕をグランプリファイナルの金メダルで証明しますっ！ I'll prove myself, who got to know what love is and because of that became stronger by [winning] a gold medal in the Grand Prix Final. [The way it's worded suggests that Yuuri wants to prove his own "worth", not necessarily that what he says is true - it's not "I want to prove that...", but "I want to prove myself, who...".]

Oh, and by the way, if you read the speech carefully, Yuuri talks about "two loves" here - first, he explains that his theme is "love" and what that word "love" means to him - so "something like love, that is around him", and only then he starts talking about one more feeling - the feeling that doesn't have a name, but he decided to "dare to call love" - and that is what he feels for Victor. Because the word "あえて" is there, and it means "dare to", do something "daringly", to me it always felt as a variation/reference to the famous quote from Oscar Wilde's lover, Lord Alfred Douglas' poem "The love that dare not speak its name", but maybe that's just me ✨

[hardwareabstractionlayer]

The trouble with collecting merch is it’s difficult to stop once you start. This Jingsu enamel pin is by the prolific 长风万里, who is responsible for some of the most iconic NiF pins (check out the weidian store for a partial selection). Like many fan-made pins, it’s a re-rendering of a scene from canon, in this case episode 52 [x], where Jingsu look on as thunder and wind portend the storm brewing on the horizon after Princess Liyang has agreed to present Xie Yu’s confessed crimes at the Emperor’s banquet.

The pin emphasizes the storm in both design (bamboo leaves scattering in the wind) and name: 风雨同守, loosely enduring the tempest together. As for why the image has been transposed onto a tattered scroll, the pin maker said the inspiration came from rubbings/拓印 and elaborated some more:

Personally, I think of this as an excavated artwork (with the surface damaged in its old age) that was created out of Jingyan’s longing. As if Jingsu actually existed in history and will live on for a long, long time. 我自己把这个当做是一件出土的画作（年岁久远画面有所破损），是景琰怀念所做。就好像历史上真有他们的存在，靖苏真的来日方长。

Historically, rubbings not only create an impression of existing artwork but are themselves artworks that take skill and patience. The typical process starts with adhering paper to a stone carving, then ink is dabbed to the paper such that the flat surface takes on the color of the ink while carved areas remain white (here’s a process video). Collecting rubbings was a popular pastime of the literati, and rubbings of good calligraphy were especially in demand for study and appreciation, serving a similar purpose to block printing in allowing many people to see replicas of an original. The originals may have also come from a non-stone medium: some artworks originally on paper or fabric were replicated onto stone so that rubbings could be made and collected [x]. Nowadays, ancient rubbings are valuable artifacts, especially in cases where the carving has been lost.

The rubbing influence is very clear in the second version of the pin, here juxtaposed against one of its inspirations:

Though the text on the right rubbing says it’s from the Tianping Era of Eastern Wei, Year 2/魏天平二年 (535 CE), which is contemporaneous with the Liang dynasty that loosely inspired the fictional NiF Liang, I couldn’t find an actual historical artwork corresponding to this rubbing, and the mass antique market is flooded with fabrications (it’s also thoroughly possible I simply failed to find the original). But here’s a real fragment of a stone Buddhist votive tablet and its rubbing that’s now at the Art Museum of the Chinese University of Hong Kong [x]:

The text says that this was made in Tianping Era, Year 3, one year after the one above, and describes the building of a Buddhist pagoda in offering, which was a common practice at the time. This monochromatic rubbing style was also quite typical; though both black ink and red ink (cinnabar-based) rubbings existed separately, they were not really seen in combination in a single rubbing until much later. What is believed to be the only surviving book of bicolor rubbings before the modern era was made in the Qing dynasty around the 1800s and was itself a copy of a lost multicolor work from the same dynasty [x].

In this context of transference of art and meaning between mediums, it’s all too easy to imagine a backstory for this Jingsu scroll: first there was a stone carving, close enough to the actual scene that the artist must have worked from Jingyan’s memory of that day. Instead of the more common approach of carving the outline or the background, the artist decided to carve the foreground so the figures were sunken into the stone. And later, a rubbing was made and mounted onto a scroll, buried and excavated, then finally rendered from fiction to reality in the form of an enamel pin. Each creation is an act of remembering and reinventing, of placing yourself in the observer’s shoes, of stoking the flames of the original story—the fire burns on through metaphorical wood replaced over the centuries, its appearance ever-changing, its core not forgotten.

That’s enough of reading too much into things—I also like the pin on its own. One thing that 长风万里 does well is not just sell pins but also communicate the entire behind-the-scenes process with the QQ group, which is several months’ worth of iterations that I find at least as interesting as the final product. For this pin, you can trace through chat logs how the pin evolved all the way from the original concept sketch to the pieces of metal that fit in your hand (thanks to 长风万里 for letting me share the draft versions here):

Once the pin maker comes up with an idea and decides to go for it, the initial sketch is given to the commissioned artist (this pin was drawn by Forwrite, on weibo and lofter) along with reference images. The artist turns these into a line drawing following the design rules of enamel pins (each block of solid color should be fully enclosed by lines, for example). Some artists will color in the line art while other pin creators commission only the line art and fill in the colors themselves. The final colors are limited to the available palette at the factory chosen to make the pins, and once the color vector art is handed to the pin factory along with instructions on detailing and finishes, the physical manufacturing process begins in earnest (this could be the subject of its own long post).

You may have noticed that there are some color changes from the vector design to the physical pins, most notably the sky in the top pin. This came about as a serendipitous accident where the factory colored the sky of the sample pin dark blue instead of the requested sunset yellow, but the pin buyers active in the group chat liked the dark blue enough that it was kept as the final color. The light grayish blue variant ended up being chosen for the backing card/背卡 instead:

Though backing cards are nominally named for their purpose in supporting the pin, practically no one sticks their pins through these cards in Chinese fandom; instead, collectors generally buy cases and books to keep each piece in pristine condition. And so unlike utilitarian cards that are meant to serve as a background to the pin, fully designed backing cards that stand on their own are very much a thing. The card also adds back in the iconic Jingsu lines that were in the original concept sketch, I want to choose you, Your Highness Prince Jing/我想选你靖王殿下 from Mei Changsu and Sir and I are as one person/先生与我如同一人 from Jingyan.

And now for the last part of the merch package that comes with the pin: the wooden piece on the left is an inscribed bamboo name slip/名刺 meant to resemble what MCS might have presented Jingyan when he visited his manor in episode 9 [x]. This was a preorder bonus to encourage buyers to get on board early, since the upfront costs to commission the artist and get a sample made at the factory are a significant portion of the overall costs (if not enough people preorder, the pin is canceled and the payment refunded, and the pin maker has to take the loss of at least the artist’s fees).

Name slips were the ancient analogs to modern business cards and an important tool of connection building in the ancient bureaucracy. The tradition of presenting a slip before you visit someone’s residence, especially if you’re lower in status than the person you’re visiting, persisted for many dynasties while the form of the slip evolved over time. Even though the visitation slip in canon appeared to be a bound paper booklet, folded books wouldn’t appear until the Tang dynasty—though paper was invented in the Han dynasty, it took time for the manufacturing process to improve sufficiently for a fundamental shift in writing mediums. Bamboo slips were what they would have used in the real Liang dynasty (plus, the modern-day replica is objectively great merch that can be used as a bookmark/fidget stick/cosplay prop/whatever else you can think of).

Slips from around the NiF time period generally stated some combination of your given name/名, your courtesy name/字, the region you’re from, and some boilerplate deferential language. Here are two real ones from Huang Chao/黄朝 and Zhu Ran/朱然 of the Three Kingdoms period next to MCS’s, with the meaning of some phrases listed in parentheses after the literal translation (using two of MCS’s names is a good solution for the lack of courtesy names in canon):

To balance out all the white background product photography, I’ll close with some texture shots:

[potteresque-ire]

A very young Stanley Kwan 關錦鵬 (right) directing Leslie Cheung 張國榮 (left) and Anita Mui 梅艷芳 (middle) for Rouge 胭脂扣 (1987). Kwan would win the Best Director title for the film at the Hong Kong Film Awards.

Stanley Kwan 關錦鵬 is not only a famous director from Hong Kong, but also the first well-known openly gay figure in Hong Kong entertainment. He came out of the closet in 1996 (before Leslie Cheung, who did so in 1997), in the documentary he directed for the British Film Institute named Yang ± Yin: Gender in Chinese Cinema 男生女相：華語電影之性別. His works had garnered accolades for their in-depth portrayal of female characters, at the time when women in local movies often did little more than being pretty and screaming a lot.

(Under the cut: Director Kwan's own words on one of his most famous works and a gay film classic in Chinese-language cinema, Lan Yu (2001), in 2022 after BL culture has entered mainstream)

Most BL fans know Director Kwan via his gay-themed film Lan Yu 藍宇 (2001), about the eponymous Bejing university student falling in love with a wealthy, closeted businessman, Chen Handong. The film, based on a popular online novel Beijing Story 北京故事, has remained censored in mainland China for its queer content and its mentions of the 1989 Tiananmen Massacre. Its fate of being perennially censored was never a surprise—the film was shot in Beijing in secret, with the crew pretending to be shooting commercials around the capital. Digital filming also didn't exist then, and so the 100,000 ft + of film had to be smuggled out of China later to be developed.

Lan Yu was a project about love. Of love.

The poster of Lan Yu in Cannes Film Festival (left), Hong Kong (center), Taiwan (right), at the time of its original release.

