taiwan

It Came From the Sinosphere: Autumn’s Concerto

July 24, 2012 by Sara K. 3 Comments

I have no idea why this drama is called Autumn’s Concerto in English. I much prefer the Mandarin title Xiàyīzhàn, Xìngfú (Next Stop, Happiness).

Anyway, this is widely considered to be one of the best idol dramas ever filmed.

The Story

Liang Mucheng is an orphan raised by her aunt and uncle-in-law who run a lunch box business on a university campus. Her uncle-in-law tries to peek at her whenever she changes her clothes, secretly takes sexual pictures of her, and seems to be waiting for an opportunity to sexually abuse her in a more severe way. Meanwhile, Mucheng encounters one of the university’s most brilliant law students, Ren Guangxi, who is also the son of one of the univerisity’s trustees. He acts like a playboy, but has actually lost sight of the point of life. His mother wants him to marry the daughter of a business tycoon, He Yiqian, who also happens to be a brilliant medical student herself. Mucheng is also friends with another law student, Hua Tuoye, who secretly has a crush on Mucheng. Sadly for Tuoye, there is no doubt in the viewers’ minds who the main couple is going to be as soon as Mucheng and Guangxi meet each other.

It is hard to say more than that without getting into spoiler territory, but the above feels a bit too incomplete to me, so I feel the need to say [SPOILER WARNING] Ren Guangxi loses his memory. Six years later, a village hires him as a lawyer to defend them from the corporation that wants to buy them out and evict them. This happens to be the village where Tuoye grew up, and Mucheng also happens to live there with her son, Liang Xiaole. The mayor asks Mucheng to act as Guangxi’s host while he stays in the village. He has instant rapport with Xiaole, but he is unaware that he had previously met Mucheng and finds her behavior really strange. Little does he know that he is, in fact, Xiaole’s biological father. [END SPOILER WARNING]

“I already told you, the lawyer from Taipei is not your father.”

Then Mucheng sees who the ‘lawyer from Taipei’ actually is …

Cue music.

Connections to Other Idol Dramas

First of all, there are quite a few connections between The Outsiders and Autumn’s Concerto. The most obvious is that the female leads of both dramas are played by Ady An … but it’s more than that. For one thing, in both dramas, she plays a character who knows how to play the piano. And Autumn’s Concerto recycles some of the soundtrack from The Outsiders (since The Outisders has one of the best idol drama soundtracks, it is a good source for recyclable material).

On the other hand, Vanness Wu, who plays Ren Guangxi, played one of the F4 in Meteor Garden (the Taiwanese version of Boys Over Flowers), which is the mother of all idol dramas. Meteor Garden launched the acting careers of three of the most prominent idol drama stars (Barbie Xu, Vic Chou, and Rainie Yang), but Vanness Wu rose to acting stardom relatively late for a Meteor Garden actor … in fact, he didn’t become a proper acting star in his own right until he was case as Ren Guangxi. Fun fact about Vanness Wu: he was born and raised in California and is a native English speaker who learned Mandarin as a second language, just like me.

Tiffany Hsu, who plays Ren Guangxi’s fiancee He Yiqian, also performed in It Started With A Kiss (Itazura na Kiss), where she also played the male lead’s alternative romantic interest.

Other connections to other idol drama is right in script, or cinematography. At one point, one of the villagers mentioned that they can resist the corporation just like the village that resisted the Senwell corporation, and another villager points out that they don’t have a cuckoo flower. This is, of course, a reference to the story Prince Turns Into Frog in which the Senwell coproration’s plans to buy out a village are foiled by the discovery of the endangered cuckoo flower within village limits. Prince Turns To Frog is one of the most popular idol dramas ever made. At one point in the story the Ren family gets inquiries from iFound, where My Queen’s Shan Wushuang works. Yet another My Queen connection is that, in the last episode, there is a magazine featuring He Yiqian as a star doctor … the other doctor featured is Lucas, My Queen’s male lead.

Location, Location, Location

Many of the early scenes seem to take place in the fishing villages on the north coast (probably in Shimen or Sanzhi) where Mucheng has to help her uncle-in-law at a fish market. I suppose it might be in Danshui, though it seems a bit too sparsely populated to be Danshui to me (I happened to mention Danshui’s Fort San Domingo last week).

