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Sitting devices in ancient China
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A Guide to the Chinese Underworld (and what it isn't)
As many FSYY and fox posts as there were on my blog, I am actually a huge fan of the Chinese Underworld mythos. Mostly because I was once a morbid little kid that loved reading about the excavations of ancient tombs, and found the statues depicting hellish torture in the Haw Par Villa "super cool".
Apart from the aesthetics, the history of its evolution is also fascinating. Most of us, Chinese or not, only know the most popular version of the Underworld——the "Ten Kings" system, yet that isn't always the case. So today, I'll start off with a short summary of that.
In pre-Qin era, there was already this generic idea of a "Realm of the Dead" called the Yellow Spring, Youdu, or Youming, but we know very little about it.
Then, in the Han dynasty, two ideas start to emerge: 1) the Underworld is a bureaucracy, 2) the God of Mt. Tai ruled over the dead.
This early bureaucracy might not function as an agent of punishment; the main focus was on keeping the dead segregated from the living so they wouldn't bring diseases and misfortune to the latter, as well as using those ghosts to enforce collective punishments upon people for their lineage's wrongdoings while they were still alive.
Post-Han, after Buddhism entered China and took root, its idea of karmic punishments and reincarnation and the figure of King Yama was merged with folk and Daoist ideas of the Underworld bureaucracy, and, came Tang dynasty, resulted in the "Ten Kings" system that first appeared in Dunhuang manuscripts.
It was very rudimentary and far from well-established, as seen in Tang legends, with some adopting the Ten Kings system, some sticking to the Lord of Mt. Tai and some favoring King Yama, and overall little agreements on who's in charge of the Underworld.
But the "Ten Kings" system would become the mainstream version from then onwards, used in Ming vernacular novels and made even more popular by folk religion scrolls like the Jade Records (Yuli Baochao).
As such, most points in the following sections will be based on the fully matured "Ten Kings" system of the Underworld, as seen in the Jade Records and JTTW.
What happens when you die?
(This is a fictionalized walkthrough of the posthumous fate of souls under the "Ten Kings" system. I try to stick to the very broad progression outlined in the Jade Records, but many creative liberties are taken on the details.)
Let's say there's a guy named Xiao Ming, and he had just died of a heart attack. Bummers. What now?
Well, the first thing he saw would be the ghost cops.
There isn't really an unanimous agreement on who these ghost cops are: they may be a pair of ghosts in white and black robes, wearing tall hats (Heibai Wuchang), they may have the heads of farm animals (Ox-Head and Horse-Face), or they can just be generic ghost bureaucrats. For convenience's sake, let's say it was the first scenario.
"Who are you guys and where are you taking me?"
"Glad you asked!" The taller ghost cop, being the cheerful one of the pair, replied. It wasn't very reassuring, considering that his tongue was dangling out of his mouth way further than it should. "I'm the White Impermanence, my sour-looking colleague here is the Black Impermanence, and we are taking you to the City God's office."
This City God, a.k.a. Chenghuang, is just like how it sounds: the divine guardian of a city, who also pulls double duty as the head of the local Dead People Customs Office. They are usually virtuous officials deified posthumously, and in JTTW, they fall under the category of "Ghostly immortals", together with the Earth Gods a.k.a. Tudi.
So Xiao Ming went with the two ghost cops——not like he had much of a choice, made his way through the long queue at the City God's office, and was now standing in front of a gruff old magistrate in traditional robes.
"Name?"
"Wang Xiao Ming."
"Age and birth dates?"
"21, April 16 2003…"
After he was done asking questions, the City God flipped through his ledger, then picked up a brush, ticked off Xiao Ming's name, and told him to go get his pass in the next room. More waiting in a queue. Wonderful.
"I never heard anything about needing a pass to get to the Underworld," the girl in front of Xiao Ming asked the ghost cops, who were standing guard nearby. "Is this a new policy or something?"