In 2022, Lan Yu celebrated its 20th anniversary with a 4K remastered version. Among the interviews of Director Kwan made for the celebration was one by The Initium 端傳媒, during which Kwan shared some of his views on Lan Yu, in the context of how public reception of queer media has changed over the years after the film's release.

These views may deviate from what some fans, especially those in BL circles, would expect. Precisely because of that, however, I'm posting them here. After all, maybe, hopefully, Kwan will collaborate with Dd (and Gg) one day. Maybe, fans like ourselves will interact with Kwan on social media spaces one day.

I hope Kwan's views will be kept in mind, considered and respected. Due to the length of the full interview **, I'm only translating the two parts that are relevant (lazy turtle here 😊):

1.

《藍宇》 雖為華語電影同志片的經典，但過去廿年，關錦鵬卻在不少訪談中提過，電影改編自當年於大陸風行一時的網絡同志小說《北京故事》，而最初他其實並不喜歡那篇小說。

「原著基本上是用偷窺角度去看一段同志關係，特別是集中描寫男體的情色關係，有很多露骨的性愛場面。作者本身是知道這些描寫會令小說受歡迎。」關錦鵬接著說：「但在拍這部電影前，我在 1996 年已經出櫃。而我覺得作為一名同志導演，就更不應該去消費這個題材，所以當我看到原著小說將情色描寫，譬如肛交、口交的過程放大，當時我便跟製片人說，如果要原封不動將小說內容拍出來，我就不做了。」

Although Lan Yu is a classic Chinese-language gay film, in many interviews in the past 20 years, Kwan has mentioned that the film was adapted from the online gay novel Beijing Story, popular in mainland China at the time, and that he actually didn't like the novel at first. "The original novel basically looks at a gay relationship from a voyeuristic point of view, especially the erotic relationship between male bodies, and there are many explicit sex scenes. The author (of the novel) himself knows that these descriptions will make the novel popular."

Kwan continued, "But before making this movie, I had been out of the closet since 1996. And I thought, as a gay director, I shouldn't exploit this subject, so when I saw the original novel expanding, zooming in on the eroticism -- the processes of anal sex and oral sex, for example -- I told the producer at the time that if the novel's content is to be filmed without changes, I won't do it.”

2. 在《藍宇》面世的年代，電影確實意識大膽。但二十年後，當電影得以重新修復，社會氛圍其實亦有了翻天覆地的轉變。近年不但多了同志題材的作品，甚至大行其道，人人消費，成為一種時令的商業元素。譬如人氣男團會拍 BL 電視劇，而過去幾年的華語電影節，最快售罄的場次，都一定是同志電影。 此情此景，在《藍宇》剛上映的年代簡直不可思議，電影當年在香港的票房談不上亮眼，普羅大眾對同性戀故事有所抗拒，而本身就是同志的觀眾，想看卻不敢購票入場，怕被旁人標籤。二十年後世界變了樣，甚至總會看到「腐女」在 BL 電影的宣傳海報前打卡拍照。關錦鵬笑說：「是呀，前陣子的確有朋友跟我說，她其實是一名腐女。腐女族群喜歡看男同志電影，但到底喜歡看什麼呢？她某程度上都承認，想看的就是身體，是兩個好看的男人身體如何做愛。」 然而，這恰恰就是他當初對執導《藍宇》有所卻步的顧慮。當同志題材今日已走入主流，變成一種受歡迎的商業元素，關錦鵬則仍然有所警惕，跟潮流保持距離：「可能有些腐女都會喜歡《藍宇》，但我想未必完全是她們那杯茶。它真正要說的是兩個男人從色情買賣演變成一段感情關係，尤其是魏紹恩替我改編劇本之後，陳捍東這個角色，在我看來不一定是男同志，而是他在藍宇身上找到一些連自己都不知道的感覺。」 但關錦鵬也承認，從好的方向去看，在 BL 作品蔚然成風的助力之下，至少令同志以及 LGBT 性少數族群，相對容易被今日的大眾主流接受：「這是令人開心的。近幾年，特別是年輕人，確實會用比較開放的態度去對待 LGBT 族群。」稍頓，關錦鵬解釋道：「換個說法，關於 LGBT 議題的重點，現在就不再放在色情之上，而更多是感情關係，甚至是性少數族群認清自己身份之後，於生活上如何面對社會。那起碼是朝著一個正確的方向。」 In the era when Lan Yu was released, the film was indeed bold in its ideology. Twenty years later, however, at the time when the film gets its restoration, the social atmosphere has actually undergone earth-shaking changes. In recent years, not only have there been more gay-themed works, they have even become very popular and consumed by all, becoming a kind of fashionable commercial element. For example, popular boyband members are willing to make BL TV dramas, and in the past few years of Chinese-speaking film festivals, the fastest sold-out shows have all been gay movies.

[Pie note: The reporter was unlikely to be referring to Gg and Dd with their mention of "popular boyband members". Instead, they were probably thinking of Edan Lo and Anson Lo from Hong Kong's local boyband MIRROR, who starred in the BL drama Ossan's Love.]  

This phenomenon is unbelievable in the era when Lan Yu was first released. The box office of the film in Hong Kong couldn't be said to be impressive. The general public resisted gay stories [Pie note: Hong Kong hadn't decriminalised homosexual relationships until 1991, 10 years before], and the audience who were gay wanted to watch it but didn't dare to purchase tickets, for fear of being labeled by others. Twenty years later, the world has changed -- BL fans can be seen photographing themselves in front of the promotional posters of BL movies.

Kwan smiled and said, "Yes, a friend told me a while ago that she's actually a "rotten woman" (Pie note: = woman BL fan, translated from the Japanese term fujoshi). The "rotten women" group likes to watch gay movies, but what do they like to watch? She admitted, to a certain extent, that it's the body. It's the body, how two good-looking men's bodies make love."

And yet, this was precisely the concern that made Kwan hesitant to direct Lan Yu at the beginning. As gay themes enter the mainstream and become a popular commercial element, Kwan has remained vigilant, and has kept his distance from the trend: "Maybe some "rotten women" enjoy Lan Yu, but I don't think (the film) is entirely their cup of tea. What the film really wanted to express was how two men evolved from a transactional sex relationship to an emotional relationship, especially after Wei Shaoen adapted the script for me. The character of Chen Handong, in my opinion, didn't necessarily have to be a gay man; instead, he found on Lan Yu a feeling that even he himself couldn't understand.”

But Kwan also admitted that, from a better perspective, with the aid of popular BL works, it has become relatively easy for gays and LGBT sexual minorities to find acceptance in today's mainstream: "This is a happy thing to see. In recent years, especially young people have indeed treated the LGBT community with a more open attitude.” After a short pause, Kwan explained: “In other words, the focus of LGBT issues is now no longer on salacity, but more on emotional relationships, and even, on how sexual minorities face society in their daily lives after recognising their (sexual) identities. At least it's moving in the right direction.”

** None of you see this footnote, but a copy of the interview without a paywall can be found here. 😊

[p-cruz]

昔見つけた細切れな画像たちを 日本語の対話の流れとして違和感のないように並べると これが正しいのではないかと思える状態にしてみました 一箇所語尾が写っていない部分の補足としては ジャンの台詞なので単に「なった」よりも 「なったんだ」「なったんだよ」などのほうが適当かもしれませんし さらになにかつけたした言葉もあったのかまでは まったく予測できませんけれども… 訓練兵時代の思い出話などはまさにjeanmarco ficに そのままなありそうな光景なのが本当におもしろいです I tried to arrange the shredded images I found in the past so that they fit together as a flow of Japanese dialogue, and put them in a state that I thought was correct. As an addition to the part where the end of a word is not shown in the image, since this is Jean's dialog, it might be more appropriate to say "なったんだ" or "なったんだよ" rather than simply "なった". Also, I have no idea if there are any additional words that he might have added to this dialog or not… It was really interesting to hear his memories of his time as a trainee, which is exactly the kind of scene you would expect to see in a jeanmarco fic.

───

CLOSEUP INTERVIEW ジャン・キルシュタイン Jean Kirstein 前編 Part One

[2014/6/10 Updated]

若さが振りまく棘と、年齢以上に大人びた表情の共存する、等身大の若者。 ジャン・キルシュタインは、誰にでもある思春期の面影を残しながら、兵士としての揺るぎなさも感じさせる少年だった。 インタビューをはじめると告げると、彼は形式通りの敬礼をし、それから照れたようにそっぽを向いた─ A life-size young man with the thorniness that comes with youth, yet with an appearance more mature than his years. Jean Kirstein was a boy who retained the adolescent facade that we all have, but who was also a soldier and unwavering. When I told him I was going to start the interview, he gave me a formal salute and then turned away as if embarrassed.

CLOSEUP INTERVIEW ジャン 誰に言われたわけでもねぇ。 自分で決めて、 調査兵になったんだ "No one told me to do it. I decided on my own, I joined the Survey Corps." ─ Jean

─今日はよろしくお願いします。 ─さて、手元の資料には、ジャンさんが調査兵になることを決意する際、同期のマルコ・ボットさんの戦死がきっかけになった、とあります。彼について、詳しく伺っても? Q: Thank you for your time today. In the data, it says that the death in battle of Marco Bott, a classmate of yours, was a factor in your decision to join the Survey Corps. Can I ask you more about him?

ジャン「……ああ。訊かれると思ってたよ」 ジャン「マルコは……いいヤツだった。いいヤツすぎるくらいにな。いつも物事を俯瞰して見られるくせに、情には篤くて、仲間を思いやってる……そんなヤツだった」 Jean: …Oh. I knew you would ask. Marco was… a nice guy. He was too good to be true. He always kept things in perspective, but was also a caring and compassionate guy who cared about his friends.