Some scenes are also set in Minsheng Hospital which is in … Taoyuan City. Hey, I’m in Taoyuan City too! While I’ve never entered Minsheng Hospital, I have shopped at the Carrefour across the street. Minsheng Hospital is, among other things, a medical tourism hospital, and generally caters to people willing to pay a little extra money for nicer care (me, I go to Taoyuan Veterans’ Hospital for my medical needs, which is quite close to one of the locations where My Queen was shot).

Mucheng holds Xiaole in a flower field in Cihu.

This has got to be Dasi Flowering Oasis.

And at least some of the village scenes were shot in Daxi township which … is in Taoyuan county. Daxi has such an interesting history that I do not have space to discuss it in full detail, but I have to mention that Fong Fei-fei was born and raised in Daxi township. Like the village in the drama, one of Daxi’s main industries is growing ornamental flowers. The “flower fields” in Autumn Concerto look like they were filmed at the Dasi Flower Oasis, which is “the holy land of idol dramas” and a tourist trap farm. Dasi Flower Oasis is in a part of Daxi called Cihu, which has a lot of interesting history in its own right. Personally, I think the coolest thing about Cihu history is that there is a former secret military headquarters which was built in case People’s Republic of China troops ever landed in Taiwan (the headquarters was built to be difficult to detect so that military leaders could direct troops in safety).

A Few Words About the Opening

Unlike most idol dramas, Autumn’s Concerto does not have an opening per se. Right after the recap of the previous episode, it jumps straight back into the action. It has an opening song, but it’s always played in the background as the story gets moving. “I Love Him” is a beautiful, haunting song which fits the theme of the drama very well.

The Symptoms of Idol Drama Jadedness

While watching this drama, I kept on thinking “this is just like what happened in drama x.” There is ONE basic standard idol drama plot which all but a few dramas follow. Autumn’s Concerto follows it so closely that when somebody told me about some of the later events before I got that far in the drama, I could not even claim that it was a spoiler. I have seen so many idol dramas that any drama which follows this plot too closely—unless it puts a truly fresh spin on the plot or is very well suited to my tastes—will trigger Idol Drama Jadedness Syndrome in me. Autumn’s Concerto is so well-made that it maintained my interest in spite of seeming completely unoriginal to me, but my jadedness is so deep that I could only like it, not love it. It seemed more like going through a ritual drill than discovering something exciting or new. The very fact that I am spending so many words discussing the location and other meta instead of the actual story is a symptom of Idol Drama Jadedness Syndrome.

Then Xiaole appeared.

At the time I was watching the drama, Xiaole was the only thing which made the drama seem truly alive to me and not just the product of skilled story-crafters. Xiao Bin Bin is a delightful child actor, and … well, I love kids. Xiaole’s scenes are definitely the ones I enjoyed the most, and the only ones which did not make me think about other idol dramas or make me think more about the meta than the actual storyline. Well, that’s unfair, I did get involved in the story, I just did not lose myself to it.

The last story arc irritated me, mainly because Ren Guangxi turned into an asshole, but Mucheng was annoying stubborn too. If you must turn your male lead into an assole, at least make him a gloriously fun asshole (I am referring to one of my favorite idol dramas, which handles the male-lead-turns-into-asshole gambit a lot better).

But the last story arc still has Xiaole, so I shouldn’t complain too much.

Much as Xiaole was the most enjoyable part of the drama for me at the time, reflecting back on the drama, Xiaole is not what stays with me the most. It’s the theme.

The Theme

It took me a while to consciously realize it, but Autumn’s Concerto has a very consistent theme, which is: it is better to tell the painful truth than to cover it up with lies. Aside from Xiaole (who is too young to lie), pretty much every main character (and some minor characters) at some point lies in order to “protect” someone from a harsh reality. In fact, Xiaole’s simple honesty serves as a sharp contrast to the adults’ contorted thinking. Mucheng’s aunt tells herself that Mucheng seduced her husband so she won’t have to admit that she’s married to a sexual predator; Guangxi tells Mucheng that he doesn’t love her so that her heart won’t be broken when she finds out that he is going to die in a month; the corporation tells the villagers that it needs them to leave their lands so the villagers won’t find out that the corporation poisoned the water; Mucheng tells Xiaole that his father is an extrateresstial so she won’t have to tell him about what really happened with his father; and if I tried to list every lie told in the course of the drama, this list would be really long (and extremely spoilerful). And the lying … generally does not work out well. I can only think of one lie in the entire drama which has a partially positive outcome. On the other hand, when the characters choose to come clean, even though there is initial pain, things tend to improve. This is the theme which keeps the story glued together, and makes the difference between a series of soap operatic events and a memorable story.