"Yeah. In the old days, we'd just drag y'all straight to the Ghost Gate." The ghost cop in black said, then muttered to himself, "Fuckin' paperworks and overpopulation, man…"
(This "Dead People Passport" thing was popularized in the middle-to-late Ming dynasty, as shown by the discovery of such documents inside tombs in southern China. )
(It might have evolved from similar passes to the Western Pure Land in lay Buddhism that recorded their acts of merits. Which, in turn, might be traced back to the "Dead People Belongings List" of Han dynasty, to be shown to Underworld bureaucrats so that no one would take away the dead's private property down there or something.)
Anyways, after he received his pass, Xiao Ming departed together with the rest of the bunch, to be led to the Ghost Gate. It was like the world's most depressing tourist group, where instead of tour guides, you got two ghost cops in funny hats, and the only scenery in sight was the desolation of the Yellow Spring Road.
They weren't the only travellers on the road, though. Xiao Ming noticed other groups moving in the far distance, behind the fog and the flickering ghostfire, led by similar figures in black and white.
It made a lot of sense; realistically, there was no way two ghost cops could fetch hundreds of thousands of dead people all by themselves.
(SEA Tang-ki mediums believed there were multiple Tua Di Ya Peks——Hokkien name for the Black and White Impermanences, working for different Underworld Courts.)
At last, the Ghost Gate stood in front of Xiao Ming, guarded by two towering figures. Normally, they'd be Ox-Head and Horse-Face, like what you see at Haw Par Villa's Underworld entrance.
However, older Han dynasty works like Wang Chong's 论衡·订鬼 also mentioned two gods, Shenshu and Yulei, as guardians of the Ghost Gate, who would use reed ropes to capture malicious ghosts and feed them to tigers, making them possibly the earliest incarnation of "Gate Gods".
So here, they were what Xiao Ming sees, standing side by side like proper doormen, silently watching herds of ghosts being funneled through the entrance.
The place was more crowded than a train station during the CNY Spring Rush; the ghost cops had already said their quick goodbye and left to fetch the next group of dead people, leaving the resident officials of the Underworld proper to maintain order and quell any would-be riots.
Now you started seeing the Ox-Head and Horse-Face guys, poking at unruly ghosts with their pitchforks and dragging away the violent ones in chains. Among their ranks were other monstrous beings, blue-faced yakshas and imps, but also regular dead humans who look 100% done with their jobs, like the lady who stamped Xiao Ming's pass when it was finally his turn.
After this point, Xiao Ming had entered the Underworld proper, and his next destination would be the First Court, led by King Qin'guang. Here, his fate should be decided by what is revealed in the King's magical mirror.
If Xiao Ming was a good guy, or someone who had done an equal amount of good and bad things in life, he'd be sent straight to the Tenth Court for reincarnation. However, if the mirror, while replaying his life events, had displayed more evil deeds than good ones, he'd be sent to one of the 2nd-9th Courts for judgment and then punished inside the Eighteen Hells.
Each of the Ten Kings was also assisted by ghostly judges. Many of them were righteous and just officials in life who had been recruited into the Ten Courts posthumously——Cui Jue from JTTW is one such example, while others were living people working part-time for the Underworld, like Wei Zheng, Taizong's minister.
We decide to be nice to Xiao Ming, so, after reliving some embarrassing childhood incidents and cringy teenage phases in front of a bunch of dead bureaucrats, he was found innocent and sent to the Tenth Court.
The queue here was almost as long as the First Court's, stretching on and on alongside of the banks of the Nai River. King of the Turning Wheel made his judgment without even lifting his head when it was Xiao Ming's turn:
"Path of Humans, male, healthy in body and mind, ordinary family. Next!"
Exiting the Tenth Court building, Xiao Ming saw the Terrace of Forgetfulness, standing tall before six bridges, made of gold, silver, jade, stone, wood, and…some unidentified material. Before he could get a good look at them and the little dots moving across those bridges, he was hurried into the Terrace by the ghostly officials.
Now, both JTTW and the Jade Records mention multiple bridges across the Nai River. In the former, there is 3, and the latter, 6. The bridges made of precious materials are for people who will reincarnate into better lives, as the wealthy, the fortunate, and the divine, while the Naihe Bridge is either the common option or the terribad shitty option.
However, the Naihe Bridge proved to be so iconic, it became THE bridge you walk across to reincarnate in popular legends.