─お二人の関係はどのようなものだったのですか? Q: What was your relationship like?

ジャン「何だかんだで、つるんでることが多かったよ。成績が近いから、訓練で一緒になることもよくあったし……」 Jean: We used to hang out a lot, for what it's worth. Our grades were close, so we were often together in training…

─話は合いましたか。 Q: Did you have a good conversation?

ジャン「イヤ、どうだろうな。オレはあいつの優等生なところをからかってばっかりで……それでもマルコのヤツ、笑ってたな。本当……あのころのオレみたいに、自分のことしか考えてないヤツに、何でつきあってたんだろうな……」 Jean: I don't know. I always teased him about his honor student ways… but Marco just laughed. I wonder… why he went out with a guy like me who only thought about himself…

─ケンカなどはされなかった。 Q: Have you had any fights?

ジャン「そもそも、あいつが怒るって事が、めったになかったからな……でも」 Jean: It was rare for him to get angry in the first place. But…

─何かエピソードがありますか。 Q: Do you have any episodes?

ジャン「訓練でいい点を取ろうとして、ついケガなんかすると、機嫌が悪くなってた。マルコは誰に対しても、そうだったけどよ」 Jean: He would get in a bad mood if I got hurt trying to get a good score in training. However, he was like that with everyone.

─逆に、励まされたことなどは。 Q: On the contrary, have you ever been encouraged?

ジャン「よく……あった。訓練兵のころのオレは、自分が優秀だってこと���絶対の自信があったからな。今考えればガキだけどよ……ちょっと失敗したりすると、すぐしょぼくれてたんだよ。そういうとき傍に居てくれんのは、マルコだった」 Jean: It… happened often. When I was a trainee, I had absolute confidence in my own excellence, but now I think I was just a kid. …But when I made the slightest mistake, I was always depressed. It was Marco who was there for me at those times.

─何か言葉をかけられたり? Q: Did you have him say anything to you?

ジャン「それが、黙って近くに居るだけなんだ。で、オレがくだらねぇ愚痴を言っても、そうだね、とか、真正面から受け止めて……」 Jean: But he just stayed close without saying a word. And when I would grumble about something silly, he would take it seriously and say something like, 'Right'…

─理解者だったわけですね。 Q: So he was your understanding.

ジャン「そうだな。卒業間近のころには『ジャンは強い人ではないから』なんて、言われるようにもなっちまってたからな。色んなこと……一緒に経験してたんだな」 Jean: That's right. I think the reason he said things like 'you're not a strong person' so close to graduation was because we had been through so much… together.

─しかし、兵団の志望はマルコさんも憲兵だったわけですよね?　彼の死が調査兵になる動機となったいきさつは? Q: But you and Marco both wanted to join the Military Police, didn't you? How did his death motivate you to become a member of the Survey Corps?

ジャン「マルコは……オレが『今、何をするべきか』わかる人間だ、と言ったんだ。オレは最初、聞き流してたが……トロスト区のことが終わって、その意味がわかった。その時すべきことが見えた。まるで、死んだマルコに未来を託されたみたいな気分に［なった（?）］ Jean: He said… I was a person who knew what need to be done. At first I didn't take him seriously, …but after what happened in Trost, I understood what he meant. I could see what I needed to do at that time. At the same time, I felt as if Marco, who had passed away, had entrusted me with the future.

─「今、何をするべきか」の出所は、マルコさんというわけですね。 Q: So the word 'what should I do now' is because of what he said, I see.

ジャン「それに、やり場のない後悔と責任も感じたよ。別の班だったとはいえ……マルコは、オレが一緒にいたら、死なずに済んだんじゃないかってな」 Jean: I also felt a sense of regret and responsibility. Even though we were in different squads, …I wondered if I had been with him, he wouldn’t have died.

─仕方のないことですが、そう考えるのも無理はありませんね。 Q: There is nothing anyone can do about that incident now, but it was not hard to see why you would think so.

ジャン「襲撃の後、次は誰が死ぬ番かなんて……考えちまった。そのとき、そこにオレがいれば……そいつを救えるんじゃないかとも思ったんだ」 Jean: After the attack, I wondered who would be next to die. I thought that if I was there, I might be able to save them.

───

翻訳アプリに助けてもらって対訳もなんとかつくってみました わたしは英語は大体読めてもうまく書くことがあまりできないので おかしな部分があってもお許しください With the help of a translation app, I managed to add a translation as well. I can read most of English, but I can't write very well, so please forgive me if there are some oddities in my writing.

[fateandloveentwined]

chapter 84, wildfires

Unseen Immortal of Three Hundred Years (shangxian)

He looks at his frosted fingers. Through the translucence, the cool, white light evinces. He replies, “I am looking… I am looking at the blood it has stained.”

The spectre answers, “There is blood? It looks clean. Plainly so.”

He laughs again. His gaze centres on the depths of the eyelashes, and in the shadows no light passes through. He says, “It’s only that you cannot see it.”

The spectre asks, “Then only you can see it?”

“Yes.”

“How much?”

“… too much.”

To much, so much that it is hard to count. But even though it is hard to count, he remembers everything.

It shouldn’t be. His memory couldn’t be considered exceptional, and for many things, he takes a glance and lets them pass; they rarely get to his heart. Yet he remembers, clearly and patently, the mortals he killed with his sword. Every profile, every pair of eyes that closes, every time he feels the thrumming life weaken and quiet, slowly fade out and finally return to the eternal void — he remembers every instance with clarity.

The silence of death stands out from every silence in the world. It makes all clamour and vivacity come to a stop, it immures people in the endless fog, as if besides himself, there is no other men.

As such… in the depths of the stillness, he has never had a good night of rest.

It makes him think of the many moments of people dying.

But now, with thousands of souls crying wailing ceaseless above his head, he still slumbers into the confines of the silence that only death can feel.

That kind of overbearing desolation across his world. He laughs standing amidst.

He hears the spirits murmuring speculations, saying to him, “You seem to have black fog on your body.”

Wu Xingxue assesses himself and says, “I see it.”

It is black, smoke and fog apparitions encircling his fingers, arm, shoulder, and even his entire body. The black fog makes the spirits cower a little. They are half fearful, half disgusted, and again the scene descends into agitation. The entire enclosed space stirs up to an incessant rising sea of fury.

They ask, “What is that!?”

“What is that abomination?”

…

Wu Xingxue looks silently at the black air twining about his whole. After a long while he answers, “It’s the air of the evil.”

This is one of the distinct paradoxes in the world — the limpid, ethereal aura of the xian and the winding, convoluted strands of evil mo aura materialising on the same person — and to have it appear on the king of lings, it feels like the greatest irony.

And yet it is the most congruent thing of all.

Really, there is nothing more compatible…

he says in his heart.

Is there some devil that kills more than him on this earth. On what grounds… to have stained the same immeasurable volumes of blood, those mo’s would have been exterminated beyond repair. And yet regally he sits atop the nine ethers of the skies, anchored and firmly watching over humanity.

On what grounds… all because that Dao of the skies demands compassion and iniquity, demands blessings and calamities?

This isn’t fair.

— chapter 84, wildfires

original excerpt:

他看着自己手指上结了霜，透着冷冷的白，答道：“我在看……这上面沾有多少血。” 灵魄说：“有血么？明明很干净。” 他又笑起来，双眸落在眼睫深浓的阴影里，不透一点光。他说：“你们看不见而已。” 灵魄道：“那你就能看见？” “嗯。” “有多少？” “……太多了。” 太多了，多到难以计数。可即便难以计数，他却全都记得。 他明明算不上记性很好，明明很多事扫一眼就过，并不入心。唯独剑下杀过的人记得清清楚楚，每一张面孔，每一次阖眼，每一回感受那些蓬勃跳动的生命在他剑下慢慢微弱、安静，最后归于永久的死寂，他都记得清清楚楚。 死亡的静同世间任何一种安静都不一样，它会让所有喧闹都戛然而止，它会把人困在望不到边的云雾里，好像除了自己以外，再没有第二个人。 所以……他在安静无人的时候，从来都睡不好一场觉。 那会让他想起太多人死去的瞬间。 但如今，即便头顶有数千灵魄哭叫不休，他还是陷入了只有死亡才有的寂静里。 那种孤寂漫天席地，他笑着站在那里。 他听见灵魄们议论纷纷，同他说：“你身上好像有黑色的雾。” 乌行雪扫量着自己，道：“看到了。” 一些黑色的、烟雾似的东西正萦绕着他的手指、肩臂，甚至整个身体。那黑雾让灵魄们有些瑟缩，他们半是畏惧、半是厌恶，再次陷入了躁动里。整个封禁之地都被搅动得震荡不���。 他们问：“这是什么？！” “这是什么东西？” …… 乌行雪静静地看着那些黑气缠绕满身，良久之后答道：“邪魔气。” 那是世间独一无二的矛盾场景——缥缈澄澈的仙气和丝丝缕缕的邪魔气出现在同一个人身上……出现在灵王身上，就像一种莫大的讽刺。  可偏偏又再合适不过。 真的再合适不过了…… 他在心里说。 世上还有比他杀人更多的邪魔么……凭什么同样沾血无数，那些邪魔会被斩杀殆尽。而他却端坐于九霄的云层上，安安稳稳地俯瞰人间呢？ 凭什么……就凭那灵台天道要善要恶，要福要祸么？ 这不公平。 —— 第84章 山火

不见上仙三百年，木苏里

previous translations: he knelt amidst, and kissed the earth (panguan), and chapter 60, fragmented souls (shangxian)

[louisg11]

📍中国 · 河北 · 石家庄 · 正定 【 隆兴寺 】

Longxing Temple

五彩悬山：长15.7米，高7.5米，以雕塑与绘画相结合的壁塑艺术形式，将观音说法的道场——普陀洛珈山壮观热烈的场景微缩于壁面。踞坐正中的观音菩萨，突破了宗教佛像的呆板作风，形体曲线柔美，姿态优雅端庄，是诠释宋代观音造像世俗化特点的上乘之作，故被誉为“东方美神”。又因其坐南面北，与大殿坐向相背，又称“倒坐观音”，是隆兴寺六最之一。

Five Colored Suspension Gable Roof

The five color overhanging gable roof is 15.7 meters in length and 7.5 meters in height, miniaturizing magnificent and fervent scene in Putuo Luojia Mountain, the Bodhimanda where Avalokitesvara made the presence and spoke the dharma. Avalokitesvara sitting in the middle breaks through the rigid style of religious idle with the graceful figure and elegant posture. It's the best work to interpret the secular characteristic of Avalokitesvara figure in the Song Dynasty, thus called the Beauty of the East. Also, it sits in the south and faces north, on the contrary to the hall's sitting direction, so it's also called Reversely Sitting Avalokitesvara. It's one of the six best of Longxing Temple.