Anyway, that’s rather serious, so here is some more Xiaole as an antidote.

Availability and Accessibility

Autumn’s Concerto is available for streaming with English subtitles in North and South America via Dramafever.

If you don’t live in North or South America, YesAsia sells the Malaysian DVD set which supposedly has English subtitles.

Also, for Chinese learners … I have to disagree with Jade and say this is actually good for Mandarin practice. I would say only 10-15% of the drama is in Taiwanese (I don’t know why Jade says half of it is in Taiwanese), and I think anybody whose Mandarin-listening ability is at B2 or higher would do just fine.

Conclusion

I favor idol dramas which are either a) mischevieously screwbally or b) seriously dark. Autumn’s Concerto does not fall into either category, therefore it is not one of my personal favorites. Still, even though I’ve only seen the drama straight-through once, I re-watched many parts in the process of preparing this post, and some scenes are more enjoyable the second time around. I have to admit that this is indeed one of the finest idol dramas out there. Even if you suffer from Idol Drama Jadedness Syndrome like me, you should watch it. Recommended.

Now I Have a Dilemma…

Ever since I started this column, I’ve really wanted to discuss [Drama A]. In fact, I planned to make it the second idol drama I reviewed after The Outsiders. [Drama A] happens to be legally available with English subtitles. But then I decided I had to discuss My Queen because it was a new addition to Dramafever, then I felt I had to discuss Autumn’s Concerto because it was another new addition to Dramafever, so my post about [Drama A] got delayed twice. Even though [Drama A] is not a personal favorite, I think [Drama A] is up there with Meteor Garden among one of the most important idol dramas ever made—certainly more important than The Outsiders, My Queen, and Autumn’s Concerto, and I really want to discuss it. It was next on the list … until I just discovered that [Drama B] one of my favorite idol dramas has JUST BEEN LICENCED!!!! I want to celebrate the licensing of [Drama B] by putting it next on the list and finally squeeing about it and getting the Manga Bookshelf community to watch it … but I am loathe to delay discussing [Drama A] yet a third time. So here is the question for you…

Do you want the next idol drama post to be about [Drama A], or [Drama B]?

Next time: The Fox Volant of Snow Mountain (novel)

Readers of this column might be under the impression that Sara K. speaks good Chinese. They can disabuse themselves of this notion by signing up at Lang-8 and reading Sara K.’s Chinese-language journal entries (even people who don’t know Chinese can see how much her Chinese needs to be corrected). To the best of her knowledge, she is the only Lang-8 user who talks about gardening in San Francisco. Manga Bookshelf readers who are brushing up their Japanese, please note that Lang-8 has many Japanese users.

It Came From the Sinosphere: Creative Comics Collection

July 17, 2012 by Sara K. 8 Comments

Pretty, isn’t it? Before you learn more about it, here’s some history for you to read!

A Brief Demographic History of Taiwan

Tens of thousands of years ago, Taiwan was not an island, and stone age people walked from Fujian to Taiwan. Then, when sea levels rose, Taiwan became an island. Thousands of years ago, Austronesian people showed up in Taiwan. It is unknown what relationship they had with the people already living in Taiwan, but the most likely scenario is that they married each other and had kids.

In the 17th century, Europeans (primarily the Dutch and Spanish) colonized Taiwan. They never arrived in sufficient numbers to have much direct impact on Taiwan’s demographics. But the era of European colonization was the first time Han Chinese (mainly from Fujian and Guangdong) arrived in Taiwan in large numbers. And since the vast majority of the Han Chinese migrants were male (at least during the early waves of migration), if they wanted to marry or have babies, pairing up with the women who already lived there was often their only option. The same applied to the few Europeans who showed up in Taiwan, of course—at all points in Taiwanese history there have been far more white males than white females present on the island (including today).

The next time a different outsider group showed up in Taiwan was when Japan took over Taiwan in 1895. Strangely, unlike all previous migrations, the Japanese did not have lots of babies with the people already living in Taiwan, though they did of course have a few babies, which is why some Taiwanese people claim Japanese ancestry. After WWII, almost all of the Japanese people living in Taiwan left.

