Ooh, Thanks For Contextualizing Shangjues Visuals With How Wuxias Tend To Code Villain And Villain-adjacent

Ooh, thanks for contextualizing Shangjue’s visuals with how wuxias tend to code villain and villain-adjacent characters! (I really like the post I linked below because it shows how that scheming characterization gets reinforced by not only the set design and costumes but also the lighting and dialogue.)

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Feeding My Procrastination

With each new episode, the mystery that is Shangjue gradually unravels; for instance, his obsession with cleanliness or why he often compare

Given we can look at Ziyu’s brother as a representation of a morally upright, filial form of masculinity, I love the idea of the show’s initial visual storytelling playing with our expectations of the characters’ storylines and their true personalities/intentions. Ziyu is visually portrayed as a wastrel and overly delicate (I forgot to add in my original response that shot of him sprawled on that low seat like a Victorian woman resting on a fainting couch) but he ends up growing into the role of Sword Wielder and becoming respected. Shangjue is visually portrayed as a powerful scheming villain but is not actually as antagonistic or ruthless as we first assume (I believe his last scene is him looking at the azaleas Qian planted?). And then Huanyu is visually portrayed as the dutiful and strong First Son but then ends the series fighting tooth-and-nail in darkness basically going “fuck the Gongs I just want power”. I so appreciate the show using its first and last shots of each of these characters as bookends and to efficiently communicate their growth, changing relationships, and the show’s larger themes like deception and first impressions.

My Journey to You Ep. 12 visuals: Love in blue

Ok, I'm not really a color theory girlie, BUT when a character suddenly changes up their outfits that's something I like to pay attention to. Gong Shangjue has always been portrayed in somber black and suddenly he's dressed in blue for his little lantern date with his assassin fiancée who also happens to frequently dress in blue?

Oh, it's so on, production design team.

But first, let's take a moment to relive this banger of a scene.

The sexual tension between these two makes me absolutely feral. This slow burn is what enemies-to-lovers should always aspire to.

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Well, shit. I saw that jaw clench, Shangjue. Sorry, can't offer any substantive commentary. Still recovering.

Moving on...

Something I didn't really notice until this episode was how blue-toned Shangjue and Qian's scenes are in comparison to Gong Ziyu and Yun Weishan's scenes.

It's reflected in the costumes, with Ziyu and Weishan often wearing warmer colors with more exuberant gold embroidery and trimmings. It's reflected in the lighting with their scenes more reliant on the warmth of ambient lighting while Shangjue and Qian's are often shot with cooler natural light. It's also present in the set design, with Shangjue and Qian's scenes (especially those shot together) consistently involving or happening by water, which reminds me of the Chinese poem:

Drops of water can break through stone [if given long enough].

In other words, "soft" strategies can eventually make headway in difficult challenges—in this case, Qian's clever use of care to crack through Shangjue's personal defenses. And probably vice versa in the future.

Also, note how both scenes above start with the camera panning and tilting up from the blue of the water before focusing on the two characters. The camera crew for My Journey to You use a surprising amount of movement in their shots so I'm going to pay more attention to how they introduce and conclude scenes from here on out.

Of course, Shangjue's new blue outfit (and the warm blue of the pond landscape) is immediately noticeable given how starkly monochromatic and cold most of their scenes have been up until this point. Wearing the same color is a costume representation of their growing closeness. This dinner date is yet another unexpected peace offering from Shangjue, possibly his response to Qian's earlier question of "Isn't it good to be cared about?" (And correct me if I'm wrong but I think it's also the first time he actually gives Qian something rather than a few insights into his psyche. He and Ziyu have very different love languages lol)

But from the loaded dialogue it's clear that neither are overcome by the unnamed growing attraction between them, and I expect the blue that visually represents their relationship to return to a cooler tone by the next episode. They're still playing cat-and-mouse with each other, just with sexier vibes.

(Side note: Ryan Cheng is so good here. The way he relaxes and tenses his body, the smooth transition between microexpressions as the two characters dance between interrogation and half-truths. Ah, to be hot and talented. Can't relate.)