摩尼殿：建于北宋皇祐四年（1052年），面阔和进深均为七间，重檐歇山顶，殿身四面正中各出一山花向前的歇山式抱厦，平面布局呈十字形。檐下斗拱宏大，分布疏朗；柱子用材粗大，有明显卷刹、侧角和升起，与宋《营造法式》相近。为隆兴寺现存古建筑中价值最高的一座，隆兴寺六最之一。

Manichaean Hall

Manichaean Hall was built in the fourth year of Huangyou Reign in Northern Song Dynasty (1052), with seven rooms in both width and depth, double eaves, saddle roof and gabled porches on four sides. Its plane layout takes on a shape of crossing. The bucket arches are grand with a simple and clear distribution under eaves. The pillars are of robust materials, with the top in an obvious arc, side angle and rising, and typical of the Song architecture. As the most valuable building, the hall is one of the six best constructions in Longxing Temple.

铜铸千手千眼观音菩萨像：为北宋开宝四年（971年）奉太祖赵匡胤之命铸造，像高21.3米，位居我国古代铜造像之首。其42臂中除当胸双手合十外，两侧各20臂呈辐射状分布，手不仅分别执日、月、净瓶、金刚杵、宝剑等法器，且均饰有一眼，以40只手眼配以佛教三界中二十五种果报即为千手千眼之来历，千手表示护持众生，千眼表示观照世间。此像作为一千多年前劳动人民聪明与智慧的结晶，可谓我国古代治金史上的一大奇迹。在隆兴寺六处文物之最中最具影响力。

The Bronze Statue of Thousand Hand and Thousand-Eye Avalokitesvara

It was built with the order of Emperor Zhao Kuangyin in the fourth year of Kaibao Reign in the Northern Sang Dynasty (971). The statue is 21.3 meters in height, making it the highest among all bronze statues in ancient China. Among its 42 arms, except for two in front of the chest putting palms together, the rest arms are stretched in turn with 20 arms on either side. The hands are not only equipped with sun, moon, kalasa, vajry pestle, sword and other implements, but also decorated with eyes on each of them. To represent the twenty five retributions in the three worlds in Buddhism with the 40 hands and eyes is jut the origin of thousand-hand and thousand-eye. The thousand-hand means the protection to all human beings, while the thousand-eye means the observation to the secular world as the crystallization of the intelligence and wisdom of the working people more than one thousand years ago. The statue can be really said as a magic in the ancient metallurgical history of China. It's the most influential one among the six best of Longxing Temple.

[yuzukahibiscus]

230109 Flower Troupe Performance “MAYERLING” Sudden Stage Report

(Sudden Stage Report is a segment from Takarazuka News, which features the Troupe Sky Reporter and the Top Combi discussing their ongoing Grand Theatre performance. This is Haryuu Mitsuki (Bikku), talking to Flower Troupe Top Combi – Yuzuka Rei (Rei) and Hoshikaze Madoka (Madoka) on the Flower Troupe performance “MAYERLING” (Spoilers below!!!)

All: Thanks you everyone!

Bikku: We’re in the first month of the year and with the first day opened already, let’s get straight into the report.

Firstly for the musical. The opening starts with you two on the grand staircase and that entrance was amazing.

Rei: That’s really the famous scene of “MAYERLING”, wearing the white costumes on the crimson red staircase...we’ll sincerely perform that scene and do our best every day.

Bikku: It’s been a long time since the last time it was performed in the Grand Theatre...

Rei: Yes! It’s been 30 years on the red grand staircase (in the grand theatre). The audience can fully experience that feeling. How about Mary-san?

Madoka: I feel the same.

Rei: The same? (laughs)

Madoka: It’s so glamorous. The first time I realise all those stage sets, it’s so amazing and it makes me nervous. 

Rei: There’s also the Habsburg golden logo on the staircase. So among all the patch of red, suddenly there’s the golden emblem. That’s also something the audience could look forward to for the direction of the show.

Bikku: Immediately, the audience are entered into the world of “MAYERLING”. Yuzuka-san, Rei-kun, you play the Crown Prince Rudolf but how does it feel like being on stage?

Rei: So for the strength of the costumes, the lighting and the stage setup, the power of all these things together give me so much inspiration. “Ah, that’s how he was feeling” “Ah, that’s how he was hurt by these words”. Every day I have new discoveries and I learn a lot.

Bikku: That was deep. How about Madoka-chan for playing Rudolf’s lover Mary Vestera?

Madoka: Starting from the rehearsals, everyone was really meticulously practising (for this performance). As already said, I can feel the strength that the vibe of the Grand Theatre has...With the power of the costumes and the music, I can be Mary whom has earnest feelings for Rudolf. Even just living as her role makes me happy.

Bikku: Again, are there any scenes that you like?

Rei: So, there are a lot. But I still like the final scene before he aims the pistol at Mary, the part when he hushes Mary to sleep. How should I describe that scene... it’s like with the vibe and all of that created by everyone before this scene, here we are left with the two spending their last time together. Like in that wide stage area, it’s just the two of them in that space, so it feels “they’re the only ones on stage”. So I really like that scene.

Bikku: The audience must feel heartwrenched just watching that with all their focus...

Madoka: Rather than scenes that I’m on stage, I’m more fascinated by the things that looks dimensional, such as the dance ball is the most impressive. Starting right away after the prologue, you can see how amazing the costumes are, and everything is so glamorous and the characters are standing and dancing to the famous piece. I hope people to look forward to that.

230109 花組公演《梅耶林》突擊REPORT

（突擊REPORT是寶塚新聞的一個片段，其中有組內的小天空報導員和TOP控比討論他們正在進行的大劇場公演。這次由羽立光來，與花組TOP控比 – 柚香光和星風まどか談花組公演《梅耶林》（以下劇透！！！）

全體：辛苦大家！

羽立：我們在正月公演，初日也已經完成，讓我們直接進入報告環節吧！

首先是劇。 序幕從你們兩個在大階段上，那個出場太棒了。

光：那真的是《梅耶林》的名場面，穿著白色的戲服走在赤紅色的大階段上⋯我們會真誠地演那個場面，每天都全力以赴。

羽立：距離上次在大劇院演出已經很久了⋯

光：對！ 上次大劇場在紅色的大階段已經 30 年了。 觀眾能充分體會到那種感覺。 瑪麗桑呢？

小圓：我也有同感。

光：同感嗎？ （笑）

小圓：太迷人了。 我第一次意識到所有這些舞台佈景，太神奇了，讓我很緊張。

光：樓梯上還有哈布斯堡王朝的金色標誌。 於是在一片紅色中，忽然出現了金色的徽章。 這也是觀眾可以期待的新執導方向。

羽立：觀眾一下子就進入了《梅耶林》的世界。 柚香桑、光君，你扮演皇太子魯道夫，但在舞台上的感覺如何？

光：不論是服裝、燈光和舞台佈置的力量，所有這些的力量給了我很多靈感。 「啊，他當時候就是這樣感覺啊」「啊，他當時就是給這些話傷害到了」。 每天我都有新發現，我學到很多東西。

羽立：那很深奧啊。 小圓扮演魯道夫的情人瑪麗・維斯特拉怎麼樣？

小圓：從排練開始，大家真的（為了這次公演）認真地練習。 就像剛所說那樣，我能感受到大劇場的氛圍那力量⋯憑藉服裝和音樂的力量，我可以成為對魯道夫產生深切感情的瑪麗。 即使只是飾演她的角色而活，我也很開心。

羽立：可以再有沒有你喜歡的場景？

光：對的，是有很多。 但我仍然喜歡他用手槍對準瑪麗之前的最後一幕，他哄瑪麗入睡的那部分。 那一幕該怎麼形容呢⋯就好像在這一幕之前大家營造出來的氛圍後，就剩下兩人最後一次在一起了。 就像在那個寬闊的舞台上，只有他們兩個人在那個空���裡，所以有一種「舞台上只有他們」的感覺。 所以我真的很喜歡那個場景。

羽立：全神貫注地看著，觀眾們一定會心痛吧⋯

小圓：比起舞台上的場景，我更著迷於那些看起來有立體感的東西，比如舞會是最令人印象深刻的。 開場白後馬上開始，你可以看到服裝是多麼優美，一切都是那麼迷人，角色們站著隨著名曲跳舞。 我希望觀眾對此充滿期待。

[junkychaos]

appearance on 鄭道元 Cheng Daoyuan - 旣 Apeiron(wv sorcerer productions/france 2*cd 2024)

▼WV092: 鄭道元 Cheng Daoyuan - 旣 Apeiron

終則有始，盡則復生

Everything is nothing, and the ending is the beginning.