Then after WWII many people fled from China to Taiwan, and unlike previous waves of Han Chinese migration, these immigrants were not primarily from Fujian or Guangdong. They brought a new language, Mandarin, to Taiwan (previous Han Chinese migrants spoke Minnan or Hakka). Like most immigrants to Taiwan, they married the local people and had babies.

The most recent wave of migration to Taiwan has been coming from Southeast Asia—Phillipines, Vietnam, Indonesia, Thailand, and Cambodia. And I recall reading somewhere that 20% of all marriages in Taiwan today are between a Taiwanese person and a Southeast Asian immigrant. It seems the Southeast Asians are carrying on the old Taiwanese tradition of immigrants having babies with locals.

It should be apparent by now that Taiwan is really different from Korea and Japan. Korea and Japan can point to centuries of unified, independent rule, whereas Taiwan has never been an independent and unified nation, not even today (at least not officially). If you ask a Korean or Japanese person what ethnicity they are, they will answer “Korean, obviously” or “Japanese, obviously.” If you ask a Taiwanese person what ethnicity they are, the answers can get really complicated.

And this raises the question … what is Taiwanese culture? Is there something unique about Taiwanese culture which cannot be found in any other culture, or is Taiwanese culture just an extension of some other culture?

I cannot tell you what Taiwanese culture is, and I have heard Taiwanese people answer this question in many different ways. But I see a lot of parallels between Taiwan today and the United States in the 18th and 19th centuries. Much of the work of artists in the United States from that era was to hash out what exactly the culture of the United States was. And today, many Taiwanese artists are hashing out the question of what Taiwanese culture is. Which finally, finally brings me to the main topic.

Creative Comic Collection

Creative Comics Collection is Taiwan’s best-selling manhua magazine-anthology. By “best-selling” I mean “it sells a lot more copies than the Taiwanese edition of Shonen Jump.” I am not sure there are any American comic book magazine-anthologies which out-sell the American edition of Shonen Jump (please correct me if I’m wrong). While I don’t have sales numbers, I heard that Creative Comic Collection even out-sells the collected volumes of some of Shonen Jump‘s flagship titles, such as Bleach (though I must note this not mean there are more Taiwanese people reading Creative Comics Collection than Bleach—the vast majority of Taiwanese manga-readers would rent, not buy, Bleach, whereas Creative Comics Collection is generally not available for rent).

And, I will say this for Creative Comics Collection—it is unlike any other comic book magazine-anthology I know about. Star Girls, which I discussed in a previous post, is clearly modeled on Japanese shojo magazine-anthologies. However, Creative Comics Collection is not modelled on anything I know of. It is an entirely different beast than the entire universe of Japanese magazine-anthologies (at least based on reading Magazine no Mori—I suppose there might be Creative-Comics-Collection–esque magazines in Japan which Erica simply has not discussed).

So what is this model? It’s very simple—presearchers at the Academy Sinica team up with young artists and illustrations, and make illustrations and manhua together.

How an Issue is Set Up

Each issue of Creative Comics Collection (which from now on I’m just calling CCC) has a theme—for example, Myths and Legends, Labor, Seasonal Festivities, and so forth. Most or all of the content of that issue uses that them.

The first section of an issue of Creative Comics Collection is dedicated to color illustrations and various articles about the theme. Often, there is a color manhua or illustrated story followed by a collection of illustrations from different artists around a theme. This is actually my favorite part of the magazine because of the color, the variety of styles, and the various ways they express the themes. For example, there was one color feature where the artists had to depict various historic sites in Taiwan as comic book characters.

This is Fort San Domingo in Danshui as a comic book character:

Fort San Domingo was used by the Spanish, Dutch, and British … in other words, it has European colonization written all over it (in fact, the two puppets the character is holding represent Holland and Spain fighting each other).

This is a residence built for the Japanese imperial family in Taichung:

The writing and the diagrams explain the drawing and which aspects of the drawing represent which aspects of of the original building.

After the comics comes the bulk of the issue—black and white comics accompanied by articles from the Academic Sinica.

The academics present some research to the artist, and then the artist bases a short manhua story on the research. The academic writes a short article to follow the short manhua. The manhua stories generally run about 30-40 pages long, and the articles run about 2 pages long. They explore various aspects of Taiwan—ecology, Austronesian heritage, Chinese heritage, Japanese heritage, and so forth. Each issue has about 8 manhua/articles.