Finally--and I'm pretty sure I'm reaching but it's my tumblr so why the hell not--I want to talk about Gong Yuanzhi's costuming. Something I immediately noticed about Yuanzhi's character is how his closet is probably the most diverse of the main cast. Unlike other characters who tend to wear variations of the same fabrics, his outfits use different textures and colors. He wears a lot of black like his beloved cousin but also blues, silvers, whites, and now in Episode 12 green. I wonder if his lack of commitment to one color story is an indication of how his alliance with Shangjue will shift in the future, especially if Shangjue ever allows his attraction to Qian to cloud his judgment about either Yuanzhi's loyalty or what is in the best interest of the Gong clan.

Episode 12 definitely felt like a transitional episode that is meant to drop clues and kickstart a bunch of plot threads so I'm excited to see how those threads converge or diverge from these color stories if at all.

Ripe Town Ep. 1 visuals: Under the cover of light

I am absolutely LOVING the historical crime drama Ripe Town. It's moody, nicely paced, and has really solid acting. The show reminds me of a grimmer, more ruminative A League of Nobleman, and its restrained but equally masterful cinematography caught my eye from the first scene. If you're looking for a prestige drama, this is it.

I wanted to share some of the cinematography choices the show makes in its first episode that help set the perfect tone for a crime drama. Film nerds, there are so many goodies in this show.

Under the cover of light

What a great cold open.

The show drops us (literally) in a farm field with our main character, Qu Sangeng, and his partner, Gao Shicong. They are bailiffs who have been sent out into the fields to investigate the mysterious appearance of a scarecrow, and they soon discover it's the dead body of Sangeng's mentor, Captain Leng.

(Side Note: There's something intriguing about the way the camera lingers on this sea of gold as it swallows and propels Sangeng and Shicong toward the scarecrow. It's almost like the field is its own character with its own memories. I don't think this will be the last time the plot returns us to this location.)

We learn at the coroner's that Captain Leng had not only been strangled but also pierced with a wooden rod bearing the Confucian quote "My principle is unified." This inscription paired with the theatricality of the body's staging (in broad daylight, in an open field) lends a deeper meaning to the murder. As an officer of the law, it is Captain Leng's duty to uphold justice, so why else would the murderer distort a classic work of philosophy if not to indict Leng of some moral malpractice?

And to a certain extent, we can understand that indictment by how the show portrays Captain Leng and Sangeng's colleagues in the criminal court system. Just look at how these officials are introduced:

They're filmed in darkness or shadow, the use of low-key lighting giving each a suspicious air. The strategic use of props further reinforces our first impression of them as sinister, incompetent, and corrupt men.

It makes you think about what other crimes have been committed in these rooms under the guise of justice.

The virtuous (but unstable) lone cop

Given how the show portrays the police and court system, it's notable how our main character, Sangeng, is often blocked in relation to them. As a bailiff, Sangeng is intelligent and principled. When we look at the composition of his scenes with men in power, he is often positioned towards the other end of the screen with the vertical lines of beams or doors physically demarcating his separation from them. He doesn't share their ethics nor does he tolerate their power plays.

And yet in Episode 2, we see the usually stoic Sangeng display a startling amount of violence and abuse of power, similar to a colleague he had criticized for the same behavior during this episode. I'm curious to see if and how this investigation continues to unravel him.

If these walls could speak

Ok, my favorite part of this show's cinematography is its use of dirty framing. Look at these gorgeous shots:

Dirtying the frame is when the camera crew uses things like architecture, objects, or even people in the foreground to add depth to a shot. Ripe Town constantly uses windows, plants, etc. to frame our characters as they discuss the case, which is such a smart way of upping the show's creepy factor. It feels like there is always someone (possibly the killer?) watching from beyond the frame

But maybe even cooler is the constant use of background action:

Check out how often there are people in the background near enough to our main characters to observe but far enough to not be intrusive (or helpful). Throughout Episode 1, we see farmers, bailiffs, and other workers stand around as Sangeng works the case. Like with the dirty framing, there's a sense of surveillance but this time from the townspeople as a whole. It's the classic small-town mystery trope where you suspect everyone knows more than they let on.