Anyways, back to Xiao Ming. He found himself standing in a giant soup kitchen of sorts, with an old lady at the counter, scooping soup out of her steaming pot and into one cup after another.
This is Mengpo, the amnesia soup granny; according to the Jade Records, she was born in the Western Han era, and a pious cultivator who thought of neither the past nor the future, only knowing that her surname was Meng.
Made into an Underworld god by the Jade Emperor, she cooks a soup of five flavors that will wipe the memory of the dead, making sure they do not remember any of their past lives once they reincarnate.
It tastes awful. Like what you get after pouring corn syrup, coffee, chilli sauce, lemon juice and seawater into the same cup.
Such was Xiao Ming's last thought, as he gulped down the soup, and then he knew no more.
Things you should know about the Chinese Underworld:
1. It's not the Christian Hell.
Rather, the Chinese Underworld functions somewhat like the Purgatory, in that there are a lot of torment, but the torment's not eternal, however long the duration may be. Once you finish your sentence, you get reincarnated as something else, though that "something else" is not a guaranteed good birth.
Other people can also speed up the process via transferring of merits: hiring a priest/monk to chant sutras and perform rituals, for example, or performing good deeds in life in dedication to the dead, or they can pray to a Daoist/Buddhist deity to save their loved ones from a dreadful fate.
Interestingly enough, a thesis paper I read mentions that, whereas Buddhist salvation from the Hells was based on transference of merits——you give monks offerings and pay them to chant sutras, so they can cancel out the sinners' bad karma with good ones, Daoist ideas of salvation tend to involve the priest going down there, sorting it out with the Underworld officials, and taking the dead out of the Hells themselves.
(The paper also stops at the Northern-Southern and Tang dynasties, so the above is likely period-specific.)
2. Nor is it run by evil demons.
Underworld officials are not nice guys and look pretty monstrous and torture the sinful dead, but they are not the embodiment of evil. Rather, the faction as a whole is what I'd call Lawful Neutral, who function on this "An Eye for An Eye" logic, where every harm the sinner caused in life must be returned to them, in order for their karmic debts to be cleansed and move on to their next life.
They can absolutely be corrupt and incompetent and take bribes——Tang dynasty Zhiguai tales and Qing folklore compendiums featured plenty of such cases, but that's a very mundane and human kind of evil, not a cosmic/innate one.
This is just my personal opinion, but if you want to do an "evil" Chinese Underworld? It should be a very bureaucratic evil, whose leaders are bootlickers to the higher-ups, slavedrivers to their rank-and-file workers, and bullies who abuse their power over regular dead people.
Not, y'know, Satan and his infernal legions or conspiring Cthulu cultists.
3. The Ten Kings are not Hades.
Make no mistake, they still have a lot of power over your average dead mortal. But in the grand scheme of things? They are the backwater department of the pantheon, who only show up in JTTW to get pushed around and revive the occasional dead people.
When Taizong made his trip to the Underworld, the Ten Kings greeted him as equals——kings of ghosts to the king of the living. If they see themselves as equal in status to a mortal emperor, then, like any mortal emperors, they are subordinate to the Celestial Host, and the balance of power is not even remotely equal or in their favor.
Also, it isn't said outright, but under the Zhong-Lv classification of immortals JTTW is using, Underworld officials will likely be considered Ghostly immortals, the lowest and weakest of the five types, much like Tudis and Chenghuangs.
Essentially: they are ghosts that are powerful enough to not reincarnate and linger on and on, spirits of pure Yin as opposed to true immortals, who are beings of pure Yang.
It's pretty much the shittiest form of immortality, the result you get when you try to speedrun cultivation (the Zhong-Lv text also made a dig at Buddhist meditation here), and if they don't reincarnate or regain a physical body, there is no chance of progressing any further.
Oh, and fun fact? In the Song dynasty, commoners and literati elites alike believed that virtuous officials in life would get appointed as ghostly officials in death.
However, the latter viewed it as a punishment. Which was strange, considering how they still held the same position and the same amount of authority, just over dead people instead of living ones, so there should be no big losses, right?
