i'm only at the beginning of li tongguang's descent into obsession (eps 17-18), but already it's both hurting and hitting. hurting, because we know li tongguang's capabilities, and his level headedness, and the potential he has, that he seems to throw out due to this obsession. hitting, because when you think about it, the obsession storyline and characterization does make perfect sense. obsession like that is a double edged blade, which can turn from love to hate, childish belief and joy to embittered rage in a second.
on one hand, it's painful to watch ltg's childlike desperation when faced with ruyi again. we want to grit our teeth and think of him as idiotic, unable to take a hint. but the reality is that it's a completely normal response to be expected from him. i mean, it's a dream come true, to see the person you 'love' the most in the world to be whole in front of you. it's probably what he could only dream about, especially being the one to apparently find her bones and bury them.
on a deeper level, ltg's initial reaction is very much a manifestation of his inner child, almost peter pan-like in the 'child that never became an adult/grew up' way. by that i mean to say the desperate urge to please, the constant worrying, and the oscillation between hot and cold moods are all so indicative of someone who grew up in an insecure/unstable environment, usually with volatile or simply unavailable authority figures. from what we can gather, he had no father, his mother wasn't in his life ("she doesn't want him around, nor can she bear for him to be away, so that's why he's like that" per empress zhaojie's words to ruyi). the one authority figure that entered his life to offer some semblance of guidance was ruyi, and even though it's clear that she held care for him, she was also a twenty year old assassin used to training subordinates, not children. her mentorship style is clearly so different when you hold ltg and yang ying side by side, and we know from ruyi's own mouth that she doesn't consider herself to have taught ltg well, and wants to remedy that through/with yang ying (i'll probably make a whole different post comparing this and the affects of this after watching some more episodes lol - there are bullet points in the drafts). so even though ruyi was his authority figure, she was still an emotionally unavailable one who couldn't meet ltg on the level he probably needed at that time in his life, and which no one probably ever did. hence his up and down reaction and actions.
it intrigues me, too, because i think, in a very subtle way, ltg is very much a character foil to ruyi in that he reflects some of her worst attributes, or more accurately represents the sort of person she was, or at least acted like (yuan lu's comment about how ltg has ruyi's gaze was meaningful outside of the jealousy arc - to me at least). i saw someone make a really interesting comment on how ltg's devotion to ruyi parallels ruyi's own devotion to empress zhaojie, which i'll also probably comment on more later.
obviously, ltg's obsession stems from an issue much larger than ruyi herself - she just happens to be the unfortunate target of it. and, clearly, i know his descent into it will be ugly, if understandable. i understand ruyi wanting to leave that part of her life behind, but also - to think that maybe many of the issues faced in future eps could have been avoidable if she'd been upfront with li tongguang about her identity early on.
29 notes
·
View notes
Ren feels his Q— the Shadow Lady’s presence before he sees her; there’s an aura of dread that precedes her and draws his attention. He frantically signals BigB to prepare for an incursion; hates the way his heart still leaps when he actually catches sight of her. He gets himself in a good defensive position, perched up on the roof. His bow is held loosely in his hand, not yet drawn; he doesn’t want her taking it as a threat, though he knows the odds of this encounter not ending in violence are low. BigB takes the position in front of the door, his sword out and ready.
The first thing the Shadow Lady does is compliment Ren’s defenses, and all he can think is But they weren’t good enough. He doesn’t know if he means to keep her out or to keep her safe. Her voice is soft, friendly, and it frightens him— why does she still sound the same as she always did?
“I think you know why I’m here,” she says, and he dips his head in acknowledgement. The heady scent of vengeance is in the air, just as strong as the dread the Shadow Lady brought with her, and a part of him thinks he probably deserves it. The other part of him grits his teeth and swears he will fight until his last breath, because he wants to win.
And then she says, “But not you, Ren,” and he nearly loses his grip on his bow, and she says, “You were a loyal knight to me,” and he cannot breathe.
His Queen has always been merciless, so why is she showing him mercy now? He drove her out of her own court, forswore his fealty, and she calls him loyal.
While he’s having this crisis, his Queen has turned her red-eyed gaze on BigB. “But you,” she says, and Ren should be drawing his bow, he should be preparing for the attack that he knows is imminent.
And yet, he cannot bring himself to do it. He wants to move, he wants to help BigB— his ally, his brother in arms— but he swore. He swore he’d never lift a weapon against her and for all his faults Ren is a man of his word.
Until the end of the server, he’d promised. And the server has not ended.
Later, when he thinks back on it, he knows his Queen was even more merciful than she could have been. She still holds his name— even the rules of the game separating reds from the rest cannot override that pact. She could have made Ren kill BigB himself, letting him suffer the same fate of dying at the hands of an ally that had first set the Fairy Fort on the path to ruin. But she did not, and though Ren knows it was probably only his Queen’s red bloodlust, he is still grateful.
And now he is alone in the Shadow Keep.
22 notes
·
View notes
Vice Versa ep 12
IT'S THE LAST ONE FOLKS!
So I really did go a bit feral with the theorising over what the last colour theme would be...and it wasn't a complete surprise that it was Crystal Clear since 'transparent' had been suggested - after all, there had been details in ep 11 and throughout the series that hinted towards this.
