History of Chinese BL (danmei)
Excerpts from Forbidden love: incest, generational conflict, and the erotics of power in Chinese BL fiction by Yanrui Xu and Ling Yang.
[History of danmei]
Chinese BL fiction first appeared around 1998, under the influence of Japanese BL manga and BL fan culture.
Japanese BL media arrives in China
In the early 1990s, a large number of Japanese manga entered Chinese market, including titles with BL elements like RG Veda (1989–1996), Tokyo Babylon (1990–1993), and X (1992–2003) created by CLAMP, and more typical BL manga such as Zetsuai 1989 (Absolute Love 1989, 1989) by Minami Ozaki.
In the second half of 1990s, Japanese BL fiction, like Ai no Kusabi (Wedge in the Relationship, 1986–1987) written by Rieko Yoshihara, Hono no Miraju (Mirage of Blaze, 1990–2004) by Mizuna Kuwabara, and Fujimi Orchestra (1994–) by Akizuki Ko also gained popularity in China.
[Chinese Platforms]
In 1998, Sangsang Academy a prominent website for Chinese manga fans, began to offer a special section for BL works.
At first, most BL works posted there were either translations of Japanese works or more often than not, unauthorized repostings of works of Taiwanese writers.
This practice soon provoked a unanimous protest from Taiwanese BL writers, which in turn motivated mainland BL fans to produce their own original BL works.
The following two years witnessed a substantial increase in the quality and quantity of BL fiction, an intense effort to cultivate unique individual styles, and a collective ambition to compete with foreign counterparts.
[Styles]
Some BL writers borrowed themes and plot devices from popular martial arts novels, a derivative of the traditional ‘chaptered novel’.
Chaptered novel (zhanghui xiaoshuo) is a type of novel written in the vernacular, with each chapter headed by a couplet giving the gist of its content. The novelist form became mature in the sixteenth century. Well-known classical novels of Chinese literature, such as Journey to the West (Xiyou Ji), The Plum in the Golden Vase (Jin Ping Mei), and Dream of the Red Chamber (Honglou Meng) are all written in this form.
Others, influenced by Japanese BL novels, honed their skills in nuanced psychological description and indirect expressions.
A few ‘European-style’ BL writers not only drew on European history for plot ideas but imitated the solemn diction of Chinese translation of European classics.
[Transnational differences]
[C]ontrary to Japanese manga’s tendency to portray foreign characters in exotic foreign settings
[E]arly Chinese BL stories are often set in ancient China, tapping into indigenous male homosexual tradition that ‘dates back to at least the Bronze Age’.
[Full Circle]
Since the turn of the new century, mainland writers have been confident enough to post their works on Taiwanese websites and release tankobon in Taiwan.
In 2011, Feng Yu Jiu Tian (Phoenix in the Ninth Heaven), a novel written by leading Chinese BL writer Feng Nong, was adapted into a manga series and published in Japan by Libre Publishing.
The translated manga bears the new succinct title Outaishi wa Mujihi ni Ubawareru (The Crown Prince is Raped Pitilessly).
Concurrently, an extra story of Phoenix in the Ninth Heaven named ‘Bath Dreams’ was also published in famous Japanese BL magazine BeBoy Gold.
[Commercialization]
One community that has made a significant contribution to the initial boom of BL in China is the Lucifer Club.
Established in 1999, Lucifer is the first online forum dedicated solely to BL and remained for a long time the most influential BL website in China.
Despite a rigorous membership registration and monitoring system, Lucifer quickly earned its reputation as the ‘holy land’ for BL fans and drew many well-known BL writers.
Unfortunately, in 2007, when a registered writer was accused of plagiarism, the club administrators mishandled the charge. As a result, almost two thirds of regular writers and readers left the club as a gesture of protest.
Since then, Lucifer’s popularity has suffered a remarkable decline.
In the meantime, commercial literature websites such as Jinjiang and My Fresh attracted a large number of BL writers and readers as a result of their steady growth and proper management.
[JJWXC]
Established in 2003, Jinjiang is now the largest women’s literature website in China.
Our calculation shows that, as of February 2012, about 199,100 BL stories have been published on Jinjiang, among which 145,600 are original; the rest are fan fiction.
‘Jinjiang’s easy access serves to effectively disseminate danmei to a broader fan base and helps to mainstream this previously marginal subculture.’
[Censorship and penalty]
In early 2011, the Zhengzhou police bureau busted a commercial BL website of 600,000 registered users and arrested a dozen young writers under the charge of spreading obscene articles.
Shen, C., and Y. Li. 2011. “Zhengzhou pohuo huangse xiaoshuo wangzhan qianyue zuozhe duoshi ershisui nühai.” [Zhengzhou Busted Pornographic Fiction Website Most of the Contracted Authors are 20-Year-Old Girls.] Accessed February 9, 2012. http://news.xinhuanet.com/legal/2011-03/21/c_121212463.htm
[Subgenres]
In the course of development, Chinese BL fiction has split into many subgenres, and each subgenre has its own stable readership.
In narrative style, there are ‘abuse fiction’ (nüe wen), ‘sweet fiction’ (tian wen) and ‘realistic fiction’ (xianshi xiang wen).
‘Abuse fiction’, as the name indicates, features physical and mental abuse, including rape, BDSM and imprisonment. It might be the equivalent of ‘darkfic’ in Western fanfic.