Artwork

It is rather difficult to discuss the artwork, because even though there are some regular contributors, each issue has a different set of artists. However, there is a heavy Japanese influence everywhere. This is not surprising. Since Taiwan’s earlier manhua tradition was suffocated to death by censorship (ah, martial law), today’s manhua artists only have Japanese artists, not their Taiwanese predecessors, as their role models. Unlike the manhua found in Star Girls, which tends to track Japanese art styles so closely that I can date a Star Girls manhua by looking at the same things I would use to date a Japanese manga, the artists in CCC do not seem to be bound to following Japanese styles. Instead, they are exploring their own style.

Looking through the issues, I do notice a trend.

These are all from the first issue:

Notice that there are a variety of styles, with an experimental vibe running beneath most of them.

These are all from the most recent issue:

Not as much variety in style as in the first issue, and certainly not as much of an avant-garde atmosphere. It might be inevitable that as a magazine-anthologies matures, the art style settles down.

Overall, I prefer the art of the early issues because of the greater variety and the freshness, but I also appreciate that the magazine is building a stable of maturing artists—some of whom I like a lot—while still keeping room for more artists to come on board.

Stories

And …here is CCC‘s weak point. The stories are not terrible. They are generally just not, well, very memorable. The typical CCC story is ordinary person finds unusual thing, learns more about unusual thing, and then has an ephiphany (the unusual thing, of course, is the subject of the academic’s article). Even though I don’t particularly like Kokai’s drawing style (Kokai is one of CCC‘s regular contributors) I generally like her storytelling more than the other artists because she at least puts a little pizazz into the plot. But generally, I prefer the manhua where they throw the story to hell and just focus on drawing up Taiwanese esoterica in imaginative ways.

That said, the stories (being short) go by quite quickly and balance out the academic articles nicely. Light manhua – academic article – light manhua – academic article, and so forth, makes for a better reading experience than pure light manhua or pure academic articles.

Still, my favorite section is the still the color illustrations in the beginning because they often don’t bother with storytelling in that section, instead focusing on CCC‘s strengths—a variety of art and … Taiwanana? What am I supposed to call the Taiwanese equivalent of Americana?

Availability

Availability in English … ha ha ha.

Well, a few of the manhua stories don’t have dialogue, so I suppose somebody literate in English can read them just as well as someone literate in Chinese. Some manhua stories are “available” online at the CCC website, but the resolution is so bad that I can’t read them, so if you want to look, it does not matter what language you’re literate in (or not).

CCC is quite easy to acquire in Taiwan. I’m sure it’s harder to acquire elsewhere.

Conclusion

Like I said, this is a strange beast, so I am not going to say it should be licensed, at least not in the traditional sense. Nonetheless, I think it would be nice if they translated some of the manhua and features into English and put them online on the offical CCC website so that people outside of Taiwan could get a taste of what it’s like.

It is no secret that Japanese manga dominates the Taiwanese comic book scene, and most Taiwanese people are hardly aware of local manhua (this is partially because the most commercial Taiwanese manhua packages itself just like Japanese manga, so the casual reader may not notice the difference). However one thing Japanese manga cannot do for Taiwanese readers is reflect Taiwanese culture. While I think Star Girls manhua sometimes reflects Taiwanese culture in interesting ways, it’s generally subtle and would not satisfy somebody who really, really wants to see Taiwan embodied in comic book form.

And that is the craving that CCC fills. It is Taiwanese in your face. Taiwan practically drips from its pages.

An avant-garde depiction of a Formosa magpie in a sailor suit

Like this page, which depicts a badass Formosa magpie (the Formosa magpie is often used as a symbol of Taiwan).

It might be difficult for relatively privileged people to understand this. However, if you have had trouble finding stories which reflect people like you and the culture you live in, the craving for such stories can be quite powerful.

So, I have a question for you:

Would you like to discuss specific artists from CCC in future columns?

Next time: Autumn’s Concerto, AKA Next Stop, Happiness (idol drama)

One of the reasons Sara K. enjoys living in Taiwan is that it is the crossroads of East Asia. Japan, Korea, China, Phillipines, Vietnam, Indonesia, Thailand … it all comes together in Taiwan. She thinks it is not a coincidence that Taiwan is both the crossroads of such different cultures … and is the most queer-tolerant and least-sexist place in Asia (that has more to do with Asia generally being homophobic and sexist rather than Taiwan being wonderful in that regard … but Sara K. does not know of any other place in Asia where the head of state publicly attended a gay pride parade).