Well...it was precisely the "dead people" part that made it a punishment. See, a lot of the power and prestige they had as officials came from the benefits they could bring to their families and kins and native places, as well as the potential wealth and reputation bonuses for themselves.
A job in the Dead People Supreme Court would give them the same workload, but with none of those benefits. Since all the dead people had to reincarnate eventually, they couldn't have a fixed group as their power base, or keep their old familial ties and connections. At most, they could help out an occasional dead relative or two.
Like, working for the Underworld Courts was the kind of deadend (no pun intended) job not even living officials wanted for themselves in the afterlife. That's how hilariously sad and pathetic they are.
4. In JTTW at least, they aren't even the highest authorities of the Underworld.
That would be Bodhisattva Ksitigarbha, who is technically their boss, though he seems to be more of a spiritual leader than someone who is actually involved in running the bureaucracy.
Which makes sense, since he has sworn an oath to not attain Buddhahood until all Hells are empty, and his role is to offer relief and salvation to the suffering souls, not judging and punishing them.
Now, historically...even though Ksitigarbha in early Tang legends was still the savior of the dead, he seemed to be unable to interfere with the judicial process of the Underworld, merely showing up to take people away before they were judged by King Yama.
However, in the mid-Tang apocryphal "Sutra of Bodhisattva Ksitigarbha" (地藏菩萨经), he had evolved into the equal of King Yama, with the power of supervision over his judgements. By the time the Scripture on the Ten Kings came out, in artistic depictions, the Ten Kings had become fully subservient to him.
5. Diyu usually refers to the prison-torture chamber part, not the courthouse, nor is it the entirety of the Underworld.
And for the majority of souls that haven't committed crimes, they'll only see the courthouse part before they are sent to reincarnation. That's why I personally don't like, or use the name Diyu for the Chinese Underworld: I prefer the term Difu ("Earth Mansions"), which encompasses the whole realm better.
Also: even though historical sources like the Scripture on the Ten Kings and Jade Records seem to suggest that the dead were just funneled through this Courthouse-Prison-Reincarnation pipeline with no breaks in between, in practice, that isn't the case.
According to popular folk beliefs, after the dead were done with their trials/sentences, they stayed in the Underworld for a period of time and led regular lives, while functioning as ancestor spirits and receiving offerings.
Which would imply that the Underworld had a civilian district of sorts, populated by regular ghosts, making the whole realm even less of a direct Hell/Purgatory equivalent.
6. It is located in a different realm, but still part of the Six Paths and doesn't exist outside of reality.
In Buddhist cosmology, like the Celestial Realm, the Underworld is part of the Realm of Desires and thus subject to all the woes of samsara.
The pain and misery of the Path of Hell may be the worst and most obvious, but becoming a celestial being isn't the goal of serious Buddhists either: despite all the pleasures and near-infinite lifespan they enjoy, they are not free from samsara and will eventually have to reincarnate.
So if, say, the world is being destroyed at the end of a kalpa, all beings of the Six Paths will perish alongside it, leaving behind a clean slate for the cycle to start anew. The dead won't all end up in the Underworld and face eternal damnation.
7. The Black and White Impermanences would not appear in the Underworld pantheon formally until the Qing dynasty.
The concept that when you die, you get fetched to the Underworld by petty ghost bureaucrats is already well-established in Tang legends, but these were just generic ghost bureaucrats in all sorts of colorful official robes, with yellow being the most common color.
The idea of there being two specific psychopomps in black and white would only become popular in the Qing dynasty. Mengpo is kinda similar: although she existed before the Ming-Qing era as a goddess of wind, venerated by boatmen, her "amnesia soup granny" incarnation came from the Jade Records.
Intrigued by peach blossom goddess on MDL mentioning that the princess in this novel/drama might be inspired by the real Princess Taiping. https://www.sixthtone.com/news/1012029
Wikipedia:
During the reign of Emperor Ruizong, she was not restricted by anything, the emperor issued rulings based on her views and the courtiers and the military flattered her and majority from every civil and military class joined her faction, so her power exceeded that of the emperor.