I wonder if this notion of surveillance will become one of the show’s major themes: are people watching because they’re trying to protect a secret or are they watching because they're hoping someone will reveal and take accountability for those secrets?

Together, these filming techniques create a fascinating world where murder is committed during the day and secrets are revealed in the dark. I can't wait to see how the story continues to deliver more and more interesting visuals as its mysterious plot unfolds.

My Journey to You Ep. 1-2, 24 visuals: Portraits of power and masculinity

I'm doing a rewatch of My Journey to You and I just can't get over how well the show introduces its two male leads, Gong Ziyu and Gong Shangjue. In under two minutes, these two scenes brilliantly establish one of the show's core themes around masculinity and power without a word of dialogue.

Ok, so I gasped when the first glimpse we get of Ziyu's character, the protagonist of a wuxia drama, is a delicate shot of his bare feet. He's a nobleman's son in a sect that is revered by the rest of the martial arts world and yet look at what he's (not) wearing: no military regalia, weapons--just a thin robe and his bare feet.

He's also shown napping, sprawled across his seat like a Victorian woman on a fainting couch. And then when he wakes up, we see him staring longingly out of the brothel's window, his face gently cast in the morning light, like a fairy tale princess locked away in a tower.

Visually, the show immediately communicates to us that Ziyu represents a softer, more romantic image of masculinity, which is reinforced over and over again throughout the show with other feminine-coded symbols (e.g., Ziyu playing music, wearing a red couple bracelet, carrying a bunny lantern). He’s not meant to be seen as a strong son ready to lead his sect but as an overly sensitive playboy wasting his time away.

And then we're introduced to Shangjue.

The music thrums menacingly as Shangjue rides into the Gong residence, his uniformed men carrying spoils of war behind him. As he passes through the main gates, we see each guard bowing in respect. All of this fanfare and the solemn blackness of his riding gear signal the important political role he occupies within the Gong family.

(Side Note: Ryan Cheng's side-eye is magnificent and one of the sexiest things to hit Cdramaland in 2023.)

But what I love most about this scene is the use of high and low-angle shots and central framing. At 6'2’’, Zhang Linghe (the actor playing Ziyu) is a giant, and yet the high angle and surplus negative space around him makes his character look small, almost pitiful in comparison to Shangjue.

In contrast, the zoomed-in, low-angle shot for Shangjue communicates his intimidating persona. There’s something ruthless (even kind of malevolent) about his character, and the show tries to convince us of this first impression with repeated use of shadow and animalistic imagery in its early episodes. He embodies the type of masculinity a powerful sect like the Gongs would want representing them in campaigns with the outside world.

From the jump, Ziyu and Shangjue are set up as antagonists, both by how the characters dismiss one another in the script and also by the show's visual storytelling.

Of course, as the show goes on, both characters gradually change their opinion of one another, and this change is mirrored once again in the visual storytelling. Their final scene in Episode 24 is a near reversal of what we saw in their intro scenes (many thanks to @kingsandbastardz for pointing out the costumes!):

Shangjue's hair is up in a ponytail, neck bare, his rich blue robes nipped in at the waist. He's no longer dressed in his villainous black robes and he doesn't look as physically imposing without his signature cloak. He is finally Ziyu's ally. And check out how the camera angle is also reversed, with Shangjue being shot from a high angle so he looks less dangerous--even fragile--while Ziyu is shot from a low angle to look more powerful.

Despite audience expectations about what type of man would make a strong leader, he has officially grown into the role of Sword Wielder.

Sitting devices in ancient China

English added by me :)

"But I'm not clothes" killed me. The break in Yuanzhi's voice. Really hammered home for me just how young he is and the way we relate to loss and grief at that age. When we're young, we assume our feelings of grief shrink as time goes on, but oftentimes they remain the same; all we can do is cultivate and expand the love, joy, etc. that surrounds that grief so it doesn't dominate our everyday lives as much.