It Came from the Sinosphere: Divine Melody

June 19, 2012 by Sara K. 4 Comments

Overview

This is going to seem weird and complicated, but take my word for it, this all makes sense when you read the manhua itself.

The story starts with a tribe of húli jīng, which means “fox spirits.” These fox spirits were born as ordinary foxes, but by magic they had been transformed into yāoguài. If that seems similar to the word ‘yōkai’, it’s because the Japanese borrowed the word from Chinese. The fox spirits now have the shape of beautiful human maidens and a lifespan of 500 years. But after 500 years, they will disappear. For this reason, they want to have children so that their tribe will last forever. Yet … they are all female, which makes reproduction a little tricky. If they use human males as studs, their children will only have a human lifespan. However, they have a special child in their care—Qin Caisheng, a fox spirit with xiān blood (xiān, is usually translated into English as “fairy” or “celestial,” but since this manhua is based on Chinese, not European, mythology, I am going to stick with the word “xiān“). Qin Caisheng is currently a girl, but in 200 years will have the ability to change between female and male forms (from this point forward, I am going to refer to Qin Caisheng with the pronouns “ze” and “hir”). The fox spirits looks forward to having Caisheng’s babies so that their tribe can last into perpetuity.

Caisheng, however, at the beginning of the story is just a young child. Caisheng feels that the only fox spirit who actually loves hir and does not see hir as just a future stud is Huiniang, who practically raises Caisheng. Huiniang is one of the tribe leader’s favorites, along with Yuniang. Yuniang is determined to be the one to bear Caisheng’s babies. Caisheng sees and talks to some of the human boys Yuniang captured, and decides to leave the fox spirits’ mountain to see the places the boys talked about. While in the human village, Caisheng meets a human boy and girl and plays with them. When a wolf attacks, the boy and girl bravely defend Caisheng’s life. When Huiniang comes to rescue Caisheng, she recognizes their service and puts a mark on the boy and girl so that they can later repay the kindness. Yuniang, meanwhile, is expelled from the tribe.

Two hundred years later, Caisheng finally has the ability to turn into a male, yet ze is hiding the truth from all but Huiniang. Caisheng only wants to have children with hir one true love, and ze is not in love with the fox spirits. Huiniang, meanwhile, fell in love with a human, and left the tribe to marry him and have his children. Caisheng figures that Huiniang is the person ze loves the most, so Caisheng wants to have hir children with Huiniang once Huiniang’s husband has died. Huiniang, on the other hand, wants to become human so that she can grow old with her husband.

On a trip to visit Huiniang in the human village, Caisheng meets the reincarnations of the boy and girl who saved hir from the world two hundred years ago. One of them, Han Yunshi, is an apprentice to a Daoist priest who tracks down and kills yāoguài (hmmm, is there some potential conflict there?). The other, Su Pinger, is a girl from a noble family who is afflicted by some kind of yāoguài. Caisheng expels the yāoguài and discovers it is a cat spirit called Gu Mao.

A xiān called Wei Ziqiu comes looking for Caisheng. His task is to bring hir back to the place where the xiān live to make hir a full xiān. Wei Ziqiu was originally human, but transformed into an immortal after suffering great tragedy. If Caisheng has children with the fox spirits or with a human, ze would be unable to ever become a xiān.

It also turns out that Gu Mao is in the service of none other than Yuniang, the outcast fox spirit who has since turned into a yāomó (which is like a yāoguài but more evil).

This is only the beginning of the story, but it is actually not that hard to keep track of what it going on.

Background

This is a 9-volume work by Yi Huan, one of Taiwan’s most delightful manhua artists. It ran in Star Girls, Taiwan’s girls’ manhua anthology, from 2003 to 2009.

Star Girls is a manhua anthology which is heavily, heavily influenced by shoujo manga. Even though I generally have little trouble distinguishing from Korean sunjeong from Japanese shoujo, I cannot distinguish between Star Girls manhua and Japanese shoujo until I recognize a specific artist’s style (for example, Yi Huan’s style is very distinct). Taiwan’s local manhua tradition was pretty much killed by censorship (by “censorship,” I mean “people did not dare create/publish manhua because they were afraid of going to prison”). After the democratization of Taiwan, Taiwanese manhua experienced a revival, but the new generation’s role models are from Japan, not from the golden age of Taiwanese manhua. Some artists are trying to piece together a new distinctly Taiwanese tradition of manhua, but those artists are not the artists who get published in Star Girls.