Fragments are embedded in contemporary life, from which we can not escape. The music of Taipei-based dark experimental sound activist Cheng Daoyuan is just such a journey through endless fragments, layers of sound textures and samples, building his own unique artistic vision between old-school post-industrial music and contemporary soundscapes. Dark ambient, harsh noise, glitch, gabber techno, digital distortion, ghostly vocals, pale but full of tension, "旣 Apeiron" comes from the abyss and goes into the future, reborn from the ashes, where the end is the beginning, invisible and without boundaries.

Previously released on cassette tape by Future Proof : 面向異日 in 2019, and now reissued by WV Sorcerer Productions as a double CD, 7" format trifold cover with obi, and a 24-page booklet of the artist's visual work. Including a feature appearance of Mong Tong on “幽示 Divulging” and 7 remixes from: Yearning Kru, YunHao, Wa?ste, A.P.R.A (破地獄 Scattered Purgatory), Nerve, Coalminer, and Torturing Nurse.

碎片，嵌入在當下生活之中，你我都無法逃脫。來自台北的黑暗實驗聲響活躍分子鄭道元的音樂，便是在無窮盡的碎片裡穿行，由無數聲音材質和採樣堆積起的聲音片層，在傳統後工業音樂和當代音景之間構築起屬於他自己的獨特風格。黑氛圍、粗噪音、錯音、硬蕊電子、數位扭曲音牆、幽靈般的人聲，蒼白卻又高壓，《旣 Apeiron》來自深淵，走入未來，從灰燼中不斷重生，終點即是起點，無形無界。

▼

"Waves of distortion crash into, and over one another; buried tones are barely visible in a dark sea of fuzz and decay, occasionally drifting towards the surface to groan...

...combining the paranoid digital tones with false reassurances of open spaces and natural tones. Haunted voices, cryptic announcements from tannoys and even bird sounds appear."

- Future Proof : 面向異日

▼

Cheng Daoyuan is a multidisciplinary artist from Taiwan, engaging in various forms of creation including experimental sounds, visuals, and installations. His sonic expressions are based in dense, murky post-industrial textures, melding with diverse elements to sculpt a unique apocalyptic style, aiming to present the philosophical imagery of coexisting opposites, with the concept of the convergence of two distinct planes into a coherent form threading through his works.

In addition to being actively involved in the sound scene in Taiwan for many years, his sounds have been released internationally through albums, compilations, and remixes on multiple labels and platforms. In recent years, he has expanded his sonic aesthetics into the fields of multichannel audio, mixed media, and physical theater, presenting in venues such as art galleries, museums, and experimental spaces.

鄭道元是來自臺灣的多領域藝術家，創作涵括實驗聲響、影像與裝置等形式。他的聲音以混濁厚重的後工業質地為基底，並與各種不同元素揉合後形塑獨特的末日風格，試圖呈現對立共存的哲學意象，將一體兩面作為核心概念貫穿於作品。

除長年活躍於臺灣聲響場景外，他的聲音也以專輯、合輯及混音等形式發表於多國廠牌及平台，近年更將聲音美學拓展至多聲道、複合媒材及肢體劇場等領域，並於美術館、藝廊與實驗空間等場域呈現。

www.chengdaoyuan.com

credits

releases April 5, 2024

Disc01

All tracks by Cheng Daoyuan 鄭道元

Track 8 with Mong Tong

Mixed & mastered by Hom Yu 洪御

Disc02

Tracks by remixers

Mastered by Thomas Stadnicki

Installation, artwork, design, and layout by Cheng Daoyuan 鄭道元

Cover photo taken by Danist Wen 曾文廷

Artist portrait by Wu Wenyi 吳汶憶

© & ℗ WV Sorcerer Productions 2024

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www.youtube.com/c/wvsorcerer

Instagram: @wv_sorcerer_productions

巫唱片

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Instagram: @clansiechengdaoyuan

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order:https://wvsorcerer.bandcamp.com/album/apeiron

[redwing2000]

[KK Concept]Head Open, Head Rising, Milking (27P)

[Reward] https://subscribestar.adult/posts/1226611 https://discord.com/channels/725318162207473764/990572202829180948/1221875584934613133

This is testing purpose pictures. Silmeria set supposed to be playing…

After 10 years or more. The childhood guy still love Silmeria so much. He finally has chance fuck her clone.

He get the job be Dairy Farmer. This is volunteer job. You can select the cow you wanted. This is little different to Son route setting… At least not an manager work. The task you need to just great quality milk to company.

You can do anything you wanted after working hours.

At the end. As the working perfermance well. The guy get the chance for slaught her and having her meat. He used to fag her slaugter video over 10 years. Now this is a chance do all this by his own hand.

The deicison for him is either he do it himself or let other people do this. Yea. No chance for let him bring her back to home.

This is the rough story of this set.

… Yea. I have many Silmeria story setting. Just look back the Mother's Day. I did it few years. The novel into 3 parts … But I guess I can't did that in this year.

But the really suppose is doing something for Silmeria only.

Opening head This is romance I always want to do. I did this for horizonal opening. But I never do vertical opening. And this is it. For doing this is just very stupid.

Just puzzle hair in the studio. So I don't need to try slice the hair obj.

Eating her liked eating Oysters. It would be fun.

Milking This is another romance scene I want to do. I havn't study so much on the bones. OK… There is nip bone. Now I can do the squeeze nipples scene.

Filia Head Rising & RAW meat Filia is other girl I often use. The full nelson position I often feel. It would be fatality. RAW meat is a concept I want to do. But the presentation is still in develop. Should it be stand like a model to be meat or missionary sex and eating…

BlackBoard art Another thing I want to do for the classroom scene. This just a simply drawing but apply on classroom scene. And I also make a Miss Meat dress for Silmeria.

Rita & Durandal I switch to Vanilla plus trial. But… the testing is I use KKUTS to make the material only activate when there is light on it. KKUTS can do this. But V+ can't.

I do on Durandal hair first. After this I do the body light and face / nose light too.

Detail : https://discord.com/channels/500692948497858570/674290382884044840/1199707562392694794

But every part can't use the same parameter…

I havn't no idea what would I do on this one.

The thing want to apply on her. Full Nelson head rising and Head opening. I did them on other scene already…

Eating her raw… should be a drawing which I hold already.

這些只是測試用圖片 又是用零來玩弄，以前也說過……不是自己女兒我很快沒動力弄下去。

另一組呆鵝圖就…動力很少。而呆鵝已經算是我比較有動力弄，早期的呆鵝我還會自己去畫4K的MainTex。現在的話，會用AI放大已經很有愛了。

零的組圖是有故事設定

大約是她本人死去十多年。她的青梅竹馬還是忘不了她，而他終於有機會上他的初戀(的複製體)

他去了應徵奶農，基本上這是粉絲向的義工工作，你可以選自己想要的對象。只要在上班時間中能達標，下班時你怎麼樣弄她也是你的福利。公司有奶產品賣，義工得到想要的，WINWIN。這和兒子的故事有點不同，兒子那邊是當經理人，是在那公司上班。

在故事末，作為工作表現良好的獎勵，青梅竹馬男得到屠宰他的初戀機會。

過去十多年都只是看著初戀被屠宰的影片，

他可以決定由自己親手弄還是下不了手留給他人弄。

嗯，沒有把她帶回家的選擇，這是應徹時已經說明了予定屠宰日了。

這是大致上的設定……

零的組圖很多時都是有設定但沒有作下去。回看那幾年的母親節圖和小說……我沒信心今年內可以寫完。這個也很大機會這裡說完就沒了。

來說說測試的用義

開頭 這浪漫RYONA我是很喜歡，橫開食腦我已經作過了，但是縱開就從未成功。這次就是玩縱開。 原理是很簡易，我只是用STUDIO來組她的頭髮，這樣子就不用想怎麼把頭髮切成2份了。

縱開後，那種如食用生蠔的場景我也是很想弄很久了

擠奶 另一個很想作的場面。原來KK一直也有NIP的骨，只要改一改POSITION，再用最近開始玩的透明手。喜歡把女畜的奶頭如擠乳牛奶那樣子。

菲莉雅 昇頭和生肉 菲莉雅是零以外我很常用的KK原創卡，嘛……雖然菲莉雅其實是NTRPG2的角色

逆駅弁常常都有雙手按頭的圖，那我就再弄多一步。FATALITY，愉悅。 生肉是另一個模索中的主題。設定上女畜是可以生吃，最初的想法是騎乘位中生吃，又或者直接叫騎食位。這次只是想弄一下生吃。

黑板繪 課室用的東西，這放在課室上會很好玩。另外也一拼作成了女肉小姐的裝束。

麗塔呆鵝 這是V+時的測試圖，有另一個東西在試……KK的崩壞MOD，頭髮的光位都是直接畫在MAINTEX，所以你怎麼打燈它都是高光。

我就在想，有沒有可能把高光一層弄成，只有受光位才顯示，高出擬似高光效果。最終我用KKUTS不知弄那個弄成負值是可以。(正值是會出現… 不受光位才顯示的奇怪現象)

我是先弄這個，後來才弄了現在我常用的身體和面的假高光

詳細 : https://discord.com/channels/500692948497858570/674290382884044840/1199707562392694794

麗塔呆鵝這組圖就… 曾想過開頭，已用在零上了。生吃…也弄了在菲莉雅上。而且有手繪草圖是打算畫，這組圖就，1月放置至今了。

★ Twitter - https://twitter.com/wingr2000 ★ ★ Discord - http://discord.gg/xtnWz4h ★ ★ If you enjoy my work, supporting me on ★ Fanbox https://wingr.fanbox.cc/

[melikemordemjaponi]

✹Kürt gerillaların hikayesi, Japonya'da bir numaralı manga olarak yayınlanan ve Guinness Rekorlar Kitabı'nda yer alan dünyaca ünlü "Golgo 13" mangasında yer almaktadır.