In 690, Empress Dowager Wu wanted to remarry Princess Taiping to Wu Youji, a grandson of Empress Dowager Wu's uncle Wu Shileng (武士稜). Wu Youji, however, was already married, and Empress Dowager Wu secretly had Wu Youji's wife assassinated so that Princess Taiping could marry him.
Eventually, however, a rivalry developed between her and her nephew, Emperor Ruizong's son, Crown Prince Li Longji. Both of them were hostile in power-sharing and they fought for the monopoly over power. After Emperor Ruizong yielded the throne to Li Longji (as Emperor Xuanzong) in 712, the conflict came to the political forefront, and openly, the court became a manifestation of conspiracy rather than the administration of the empire; in 713, Emperor Xuanzong, according to historical records, believing that she was planning to overthrow him, acted first, executing a large number of her powerful allies and forcing her to commit suicide.
//
I find this intriguing because I've seen criticisms of the princess storyline online - not the dramatic licence aspect, but in general the princess wouldn't have that kind of power & conflict. But history is often stranger than we presume.
Looks like subbers translated Palace of Desire on YT here. I checked it out, the translation looks excellent.
As a Spanish speaker in a family with WILD nicknames, I always find posts about naming conventions so fascinating 🤓
@randomingoftherandomness Wanted to add two resources:
@guzhuangheaven has a fantastic write-up on traditional naming conventions, including for royalty: https://www.tumblr.com/guzhuangheaven/646946722509160448/different-types-of-titles-and-names-in-chinese?source=share
I want to say either @renewedmotionforjudgment or @kingsandbastardz (hope I'm not misremembering!) recently wrote something about possible regional preferences for A- versus -er nicknames but I can't find it now unfortunately
okay I hope you can help me: I'm somewhat new to chinese drama as in I still don't understand all the way people call themselves or the nickname thing like Bing'er, Xiabo etc I was hoping you could help me and explain it to me or direct me to a site that explain in details because I'm down the mysterious lotus casebook hole and I have ideas for fic but i don't know what to use. Especially since my main idea is a girl!duobing fic. Would they call her A-bao ? please help if you can! thank you!
Hiya! Okay, I may make some mistakes on this so I’m tagging my cdrama moots to jump in for any input @sarah-yyy @romchat @rose-tinted-vision @weilongfu @dangermousie @killerandhealerqueen
To answer;
1. Yes, A’Bao (or Ah Bao or A-Bao, depending on your preferences, would be something they would call her
2. Think of Xiao- or A-, in front of someone’s name as kind of an endearment or a way to denote station/closeness.
3. Let’s use for example, Li LianHua; Li-gongzi (Young Master Li; how you respectfully call a son of a family; you can add an er-, san- to denote if the person is the second or third son and so on so forth), Li-shifu (Master Li; shifu is what you call your teacher)
4. Now, if we say for example Xiao Bao or A’Bao, Bao’er, that is what you would call someone you’re close to.
5. Xiao- is what I would call my younger cousins or siblings or a younger friend or someone younger than me, A- is what I would call a same age friend, -er is something I find either between parents and their kids or between couples. Though this could differ from situation to situation.
6. Further example, @dangermousie (fam, indulge me hehe) based on our interactions and mutuals status, I could call them Mousie-er or A’Mouse. In real life, I only use the A—. It’s too weird for me to use the other two, so personally, which one you use is very subjective in my opinion.
It’s rather simple and I know this wasn’t as in depth as it could be. But I hope it answered some basic questions at least.
So You Want to Read More about Chinese Mythos: a rough list of primary sources
"How/Where can I learn more about Chinese mythology?" is a question I saw a lot on other sites, back when I was venturing outside of Shenmo novel booksphere and into IRL folk religions + general mythos, but had rarely found satisfying answers.
As such, this is my attempt at writing something past me will find useful.
(Built into it is the assumption that you can read Chinese, which I only realized after writing the post. I try to amend for it by adding links to existing translations, as well as links to digitalized Chinese versions when there doesn't seem to be one.)
The thing about all mythologies and legends is that they are 1) complicated, and 2) are products of their times. As such, it is very important to specify the "when" and "wheres" and "what are you looking for" when answering a question as broad as this.