Artwork

I’ll start with the obvious—THIS MANHUA IS PRETTY!!!

The style is defined by long, vertical, slightly curved, lithe lines. Long flowing dresses, long flowing hair, long flowing flourishes, and so forth. The artwork consists of fine lines without much screentone—which means it is really hard to take good pictures of it with my cheap camera, but on paper it looks really nice. I dig it. I can even forgive it for having jewel-eyes (note: I am not a fan of jewel-eyes).

The costumes are one of the most detailed parts of the artwork. Yi Huan clearly has fun with the clothing. Of course, just as clothing is a way humans express themselves, costumes done right ought to express the characters. Yi Huan does costumes right.

Look at the dresses of the fox spirits. Notice how the waistlines are so high. When a woman wears clothing with a high waistline, it makes her look a bit pregnant. Considering that the fox spirits are obsessed with making babies, it is appropriate that their attire would have such a high waistline (it’s also appropriate that Caisheng has such attire, since throughout much of the story ze is wondering who to make babies with). Of course there is more that could be said about this, but this is comic book criticism, not a discussion of costume theory.

I actually did not realize that the later volumes were so crowded with talking heads and reaction shots until I actually started thinking about the artwork from a critical point of view. But the later part of the story is pretty much an angstfest, and angstfests tend to look pretty busy, artwork-wise.

The manhua is punctuated with pages like this which show off the characters’ graceful figures.

These pages are meant to make the reader sigh. And it works. I am trying to come up with more insightful observations about the artwork, but as I’m flipping through the pages, all I am thinking is “pretty … pretty.”

More On the Story

The story sets up a world based on Chinese mythology. I bought into the alternative logic. Indeed, I got caught up in the love polygons and the drama and all that angst.

This story is ultimately about choosing between love and longevity. If Caisheng gets the fox spirits pregnant, the tribe will live on forever. But Caisheng does not love the fox spirits. Huiniang does not want to live without her beloved husband, so she seeks to become human so they will die together. Wei Ziqiu has become immortal, yet he is losing the passionate feelings he had as human, and trying to hold onto them might cost him his immortality. Caisheng wants both love and longevity, but having both is impossible—either the lovers will change so much that they will no longer be the people they fell in love with, or they will stay the same forever, and that would merely be death of a different kind.

When I put it that way, it makes the story seem really deep. So I am wondering why I didn’t have a deeper experience.

Hmmm.

I think it’s because the second half of the manhua is too rushed. I sometimes do not understand why characters make certain choices because their motivations have not been sufficiently illustrated for me. And I think that’s it—the second half of the story needs more supporting plots to illustrate its points. While the point of Huiniang’s subplot in the early part of the manhua is quite clear, the point of the subplot around Huiniang’s clone is not. So while I understood the plot … understanding the plot is not the same as being moved by the plot. The last part of the manhua is less moving than the first part.

That said, the story overall is still good. My main complaint is that, even though it could have been a masterpiece, it is not.

Availability in English

The first 5 volumes were published in English by Dr Master. While it is a pity they did not publish the full run, at least the volumes they did publish are the better volumes.

They can be obtained for low prices at many websites. At the Cubic Mall Manga Outlet, they can be obtained at 2 USD per volume. At that price, it’s worth buying just for the artwork alone. Buyers can also pick up some volumes of The Legendary Couple at the same time, which was previously reviewed here.

Conclusion

Good artwork and good story. What more can one ask for?

Okay, I ask for great stories and great artwork. On the other hand, I’ve read Divine Melody twice, and enjoyed it both times. It held up well on the second reading, something which cannot be said of many comics.

The most important thing is Yi Huan’s distinctive style, both the drawing and the storytelling. I have not read any other comics quite like hers. That is why you should read Divine Melody.

Next Time: My Queen (idol drama)

Sara K. is listening to birds right now. Yes, even in the heart of a industrialized Taiwanese city, there are songbirds, though it is remarkable that she can hear them more clearly than the scooters. Sara K. is impressed with how few pigeons there are in Taiwan – possibly because Taiwan has a zillion birds, so there is not much room for pigeons. Some people come to Taiwan just for bird-watching. Taiwan also has the world’s prettiest butterflies (well, at least the prettiest butterflies Sara K. has ever seen).