Eserin adı "Yaşlı Bir Aslan" ve hikaye Kürt gerillaların süper A sınıfı bir keskin nişancı olan Golgo'dan Iraklı bir askeri komutanı vurmasını istemesiyle başlıyor.

Bu manga ilk olarak Mayıs 1996'da yayınlanmıştı, bu nedenle neredeyse 30 yıl önce Kürt gerillalarının manga'da tasvir edilmesi ve diyaloglarda Kürdistan'ın tarihi geçmişinin anlatılması şaşırtıcıdır.

Golgo'dan Iraklı bir komutanı vurmasını isteyen bir Kürt gerilla liderinin Golgo'ya Kürtlerin durumunu ateşli bir tonda anlattığı bir sahne de var.

"...biz, Kürt halkı, her zaman birileri tarafından kullanıldık... ve hepimizi kullandıktan sonra... her şeyimizi elimizden aldılar!"

Başka bir yerde, Baas rejiminin Irak'taki Kürt yerleşimi Halepçe'ye düzenlediği kimyasal silah saldırısı üzerine,

"Binlerce insanımızı zehirli gazla öldürdüler."

Her bir ülkenin o dönemdeki siyasi durumunu araştırıp hikayenizi kurgulama şeklinize hayran kaldım.

Kürdistan'ın doğası ve Kürtlerin yüzleri ve kıyafetleri de ezici bir güçle tasvir ediliyor ve Kürdistan halkının ve Kürtlerin ifadelerini gerçek hayatta gördüğümüz gibi hayata döndürüyor.

Bu manga'yu içeren kitap hala satın alınabilir durumda, bu nedenle ilgilenen herkesin alıp bir göz atması tavsiye edilir.

✹The story of a Kurdish guerrilla appears in the world-famous manga "Golgo 13," which is listed in the Guinness Book of World Records and is the number one published manga in Japan.

The title of the story is "The Old Lion," and it begins with a Kurdish guerrilla asking Golgo, a grade-A sniper, to shoot an Iraqi military commander.

It is surprising that almost 30 years ago, the Kurdish guerrillas were depicted in the manga and the historical background of Kurdistan was explained in the dialogue.

There is also a scene in which a Kurdish guerrilla leader, who asks Golgo to shoot an Iraqi military commander, explains the situation of the Kurds to Golgo in an impassioned speech.

"...we, the Kurdish people, have always been used by someone...and after they had used us all...they took everything from us!"

Another about the chemical weapons attack by the Ba'ath regime on the Kurdish settlement of Halabja in Iraq,

"They killed thousands of our people with poison gas."

I admire the way you have researched the political situation of each country at that time and built up your story.

The nature of Kurdistan and the faces and clothes of the Kurds are also depicted with overwhelming power, bringing back to life the expressions of the people of Kurdistan and the Kurds as we saw them in real life.

The book containing this work is still available for purchase, so if you are interested, please pick up a copy and take a look.

✹日本での発行巻数第1位であり、ギネスブックにも掲載されている、世界的に有名な漫画"ゴルゴ13"の作品の中にクルド人ゲリラの話が掲載されています。

作品タイトルは"老いた獅子"で、クルド人ゲリラが超A級スナイパーのゴルゴにイラク軍司令官の狙撃を依頼するところからストーリーが始まります。

この作品の初出は1996年5月ということですが、30年近く前に作品の中でクルド人ゲリラを描き、またクルディスタンの歴史的な背��をセリフで説明していたのは驚きです。

またゴルゴにイラク軍司令官の狙撃を依頼するクルド人ゲリラの指導者が、ゴルゴに切々とクルド人の状況を説明する場面があります。

「…我々クルド民族は、いつも誰かに利用されてきた…そして、奴らは利用し尽くした末に…我々からすべてを奪っていった!」

他にもイラクのクルド人居住地ハラブジャへのバアス政権による化学兵器での攻撃についても、

「我が同胞を何千人も毒ガスで抹殺した」

というセリフで説明されていて、その時代の各国の政治状況をよく調べてストーリーを組み立てていらっしゃるなあ、と敬服するばかりです。

またクルディスタンの自然とクルド人の顔や衣服なども圧倒的な画力で精緻に描かれていて、私たちが実際に目にした、クルディスタンとクルドの人々の表情がリアルによみがえります。

この作品を含んだ単行本は現在も購入可能ですので、ご興味を持たれた方はぜひ一度お手に取ってご覧ください。

[chinesehanfu]

[Hanfu · 漢服]Chinese Song Dynasty (960–1279 AD)Traditional Clothing Hanfu Photoshoot

【History Note】

During the Northern Song Dynasty, women who are 命婦 to attend formal occasions or common people's women often wore crowns and long-sleeved shirts and skirts when they got married.

※命婦(ming fu):Generally referred to as titled women. A married woman enjoys various ceremonial treatment, and generally refers to the official's mother and wife.

Women in the Song Dynasty had the custom of wearing flower crowns, some with fresh flowers, some with fake flowers(make by paper or silk); some with single branches, some with several branches; some of them will take flowers of the four seasons and combined it inserted on a crown, which is called "one year scene(一年景)".

Song Dynasty Lu You(陆游)'s "Notes on Laoxue'an(老学庵笔记)" records: “ 靖康初京师织帛及妇女首饰衣服，皆备四时。如节物则春幡、灯毬、竞渡、艾虎、云月之类，花则桃、杏、荷花、菊花、梅花，皆并为一景，谓之一年景。而靖康纪元果止一年，盖服妖也。 ” ​

【Translate】

“At the beginning of Jingkang era(1126-1127AD). In the capital city,the weaves silk and women's jewelry and clothes pattern, all prepared for the four seasons.

For example, the festive objects pattern are spring banners, lanterns, racing boats, aihu(艾虎:Dragon Boat Festival pattern), and cloud moon pattern, and the flowers are peaches, apricots, lotus, chrysanthemums, and plum blossoms. They are all combined into one scene, which is called one year scene. 

But the The Jingkang era(Emperor Qinzong's Reign) really ended in one year,sure enough, strange fashions will herald changes in the world.”

Just like the maid standing beside the Empress in the Portrait of Empress Cao of Song Dynasty:

________________

💃🏻Model： @寇白吃不饱

💄Stylist： @仰望的花鼻子

👑Song Dynasty Crown： @皇家传承御用手作 ​​​

📸Photo：  @realyn

👗 Hanfu： @山涧服饰 ​​​

🔗Weibo：https://weibo.com/2878787212/MnbL74qxn

________________

[taichinagasawa]

Rundgang 2024 / ルンドガング（学内展）2024

Rundgang（日本の美大でいうところの芸祭展示）では、近作の絵画2点を去年に引き続き、オープスタジオ形式で展示しました。

I exhibited current my two painting in open-studio style at the Rundgang.

（以下のステイトメントは会場では未掲示。）

English translation follows Japanese

2022年の夏、ぼくは東京で「現代アートからのリハビリテーション」というグループ展の企画展を行った。企画の目的は、作家自身が持つ欲望に対して素直になることで、基準が非常にあいまいな「現代アート」の美の規範性から脱却し、作家単位で美の規範性を形作ることであったが、結果として、たくさんのお客さんに来場いただくことができた反面、企画の中身がまったくないことを曝け出すことにもなってしまった。

会場には、日本の美術業界を下支えする構造の歪みやねじれへの批判や指摘（具体的には東京藝術大学などをはじめとした日本の美大批判など）を通じて、椹木野衣のいう「悪い場所」からの遊離を目指す、日本のアートシーンでは過激派として有名な某アーティストコレクティブのメンバーもやってきた。（なお、主宰者は来ていない。）彼ら・彼女らとぼくは、以前より少しばかりの交流があったためだ。そして、そのうちの1人がぼくに発した批判を発端に僕はこの半年間は鬱状態（正確には躁鬱状態）へと突入した。

その批判の内容は、展示企画ひいては、私自身の絵画作品自体がもとより空虚であり、中身がないという極めて真っ当なものであった。それでも鬱状態へと至ってしまったのは、日本のアートシーンにおいてはそれなりの権威があり、さらには10歳以上年上のぼくがそれなりに敬意を抱いていた人間から直接かなり強い口調で言われたからであるが、実際のところは、ぼく自身があのような作品や企画を作ってしまったことに対する深い失望があったためであると、2024年の元旦にある人との会話で実感した。

しかし、彼ら・彼女らが批判する美術業界を下支えする構造の歪みやねじれには、当然ハラスメントなども含まれているし、何より批判でコレクティブを規定していると主宰が明言している以上、その論理ひいては態度には高い知的誠実性と言論的強度が不可欠である。この一連の出来事を通じてぼくは、「悪い場所」からの遊離を目指す某コレクティブもまた、悪い場所のような閉塞感漂う空気が流れていることに絶望している。

そのような絶望と鬱の中で迫るこのRundgangの展示。とにかく手を動かすことがどれだけ大切かと、自分の経験がそう言っていても動かすまでには時間を要した。その間、ウィーンには大寒波が訪れ大雪が降り、家に閉じこもって贔屓のサッカーチーム・レスターの試合中継を見ていた。そしてそれらの光景に決して大きく心を動かされたわけではないが、だからこそ、それらをモチーフにどのような製作ができるのかを試してみたかった。（下に続く）

In the summer of 2022, I organised a group exhibition in Tokyo called 'Rehabilitation from Contemporary Art'. The aim of the project was to break away from the normative beauty of 'contemporary art', which has very vague standards, by being honest about the artists' own desires, and to formulate a normative beauty on an artist-by-artist basis. However, while the result was a large number of visitors, it also exposed the complete lack of substance in the project.