-Do you want one or more "books with an overarching story"?
In that case, Journey to the West and Investiture of the Gods (Fengshen Yanyi) serve as good starting points, made more accessible for general readers by the fact that they both had English translations——Anthony C. Yu's JTTW translation is very good, Gu Zhizhong's FSYY one, not so much.
Crucially, they are both Ming vernacular novels. Though they are fictional works that are not on the same level of "seriousness" as actual religious scriptures, these books still took inspiration from the popular religion of their times, at a point where the blending of the Three Teachings (Buddhism, Daoism, Confucianism) had become truly mainstream.
And for FSYY specifically, the book had a huge influence on subsequent popular worship because of its "pantheon-building" aspect, to the point of some Daoists actually putting characters from the novel into their temples.
(Vernacular novels + operas being a medium for the spread of popular worship and popular fictional characters eventually being worshipped IRL is a thing in Ming-Qing China. Meir Shahar has a paper that goes into detail about the relationship between the two.)
After that, if you want to read other Shenmo novels, works that are much less well-written but may be more reflective of Ming folk religions at the time, check out Journey to the North/South/East (named as such bc of what basically amounted to a Ming print house marketing strategy) too.
-Do you want to know about the priestly Daoist side of things, the "how the deities are organized and worshipped in a somewhat more formal setting" vs "how the stories are told"?
Though I won't recommend diving straight into the entire Daozang or Yunji Qiqian or some other books compiled in the Daoist text collections, I can think of a few "list of gods/immortals" type works, like Liexian Zhuan and Zhenling Weiye Tu.
Also, though it is much closer to the folk religion side than the organized Daoist side, the Yuan-Ming era Grand Compendium of the Three Religions' Deities, aka Sanjiao Soushen Daquan, is invaluable in understanding the origins and evolutions of certain popular deities.
(A quirk of historical Daoist scriptures is that they often come up with giant lists of gods that have never appeared in other prior texts, or enjoy any actual worship in temples.)
(The "organized/folk" divide is itself a dubious one, seeing how both state religion and "priestly" Daoism had channels to incorporate popular deities and practices into their systems. But if you are just looking at written materials, I feel like there is still a noticeable difference.)
Lastly, if you want to know more about Daoist immortal-hood and how to attain it: Ge Hong's Baopuzi (N & S. dynasty) and Zhonglv Chuandao Ji (late Tang/Five Dynasties) are both texts about external and internal alchemy with English translations.
-Do you want something older, more ancient, from Warring States and Qin-Han Era China?
Classics of Mountains and Seas, aka Shanhai Jing, is the way to go. It also reads like a bestiary-slash-fantastical cookbook, full of strange beasts, plants, kingdoms of unusual humanoids, and the occasional half-man, half-beast gods.
A later work, the Han-dynasty Huai Nan Zi, is an even denser read, being a collection of essays, but it's also where a lot of ancient legends like "Nvwa patches the sky" and "Chang'e steals the elixir of immortality" can be first found in bits and pieces.
Shenyi Jing might or might not be a Northern-Southern dynasties work masquerading as a Han one. It was written in a style that emulated the Classics of Mountains and Seas, and had some neat fantastic beasts and additional descriptions of gods/beasts mentioned in the previous 2 works.
-Do you have too much time on your hands, a willingness to get through lot of classical Chinese, and an obsession over yaoguais and ghosts?
Then it's time to flip open the encyclopedic folklore compendiums——Soushen Ji (N/S dynasty), You Yang Za Zu (Tang), Taiping Guangji (early Song), Yijian Zhi (Southern Song)...
Okay, to be honest, you probably can't read all of them from start to finish. I can't either. These aren't purely folklore compendiums, but giant encyclopedias collecting matters ranging from history and biography to medicine and geography, with specific sections on yaoguais, ghosts and "strange things that happened to someone".
As such, I recommend you only check the relevant sections and use the Full Text Search function well.