When he was a kid and Shangjue gave him Lang's knife, Yuanzhi immediately wanted to give him a gift in return but Shangjue reminded him he had already been given the best gift (another brother). Shangjue has a very deep capacity for love that can coexist with his grief, and I have hopes that Yuanzhi will see that as he gets older.

And I think that's plausible given the visual language of Qian's flowers.

When Qian and Yuanzhi talk together once last time, Yuanzhi bitterly plucks a flower that hasn't bloomed.

Qian: "The flowers haven't bloomed yet. Why did you pluck them off?" Yuanzhi: "Because only flowers that haven't bloomed will be remembered forever...In Shangjue's heart, we who are alive can never compare to the dead Lang."

And yet the flowers eventually bloom.

(Side Note: Gah, Ryan Cheng's acting is so good in this scene, with that mixture of pain, yearning, and peaceful resignation crossing his face.)

Of course, we can compare Qian to a flower that never bloomed because she left and therefore she will be remembered forever like Lang, but I think given Shangjue's costume (a spring-like green) and overall lighter demeanor with Ziyu and Zishang, this is also a moment of blooming for all the relationships in his life, including Yuanzhi's.

Basically, I want six seasons and a movie from Director Guo so I can put on my tin foil hat and just analyze the shit out of the visuals lol @randomingoftherandomness

My Journey to You Ep. 13 visuals: Lanterns of fate

"Be it manmade or natural fate, I want all these fates." -Thirsty Sister

No matter how many times I see them, I always love a good lantern festival scene. And when those scenes use said lanterns as a visual motif to represent the significance of Fate in our characters' relationships? Yes, please.

Sigh, such lovely framing. And I'm glad to see Jolin Jin get an opportunity to exercise those dramatic chops.

Gong Zishang's rumination about Fate really encapsulates so many of our characters' current relationships, no? Both Yun Weishan/Gong Ziyu and Gong Yuanzhi/Gong Shangjue collided into each others' lives because of nefarious, political machinations, not natural Fate.

Weishan was planted in the Gong residence by Wufeng to destabilize the clan's stronghold in the martial arts world. And yet Fate is a funny thing. Weishan probably never imagined the Sword Wielder to embody the type of soft life she has always desired but never deemed herself worthy of so it almost seems like Fate that two individuals who desire the same thing would find each other and fall in love despite living in such a cutthroat world. Ultimately, she decides to challenge the fate dictated to her by Wufeng by deciding to save Ziyu, thereby permanently changing the course of their lives (and the plot of the show).

It's also revealed in today's episode that Shangjue and Yuanzhi first met soon after Shangjue's mother and brother were assassinated by Wufeng (starting to see a pattern) and Yuanzhi's own parents had died. Through their mutual grief, they formed a strong bond, although it seems for most of their relationship Shangjue hasn't always been able to fully reciprocate Yuanzhi's open devotion and warmth despite caring for him deeply.

But seeing his cousin near death seems to have shifted Shangjue's perception of their relationship. As he cradles the new lantern Yuanzhi made to represent their relationship (independent and distinct from the one Shangjue shared with his younger brother), it finally seems like he's accepted their Fate as an inseparable found family despite the terrible circumstances that had brought them together.

Basic rules for analysing fiction, an incomprehensive list jotted down in a hurry:

The protagonist isn’t always right

The protagonist isn’t always good

The protagonist isn’t always written to be relatable or likeable

The narrator isn’t always right

The narrator isn’t always good

The narrator isn’t always telling the truth

The narrator isn’t always the author

The protagonist’s moral compass, the narrator’s moral compass and the author’s moral compass are three entirely different things that only occasionally overlap

Pay attention to what characters do and not just what they say

Pay special attention when what the characters do is at odds with what they say

A lot of the time the curtains are blue for a reason. If they aren’t, you should read better books