Members of a certain artist collective, well-known as a radical group in the Japanese art scene, came to the venue to criticise and point out the distortions and twists in the structures that underpin the Japanese art industry (specifically, criticism of Japanese art universities, such as Tokyo University of the Arts), and to aim to break free from the ''Bad place'' (Japnese Critc Noi Sawaragi called the ahistorical nature of this closed circle a ''bad place'', as the same issues continually reappeared in Japan's post-war art, making it difficult to summarise its history as a 'full history'. )

They and I had been in contact with each other for some time. One of them criticised me and I went into a state of depression (or more precisely, manic depression) for the past four months.

The content of the criticism was quite straightforward: the exhibition project, and by extension, my own paintings themselves, were empty and lacking in substance. The reason why I still went into a state of depression was because I was told directly and in a very strong tone by someone who had a certain authority in the Japanese art scene, and who was more than ten years older than me and whom I had a certain amount of respect for, but in reality, it was because I was deeply disappointed in myself for having created such artworks and projects. In fact, I realised that it was because of my own deep disappointment in having created such works and projects.

However, the distortions and twists in the structures that underpin the art industry that they criticise naturally include harassment, and above all, as long as the leader of the collective clearly states that criticism defines the collective, a high level of intellectual integrity and discursive strength is essential in their logic and attitude. Through this series of events, I have come to despair that a certain collective, which aims to free itself from a ''bad place'', also has an air of stagnation like a ''bad place''.

This exhibition at Rundgang is just approaching in the midst of such despair and depression now as of this writing. It took me some time to realise how important it is to move my hands, even though my own experience tells me so. In the meantime, Vienna had been hit by a cold spell and heavy snowfall, and I was stuck at home watching live coverage of the matches of my favourite football team, Leicester. And although I was by no means greatly moved by those scenes, that is why I wanted to try and see what kind of production I could do with them as a motif.

昨年のRundgangでの展示に引き続き、今年もアートフェアのような体裁は取らず、普段の制作スタジオを開放する形を基本として展示を構成しているが、昨年度は壁に囲われた空間にドローイングや絵画を展示したのに対し、今回は「20231203, ウィーン」という作品が壁の外で展示されている。

Following last year's exhibition at Rundgang, this year's exhibition is not organized like an art fair, but rather as an opening up of my studio, whereas last year's exhibition featured drawings and paintings in a space enclosed by walls, one of my peinting"20231203, Vienna" is displayed outside the walls in this year.

20231203, ウィーン / 03.12.23, Vienna

キャンバスに油彩 / Oil on canvas

1200×1000mm

2024

「20231203, ウィーン」はこの冬、ウィーンに大寒波が訪れ大雪が降った時に、自宅近くで撮った写真をもとに描いたものである。一方、壁の内側に展示されている「20230828, ベルリン」は、わたしの贔屓のサッカーチームであるレスター・シティがリーグから降格した時の観戦の模様である。

The work "20231203, Vienna" is based on a photograph taken near his home during a cold spell and heavy snowfall in Vienna this winter. On the other hand, "20230828, Berlin," which is displayed inside the wall, shows me watching my favorite soccer team, Leicester City, when they were relegated from the league.

20230828, ベルリン / 28.08.23, Berlin

スチロールに古紙、ボンド、油彩 / Used paper, glue and oil on Styrofoam

600×495mm

2024

大きな物語ではなくて、小さな物語を。モチーフは他者からしたらきわめて陳腐かもしれないが、ぼくからしたら感情の浮き沈みに作用していて。個人的にこれら２つの作品が良い作品だとは思わないが（それはここ一年はずっとその思いであるが）とにかく今は、できることから少しずつリハビリテーションをしていきたい。（2024年1月14日 長澤 太一）

Not a big story, but a small one. The motifs may be extremely banal to others, but to me, they are acting on the ups and downs of my emotions. Anyway, for now, I want to rehabilitate myself little by little, starting with what I can do. (14 January 2024 Taichi Nagasawa)

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※某コレクティブの名称は、再びネット等で攻撃され鬱状態が悪化することを防ぐ為に伏せています。絶縁しているのでご配慮ください。

＊ I am not naming actual names of artist collective to prevent me being attacked again online or otherwise and my depression worsening. Please be considerate as I am insulated.

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会期：2024年1月18日（木）〜2023年1月21日（日） 18日（木）：16時〜24時 19日（金）：11時〜22時 20日（土）：13時〜22時 21日（日）：13時〜18時 会場：ウィーン美術アカデミー(Akademie der Bildenden Künste Wien) 全校舎 ※長澤の展示は、本校舎シラープラッツ（Schillerplatz 3, 1010 Wien）日本式1階「EA2」内 交通：ウィーン地下鉄1、4号線 Karlsplaz（カールス・プラッツ）駅 Akademiehof出口より徒歩1分もしくはトラム各線 Oper, Karlsplaz（オペラ、カールス・プラッツ）停留所より徒歩5分

Dates: 18 Jan (Thu) - 21 Jan (Sun), 2023. Time: 16.00-24.00 on 18 January, 11.00-22.00 on 19 January, 13.00-22.00 on 20 January and 13.00-18.00 on 21 January. Venue: All buildings of the Academy of Fine Arts Vienna. My exhibition will be held at Schillerplatz, main building of the Academy of Fine Arts Vienna (Schillerplatz 3, 1010 Wien) Room number EA2 (Ground floor) Transport: 1 min walk from Karlsplaz underground station (U 1 and U4), exit Akademiehof or 5 mins walk from tram stop Oper, Karlsplaz.

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【公式HP（英語、ドイツ語）・Ofiicial web page (English, German)】

[elsababedoll]

爱莎贝儿-165CM RHC031 酒井可奈子Sakai Kanako-教堂魅影

好好的天气说变就变，我只能躲进附近的教堂里

里面安静的出奇，昏暗的灯光给本就反常的场景披上了神秘的面纱，一边疑惑着一边向里探索着

“叮~”好像踢到了什么东西，弯腰走近捡起一看，是一个十字架项链，这.....

“可以把它还给我吗？”一抬头撞入眼帘的是一张宛如天使般的面容

碧绿的眼瞳幽深的仿佛能把人吸进去，金色的瀑布流淌在完美的躯体上

把十字架交给她后，她低下了头，嘴里念着不知名的话语，几秒过后，她缓缓的抬起了头

! ! ! ! ! ! !泛白的瞳孔，眼眶里流出血泪，整张脸已看不出本来的相貌

她阴森的说道“忏悔吧，罪人！”我：？？？？？？?

我想跑却已经由于过于害怕根本移动不了！也做不出什么表情，只能瞪大双眼看着她

修女视角：此人绝不一般！若是换做平常人早已经被我吓破胆了，绝不可能像他这般如此淡定，还是先收了这模样吧

“很好，你通过了我的考验，面对我的拷问没有流露出丝毫的心虚”修女又恢复了那令人心神荡漾的模样

虽然不知道发生了什么，但我还是淡定说“我早已知晓你的用意，既然已经通过，我就先回去了”

“等等”我心里暗自叫苦：就知道没这么简单

“你难道不知道这教堂只能进不能出的规矩吗？不过嘛，也不是没有办法.....”

“愿闻其详”我点点头说道

“我在这三百余年，这教堂与我几乎已经算作一体，如果在我身上破了这个规矩，就不会受到伤害同时也能破解这个诅咒”

我心中了然，目前也只能这样了，就当自己当了回宁采臣吧

接下来的一天一夜里，我都在“进进出出”，偌大的教堂里，只有交缠的身影与余音绕梁的仙音

一阵眩晕后我在墓园的长椅上醒来，如果不是我手中攥着的十字项链，我一定会以为那只是一场梦

胸型：165cm-M

过几天就是万圣节啦，你准备好被吓到了吗？

Elsa Babe-165CM RHC031 Sakai Kanako-Phantom of the Church

The good weather suddenly changed, so I had no choice but to hide in a nearby church.

It was eerily quiet inside, and the dim lights cast a mysterious veil on the already abnormal scene. I wondered inside while exploring.

"Ding~" I seemed to have kicked something. I bent down and picked it up. I saw it was a cross necklace. This...

"Can you give it back to me?" When I looked up, I saw an angelic face.

The deep green eyes seemed to be able to suck people in, and golden waterfalls flowed on the perfect body.

After handing the cross to her, she lowered her head and muttered unknown words. After a few seconds, she slowly raised her head.

Her pupils were white, blood and tears were flowing from the eye sockets, and the original appearance of the entire face was no longer visible.

She said darkly, "Repent, sinner!" Me:? ? ? ? ? ? ?

I wanted to run but I was too scared to move! I couldn't make any expression, I could only stare at her with wide eyes.