Anyway, during the ep, this theme of Crystal Clear can been seen in the way Puen and Talay are being open and honest with each other, and with the information they offer to the other universe travellers, and in Talay's honestly to Gyo about his relationship with Puen as well as his drunken confession to Puen. Puen also had to grapple with being asked of his private life - and being told to cover up his relationship (in a 'glass house' of all places) but instead deciding to be transparent about his feelings to the press.
To reflect this, a lot of the colours in the beginning of the ep are pale tones, creams, whites, and greys, or very neutral, with only a few stronger colours here and there.
There were also small bits of red in the beginning, but either just momentary (top left and bottom right below) or subtle (bottom left, with the purple/pink of the plastic covering, or top right, with the letter box and in the car - just look how glorious that pink trumpet tree is, imagine how beautiful it could have been had we seen it in bloom 🌺). This is similar to how the show used red/colours more sparsely in ep 11 as a distinct contrast to the 'colour-world' of the alternate universe. Also I loved that the first time the main background colour wasn't just creamy/white was in the association - a call back to how colourful the alternate universe was:
But then things got interesting. First, alone in the restaurant (apart from the sax player and the wait staff of course), Puen gives the folder and t-shirt to Talay - reminders of their time in the alternate universe - and their world becomes full of colour, albeit mainly neutrals, browns, blues and yellows. The only noticeable 'red' tone, being their pink drinks.
And second, upon a closer re-watch, I noticed that the ep seemed to be loosely divided into three parts, with each third having it's own highlighted colour...and being bridged from one to the next by scenes infused with a lot of brown - which I'd like to think is because it's showing the seriousness of those moments... Anyway, the first third, as I've said above, is more neutral or pale in tone, and covers the time up until the live-stream interview. The second third covers the time of Puen and Talay's estrangement which followed the interview.
Now, in past episodes where Puen and Talay have had a similar separation - whether physical or emotional - red/pink became mostly absent until they reconciled (ep 6, ep 7, and ep 9). However, in ep 12, they did...wait for it...THE OPPOSITE!...alright...VICE VERSA!! In that, when Puen and Talay were dealing with their separation, we got more blocks of red. First with Puen's manager (embodying the STOP and 'facing reality' interpretations of red) and the pink sofa (also note all the brown!):
Then with Tou's cardigan (matching Talay's blue on Tup) and the huge red curtains behind Talay, reminders for Talay about the reality of his and Puen's love (which Tou and Tup emphasise in recounting seeing Puen look for Talay):
And with Gyo's pastel pink top (matching the blue in the background) - whose idea to film Talay and get the usb to Puen enabled them to reunite - and Puen's own red top, which he wears during the glasshouse interview and back at his apartment:
Although there's very little visible red when Talay gets caught by the press (only the letter box again), he is stood in front of the pink trumpet tree - which is poignant since he is having to deny his love for Puen when the symbol of their relationship is towering over him (imagine how great this scene could have been if it had been in bloom!).
But then Puen makes a choice (albeit fuelled by Talay's drunken confession). He goes against the script given to him by his manager and declares his feelings for Talay and intentions with their relationship to the world.
And here we shift into the last third and the predominant colour becomes blue - starting with the press conference, where Puen himself is in dark blue and many of the press also have shades of blue. I love the setting of this with the white face with open mouth behind...and the inside of the mouth being a bright red - Puen is speaking his truth, his reality...and into a red microphone too.
Then at Talay's home, both Puen and Talay are in blue (and note all that brown again)...
And later again in lighter blues (when their worries are more alleviated), when they visit the last place they were together in the alternate universe...but this time with hints of red/pink in the car as well.
At the very end, although neither are in pink/red or blue, Talay says that Puen "paints his life pink forever"...I think that we can also read into this later use of blue that the same applies in reverse -> Talay also paints Puen's life blue forever. No?
[Ep 1] [Ep 2] [Ep 3] [Ep 4] [Ep 5] [Ep 6] [Ep 7] [Ep 8] [Ep 9] [Ep 10] [Ep 11] [Ep 12]
36 notes
·
View notes
Love and/in the apocalypse
There’s something about post-apocalyptic media that shows the innate desire of humankind to love, and how love blossoms despite inhumane circumstances. There is nothing like monsters, a deadly pandemic, be it a swine-flu virus or a fungal infection, or a high-stakes series of potentially deathly games, to showcase the enduring spirit of humanity. At the end of the world, when all seems lost, is lost, has been lost, there is hope, for love continues to exist.
When humanity seems doomed, and lives frail and finite, choosing to love is an act of defiance, that denies all circumstances. Love is choosing to live, and continuing to live means choosing to love, no matter the time or place. Bravery and defiance means choosing to love in the face of inevitable death, despite it, even, choosing not to fear, but to live.
Love in a post-apocalyptic world means sharing strawberries, making and collecting art, venturing into the unknown together, facing almost inevitable death and coming out alive against all odds. The end of a world does not mean the end of life, and while society has fallen into disarray, humanity seems to become clearer in the process. Choosing to love while the world crumbles or has crumbled is an act of defiance against the most inhumane of circumstances, and shows that despite all, love can blossom in the most dire of times.
12 notes
·
View notes