Pu Songling's Strange Tales from a Chinese Studios, aka Liaozhai Zhiyi, is in a similar vein, but a lot more entertaining and readable. Together with Yuewei Caotang Biji and Zi Buyu, they formed the "Big Three" of Qing dynasty folktale compendiums, all of which featured a lot of stories about fox spirits and ghosts.
Lastly...
The Yuan-Ming Zajus (a sort of folk opera) get an honorable mention. Apart from JTTW Zaju, an early, pre-novel version of the story that has very different characterization of SWK, there are also a few plays centered around Erlang (specifically, Zhao Erlang) and Nezha, such as "Erlang Drunkenly Shot the Demon-locking Mirror". Sadly, none of these had an English translation.
Because of the fragmented nature of Chinese mythos, you can always find some tidbits scattered inside history books like Zuo Zhuan or poetry collections like Qu Yuan's Chuci. Since they aren't really about mythology overall and are too numerous to cite, I do not include them in this post, but if you wanna go down even deeper in this already gigantic rabbit hole, it's a good thing to keep in mind.
Ooh this looks like an excellent companion to Geng Song's Televising Chineseness: Gender, Nation, and Subjectivity and Jamie Zhao's edited volume Queer TV China: Televisual and Fannish Imaginaries of Gender, Sexuality, and Chineseness.
The few chapters both books had on MDZS/The Untamed made me want to read a dedicated volume on the IP and here we are. A Christmas present to myself from myself 🙌🏼
You have questions! We might have answers.
What is this collection?
As Maria puts it: this collection is a critical look at some of the things that we, the editors, think have made CQL such a hit around the world. Of course, part of that success comes from the webnovel MDZS and the show CQL themselves—we love the characters, the mystery, and the drama, who doesn’t?! However, the authors in our book also look at topics like translating danmei (both officially and unofficially), adapting danmei for new audiences, and interacting with fandoms and fanworks. The larger argument of the book is that all of these things played a huge role in CQL’s visibility and success, and we wanted to start making those moving pieces visible, especially for audiences who mainly watched CQL in translation.
You keep using the word “academic”—what does that mean, exactly?
Maria: Ok, not to get pedantic here, but this actually touches on some things that I’m really excited about for the book. Traditionally, academic work is written by people who have a deep expertise in the subject (signified by having a PhD and doing specific kinds of research), and then the work itself is peer-reviewed (i.e., sent to other experts in the field for them to evaluate whether it’s sound, original, and interesting enough to publish, without knowing who wrote it). And both of these things are true about our book—our authors have deep knowledge and the book was peer reviewed—but also. We specifically asked for chapters from younger scholars and from fans who also have deep knowledge about topics that academia doesn’t always know or value enough, and we include an interview from the fan-translator K. who did the Exiled Rebels translation. So the hope is that: this book is academic, and also—more!
Who are you?
Yue studies adaptation, fantasy, and popular culture texts using a feminist lens. She wrote an early, influential article about danmei adaptations and also has a book about feminist adaptations of Chinese fantasy.
Maria studies fanworks, contemporary fantasy, and genre literature. She’s scrambling to finish her dissertation right now.
How were the chapter spotlights chosen?
Voluntarily! The concept of a small social media promo was kicked around by some of the contributors and those interested in the idea filled out a short interview with what they wanted to share. We'll be posting about 2 introductions and 2 spotlights a day for the next week or so!
Are you making any money off of royalties from this book?
LOL not even remotely
Where can I find this book?
You can find our listing on Peter Lang’s website here. As for other retailers, a quick search should turn us up!
How can I access this book if I cannot buy it from Peter Lang / [book retailer of choice]?
As collection editors and contributors who signed a legal agreement with Peter Lang, we have granted Peter Lang exclusive right and license to edit, adapt, publish, reproduce, distribute, display, and store our contributions, and we must cooperate fully with the Publisher if the Publisher believes a third party is infringing or is likely to infringe copyright in the contribution.
That being said, these are academic papers, which means that contributors may make copies of the contribution for classroom teaching use! (These copies may not be included in course pack material for onward sale by libraries and institutions). Of course, any linking, collection or aggregation of chapters from the same volume is strictly prohibited.
(FAQ may be updated periodically!) (all posts on Catching Chen Qing Ling)