Sister's perspective: This person is anything but ordinary! If he were an ordinary person, he would have been frightened by me, and he would never be so calm. I'd better change my appearance first.

"Very good, you passed my test and did not show any guilt in the face of my torture." The sister regained her captivating appearance.

Although I didn't know what happened, I calmly said, "I already know your intention. Since it has been passed, I will leave first."

"Wait a minute" I cried secretly: I knew it wasn't that simple.

"Don't you know the rules of this church that you can only go in but not go out? However, it's not impossible."

"I would like to hear the details," I nodded and said.

"I have been here for more than three hundred years, and this church and I have almost become one. If you break this rule on me, you will not be harmed and you will be able to break this curse."

I know in my heart that this is all I can do now, just treat myself as Sam Wheat this time.

For the next day and night, I kept "going in and out" of her like a machine. In the huge church, there were only intertwining figures and lingering fairy sounds.

After a period of dizziness, I woke up on a bench in the cemetery. If it weren't for the cross necklace in my hand, I would have thought it was just a dream.

Breasts size: 165cm-M

Halloween is coming in a few days, are you ready to be scared?

[aworldforastage]

my first danmei playlist -- part 3: songs from the "musical audiodramas"

[see more in this series are under the tag #my first danmei playlist]

[Link go to the song's page/player on Mao'er]

OST Overkill: 君有疾否/Jun You Ji Fou

JYJF is one of my favorite danmei novels. The political plot has its weaknesses, but the audiodrama made up for it with amazing musical production. I made myself pick just three or I'd make at least two posts just for this drama.

落于江山一处白/"Falls somewhere as a speckle of light" by 易言, from 君有疾否/Jun You Ji Fou, Season 1

飞笺摧成雪，循风吹至来 落于江山一处白 floating letters dissolve into snow, are carried here by the wind falls somewhere as a speckle of light

Like with most songs from this drama, I'm hooked more by the music than the actual lyrics. The lyricists are trying very hard to write poetic lyrics, but the more complex the lyric, the more difficult it is to understand while listening!

多情雪/"Passionate Snow" by 陈在野, from 君有疾否/Jun You Ji Fou, Season 2

纵有热忱满捧 万般情浓， 不必惊觉 知与我心同 天灯亮夜，飞遍相思城 Even full of sincerity, with intense passion, Do not be surprised to learn that my heart is the same. Lanterns have lit up the sky, flying all over this city of our love.

This is the music playing in the background during yet another memorable lantern-wish scene, which is super bittersweet in context.

"First wish is for a prosperous nation; second wish is for the security of the people; third wish is for the my love to be happy and safe, and be well in all the years to come"

折花也！/"Picking Flowers!" by 马正阳、陈张太康 from from 君有疾否/Jun You Ji Fou, Season 2

折去江南满涧花，雪上蜀郡好还家。 Pick all the flowers along the rivers of Jiangnan, return home when snow has reached the Shu county.

This is song part of the post-finale special, and the lyrics refer to the characters traveling the land after their "retirement." It's a duet with both main voice actors, and it felt extra special to hear it the character's voices sing about their happy-ever-after.

Canonical Hits: 小行星/Little Asteroid

The love interest in Little Asteriod is an in-universe pop star. Voice actor 景向谁依 record several songs for this role. Given my personal taste, the novels is an "ok but not fantastic" kind of read, but I really enjoyed the music it put out -- feels like the kind of Cpop I liked growing up.

行星/"Planets" by 景向谁依, from 小行星, Little Asteroid, Season 1

环绕一个星河内的圆 轨道固定为亿万年 无法阻止想再靠近你一点 Transiting through a spiral galaxy In an orbit that has been fixed for trillions of years Can't stop me from wanting to be even closer to you

Your typical romantic ballad, but I'm always unreasonably enthusiastic about celestial references: very on-brand for this novel.

在你之后/"After You" by 景向谁依, from 小行星, Little Asteroid, Season 1

在你之后 / 我无法为谁停留 After you left / I cannot stay for anyone else

the angsty break-up song. If it's not obvious yet, it will be by the time I finish these posts that I'm just a sucker for this kind of music.

喜欢你/"I Like You" by 景向谁依, from 小行星, Little Asteroid, Season 2

喜欢你目光 像雪后暖阳 I like your eyes on me, feels like warm sun after snow

the happy "I'm in love" pop song. It's like a cute little puppy wagging it's tail in front of you, but in song form. Just so cute and happy!

[sweetamulet]

Build Jakapan Puttha จักรพันธ์ พุทธา

#buildJakapan

#catstudy

Instagram: buildurluve

In the past few years, I have been watching many different Thai dramas but hardly know the real name of the Thai artist. Build is the only Thai artist who can let me spell out his full name instead of memorizing his nickname as an international fan. He is very beautiful, very much alike Howl - ハウルの动く城.

這幾年追了不少泰劇, 他是唯一一個可以讓我完整拼出名字, 而不是記小名的泰星 , 這應該是不少International fans 的心聲。 他很漂亮，很像是Howl 從移動城堡走出來的真人- ハウルの動く城

I learned about him from Chinese magazines, where he has a lot of interviews and photos with Bible.

It was a familiar place and many different series had been that beautiful little house to film scenes. When Bible took his kitten -Gray and Build together for an interview, Build said that he wants to build a "cat farm" in the future and raise 12 cats by himself. Then Bible next to him smiled and said that he couldn't handle even one. haha. ..After reading it, I was curious about taking care 12 cats alone seems like he doesn’t want to bother others. After that I found in BOC’s self-made vlog, in the Art & Crafts episode, Bui mentioned that he would go to the art gallery alone; walk around the streets of Tokyo by himself to think about the future. And I understand *Being alone* isn’t too difficult for him. Independent thinking plays a large part in his life.

最初能了解到他是要謝謝眾多的中國雜誌社安排了很多採訪跟拍照 (笑)。

那是一個熟悉的場景, 很多劇組都曾經到過那漂亮的小房子拍過戲, 當 Bible 帶著他的小貓 Grey 跟Build一起入鏡採訪是很有趣的組合! 印象很深刻 Build 說了他以後想要蓋個" 貓農場" , 一個人養12隻貓.. 旁邊的Bible笑笑說他一隻都搞不定了, 哈 .... 看完當下只是好奇, 他是因為不想麻煩別人所以才說自己養12隻貓嗎? 後來在 BOC 自製的 Vlog 當中 , Art & Crafts 那集, Bui 也提到他會一個人去看畫展, 自己在東京街頭走走, 思考未來.. Be alone 對他來說都不是太難的事情, 獨立思考這件事對他的人生取捨佔了很大部分。

#BibleBuild

I heard a lot of people waiting for Build to share his favorite music on Instagram stories (those songs on his playlist are fantastic), and sometimes Bible gives feedback through his music. . Maybe it is just my imagination, however their friendship is real, because BB once said, "We ride together, we die together, bad boys for life." Although I know that on-screen couple will do some fan service when the series is on the air. I love this kind of sweet moment. Bible sent many handmade items to Build., such as the necklace, earrings, bracelet, and a peach heart for Bui. He mentioned the moment he received that 💙 from US, he turned around and saw Bible's smiling with a confident nod. 🥰🥰. Build is one of a kind friend for him.

有一陣子常常會在IG 限時上等待他播放音樂, (他的歌單都很好聽) 有時跟 Bible 相呼應, 或許是錯覺, 但他們的友情也是真實存在 ，因為 BB說過: We ride together, we die together, bad boys for life。 雖然知道泰星在���上檔時會做些 fan service, 也很喜歡這類的 sweet moment, 初期著迷於Bible 的 DIY, 無論是送給 Bui 項鍊,耳環,手環 或是那顆相對稱的心, 當 Build 提到他收到的當下，轉頭看到Bible的表情是自信的點頭, 不由得跟他一起會心一笑...(好可愛)

At the end of July, I saw KPWT's first concert in Bangkok, He bravely step out of the shadow with his great performance. Although I couldn't grab tickets for the first show in Taipei, it was completely sold out in five minutes. Bui expressed the most touching voice from the bottom of his heart in the first show in Taipei. Thank you, God, for allowing them to have an additional extra concert that I could be there to cheer him up. I enjoy seeing P'Ja and also N'Bui, especially when he's wearing those adorable cat ears. 🎵🎵

七月底在網路上看到 KPWT 的第一場演出, 很感動,那是 Build 重新出發的第一場演出, 也是大家期待看到多才多藝的他能勇敢跨出那陰影.. 地球上的人們,沒有人是完美的。 最後一場來到台北, 雖然搶不到票,但是加演那場的有跟到完全是因為 Bui 在台北第一場由感而發的說了內心深處最動人的心聲。 喜歡 P’Ja 也愛看 N’ Bui... 尤其是戴著貓耳的他超級可愛..

I Love to see that his clothing has no gender. Most of us can only see his outstanding performance on stage, but he is the only one who shows his full heart to fans. 💙💙 Su su... I hope to see you again in the near future, and no matter what you do, everyone will support you as always.

I would like to thank you for letting me know who Lucy is—the first human being discovered in 1974.  😊😊

這世界美麗的人很多, 但是能像他這樣 no gender 的打扮穿著的很少, 時而帥氣，時而撫媚。大多數的我們都只能看到他螢幕前的表演, 但是能哭著把心掏出來給到fans的他是唯一。💙💙Su su na...希望不久的將來可以再次看到你,不管是以什麼身份出現, 大家都會默默的支持你!

P.S. 代替 1974 年被發現的第一個人類 Lucy 謝謝你, 因為你又多了一個人認識她 (笑)