‘Sweet fiction’ is similar to ‘fluff’, generally set in an everyday domestic environment, emphasizing the tender love between the seme and the uke.
‘Realistic fiction’ is so named because the characters and plots in those stories are more realistic, often indistinguishable from gay literature.
In pairing and characterization, there is a variety of combination, such as strong seme × weak uke, strong seme × strong uke, weak seme × strong uke, weak seme × weak uke, or ‘reversible’.
According to their settings, BL stories can be divided into fantasy stories, classical stories [aka historical setting] and modern stories.
Since age discrepancy between the seme and uke is an important element, distinction is also made between ‘old seme fiction’ (nianshang wen), in which the seme is older than the uke, and ‘young seme fiction’ (nianxia wen), in which the age situation is reversed.
In addition, there are a number of BL subgenres that particularly test readers’ tolerance for taboo subjects, for example: mpreg, hermaphrodite protagonist and incest.
5 notes
·
View notes
Schwarz Hertz (2006)
Schwarz Hertz (14 novels)
Written by Mizuna Kuwabara.
Published by Cobalt (Shueisha).
The Schwarz Hertz series contains:
Schwarz Hertz - Kuroi Shinso (2006)
Schwarz Hertz - Warukyuure no Amekikou (2006)
Schwarz Hertz - Ariadone no Itoguruma (2006)
Schwarz Hertz - Shiwa no Odoru Mori (2006)
Schwarz Hertz - Gestaan (2007)
Schwarz Hertz - Moeru Kotei no Ramu 1 (2007)
Schwarz Hertz - Moeru Kotei no Ramu 2 (2007)
Schwarz Hertz - Kamigami no Myakuhaku vital.A (2008)
Schwarz Hertz - Kamigami no Myakuhaku vital.B (2008)
Schwarz Hertz - Gestaan ~ Karakumuru no Kikaishin (2008)
Schwarz Hertz - Kamigami no Myakuhaku vital.X (2009)
Schwarz Hertz - Kamigami no Myakuhaku vital.XX (2009)
Schwarz Hertz - Kangoku no Farao (2009)
Schwarz Hertz - Boukoku no Hagarazu (2010)
2 notes
·
View notes
Arrêts de commercialisation chez Soleil Mai 2017, vu sur Akihabara no Sasayaki http://ift.tt/2pnRECY Arrêts de commercialisation chez Soleil Les séries suivantes ne seront plus commercialisées après le 5 mai Asura tomes 1 à 4, de Rie NAKAMURA Baroque Knights (Baroque Kishidan) de Maki FUJITA Book Girl (Bungaku Shôjo to Oishii Recipe) d’Akira HIYOSHIMARU et Mizuki NOMURA Coelacanth tomes 1 à 2, de Kayoko SHIMOTSUKI Epitaph d’Aya SHOUOTO Father’s Vampire (Shinpu-sama no Kyûketsuki) tomes 1 à 2, de Kotaro KOBAYASHI Femme Fatale tomes 1 à 3, de Kaya SHIGISAWA Happy Project tomes 1 à 4, d’Hirokazu OCHIAI Happy Science tomes 1 à 3, de Miyuki YORITA Ilegenes (Ilegenes – Kokuyou no Kiseki) tomes 1 à 5, de Kachiru ISHIZUE et Mizuna KUWABARA Kurogane Girl & the Alpaca Prince tomes 1 à 2, de Kokoro NATSUME Laissée pour Comte (Migawari Hakushaku no Bôken) tomes 1 à 6, d’Isuzu SHIBATA et Mimori SEIKE Living in a Happy World (Sekai wa Happy de Dekiterô) tomes 1 à 2, de Maki USAMI Majyo Rin tomes 1 à 3, de Setsuko YONEYAMA Messiah (Messiah – Seiiki Ishû) tomes 1 à 2, d’Akira HIYOSHIMARU et Madoka TAKADONO Next to You (Tonari no Atashi) tomes 1 à 10, d’Atsuko NANBA Number tomes 1 à 7, de Kawori TSUBAKI Paradis Secret (Himitsu de, Hanazono), d’Aya SHOUOTO Princess Nightmare tomes 1 à 2, de Mei NOGUCHI Runway of Lovers (Runway no Koibito) tomes 1 à 3, de Yuka SHIBANO et Wataru TANAKA Saruyama ! tomes 1 à 8, d’Akira SHOUKO Seirei Produce tomes 1 à 2, de Tôko MIYAGI Suis-je un Ange ? (Orette Tenshi), d’Aya SHOUOTO The Mystic Archives of Dantalian (Dantalian no Shoka) tomes 1 à 5, de Chako ABENO The Mystic Archives of Dantalian – Dalian Days (Dantalian no Shoka – Dalian Days) tomes 1 et 2, de Monako SENA et Gakuto MIKUMO The Sleeping Princess (Nemuri Hime) tomes 1 à 3, de Yuna SASAKI Vassalord tomes 1 à 6+7, de Nanae CHRONO Wings of Freedom (Hitoribocchi wa Samishikute) tomes 1 à 3, de Kozue CHIBA Your Eyes Only de Yun KÔGA Source : mangamag Tags : #arrêt #commercialisation #Soleil http://ift.tt/2qil8XU
0 notes