Remaining posters for tongue-twister title nominee

In a desperate attempt to re-invigorate belief ancient mythology, supernatural beings have decided to jump into the fashion industry.  Fantastical and magical designer brands coming to you soon.

Three Lives, Three Worlds, Ten Miles of Peach Blossoms released a couple other character posters with the bunch so might as well post them.  Starring Yang MiMark ZhaoYu Menglong, Ken Chang, DilrabaZhang Binbin, and Gao Weiguang, those who enjoyed the costuming can get a different look at them.

More stills below the cut.

14 thoughts on “Remaining posters for tongue-twister title nominee

  1. Pingback: Weibo Wednesday: April 13, 2016 | Cfensi

  2. I think they nailed the casting of Feng Qiu perfectly. Other than that – waiting for the movie version because LYF and Yang Yang :p

    I hope they don’t screw up the TV version of this as much as Hua Xu Yin – at least the costumes for this look good. I’m always so conflicted when books I like get adapted.

  3. 3L3W10MPB was meh in my opinion, oddly enough I preferred the sequel, the Pillow Book, and all of the heart-wrenching prologues of follow-up books.
    The only characters that made it really palpable for me was Bai Qian and her son, Ah Li. She’s just so, so, mature and auntie-like, in a way that makes me want to cheer and shake my fist at the okay male lead. Likewise, the second book, Bai Feng Jiu was sassy but it eventually melted into some kind of classic female wife trope. Only Donghua Dijun’s endless shamelessness and thick, thick skin was what made me pull through.
    Overall, I felt that Tang Qi Gong Zi’s books seemed to end up dragging on too long and laying the drama too thick. Her beginnings are always, beautiful and heartbreaking and vivid, but it doesn’t transfer to the rest of the book. I literally cried when I read the first chapter and cursed Ye Hua to go to hell and back. Some characters stand out, some disappoint.

    However, I have great expectations for the drama, if they can successfully pull through and keep all the juicy bits of Tang Qi’s work (although I personally swore to not watch it haha). The glittery eyes are promising enough.

    • Well, from what I have seen so far, it does seem promising. If this ends up being successful, maybe the other books will be adapted as well. :)

    • I believe this version is going to be covering the sequel as well, and tbh I’m looking forward more to the Dilraba-Gao Weiguang ship, so you could just watch their cut ;b

  4. Hi Kuo, beautiful title there in the chair’s opinion! Netizens are bound to come up with a handy acronym anyway. ^_~

    On an unrelated matter, as the admin of The Asian Drama Philosopher (A-Philosopher)’s Chair, I am thinking of publishing a series of posts on drama commentators’ views on the noble idiocy trope in East Asian dramas. Do you think it is senseless or, as one of my guest bloggers is putting it, a nod to the Confucian notion of responsibility between two related people (i.e. “junjun, chenchen, fufu, zizi”)? In other words, a lover, for example, is obliged to decide by himself how to minimize the other party’s suffering, and so he pushes away her and faces a problem alone (see “Sound of the Desert”: Is the symbolic value of the trope more important than the logic and outcome of the action? And is the trope a cinematic tradition to be cherished or an overused and tiresome plot device?

    Would love to know your opinion.

    • This is a pretty loaded question… The thing is it is undeniable that it is sometimes linked to ideals such as Confucian values and concepts like love, loyalty, etc. but I’m not sure if I would say they are intrinsic to those ideals…

      I like to think of it more of in the artistic and literary tradition of exaggeration for dramatic effect. We see this successfully employed in various forms of art and it seems natural that this might be an extension of it. However, most of the time I start feeling like it’s employed not for thought-out dramatic effect but due to previous examples of success in other dramas and the pursuit of viewers and profits. These tend to make you feel like it was more of a cut and paste job. It feels rough and abused.

      Don’t get me wrong. There are definitely those media forms that get it right and lead the audience to accept the triumph of symbolism of logic and a normal thought process and the fact that these types of media tend to ignite a rabid following is probably only encouraging their overuse. It’s kind of like more recent but as of late, seems to be dying trend of having unreasonably conservative parents that run counter to the couple or main characters randomly dying near the end of sudden circumstances to make it “touching.” There are the successful examples and those that are just trying to ride the tail-coats of the trend.

      The thing is you can’t say that such an interpretation is completely illogical because people aren’t perfect and we shouldn’t expect characters to be either and these “tropes” do tend to have a thought process behind them but the question for me is if it fits into the new story it was put in. Was the transplant something that would work or something that’s going to cause an immediate rejection? Does it make the most logical sense in the new story and given the new dynamics? Sometimes no because the character personalities or story background is probably different and that would make this otherwise touching act seem really dumb like having some great sacrifice happen after having the characters know each other for years versus just a few weeks.

      I guess my point is that it is usually something that is cherished when it is done right and has some reasonable backing or progression to lead us to it but there are those stories that simply insert dramatic elements without properly analyzing and building up the progression of the story to that point and that’s when it tends to get tiresome and overused.

      • Reminds of 陈焕 and 林平平 in 一年又一年, whenthey are discussing the movie 牧马人, which in turn is really about their own choices.

      • 相呴以湿, 相濡以沫, 不如相忘于江湖。

        There’s an argument similar to Wang Kai’s character’s in the webtoon Cheese in the Trap. One cohabiting couple has problems surviving on their own, away from their families for fear of disapproval of the relationship, so even though they are deeply in love, they break up to get back on their feet. What is also inspiring, though, is that the one initiating the breakup proposes that they can get together again after they smooth out their issues. That certainly makes it feel less manipulative.

        But in cases where the breakup is supposed to benefit only the non-consenting party, Western viewers may argue that it is paternalistic behavior that assumes one knows what is best for his lover and disregards her own view about happiness. There’s a similarity there with shaking head at an English major for incurring a huge debt for a future as a penniless waiter. In Western medicine, too, physicians are not supposed to treat a non-consenting patient with mental capacity, no matter how abhorrent his decision to forgo treatment is. It is possible to force treatment on him through legal loopholes, but that is at least the official principle.

        By right, for noble idiocy to be noble idiocy, the act should make little logical sense. But judging from the above examples, it is not a very easy topic to discuss since there is a lot to argue about whether a plot turn meets this definition in the first place. Perhaps we just have to assume that we are talking about plot turns that meet this definition so that we can discuss certain cultural and drama production issues like whether the act matters more than the outcome and whether the trope upholds an ideal or is just lazy storytelling. Just a rickety chair’s humble opinion. =P

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