Damo, ep. 08-12
Tue, Jan. 8th, 2008 12:23 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
oyceterAieiiiiieeeeeeee! The angst!
I am also incredibly sad now, because up to this point, both Chae-Ohk and Hwangbo Yoon were behaving rationally, albeit tempered by their immense devotion to each other. But mostly, I loved them together because they listened to each other despite occasional blow-ups in temper, and I loved Hwangbo because he never took advantage of his rank. I dislike seeing them both being manipulated by the narrative into Big Misunderstandings and Big Secrets.
That said, I adore how Chae-Ohk has fairly consistently varied bouts of angst and crying with action, particularly her madcap scheme to break into the palace! Chae-Ohk, you are awesome. And I love the reversal of the trope in which the hero is the one to bring healing (or usually waits at home) while the heroine runs off and has swordfights. Sadly, this is less the case now that everyone's out in the forest.
Hwangbo Yoon! I yell at you for taking words said in sleep to mean something! Argh. I mean, I do not blame him for feeling bad, but he should at least ask her or talk instead of jumping to conclusions. I am particularly grumpy because it's affecting his better judgment regarding troops and whatnot, though thankfully he still caught on to the guards/soldiers deployed by the other side. And I lost a lot of respect when he ended up being cruel to Chae-Ohk because he thought she loved someone else. Aiiieeee.
I'm also very confused now -- does Chae-Ohk know Jang Sung-Baek is her brother? I thought she did, but now it seems she doesn't? Either that, or the narrative is making her not say anything while teasing us horribly by missed meetings. Narrative, you should take note from Heroes and stop doing that, because it makes the characters look stupid. And I do not want Chae-Ohk to look stupid! I am massively handwaving it as her desire for freedom and the life Jang Sung-Baek speaks of. Unfortunately, I don't think the actress or the script is playing it that way. I also laughed at the Cave o' Angst and DOOM! Flares! Unseen! Bonesetting! Wounds! SCORPION BITES! Sucking the poison out! Getting poisoned via wounds in the mouth! Bwahaha!
I also adored the analysis of sword wounds and the conclusion that the killers must have been Japanese, along with the sudden appearance of rogue Japanese assassin people!
The court intrigue continues to be awesome, and now I am horrifically worried about the Police Chief. I also really like his daughter (Nan-Hui?), though I laughed and laughed at his attempted suicide and her return threat of suicide. Awesomesauce.
Even so, the angst of the last scene in episode 12 just about killed me. After all his mean behavior Hwangbo Yoon is still willing to give up his position and rank and become a commoner! And eeeeek! Chae-Ohk! Gah! I am handwaving it as her not wanting him to give things up for her, but honestly, I am not convinced that the drama is playing it that way, particularly given the cave scene with Jang Sung-Baek and the fact that in the past, Chae-Ohk has been perfectly willing to tell Hwangbo Yoon that he shouldn't give stuff up for her.
I am still confused about the cave scenes. How does she not know he's her brother? And if she does know, why didn't she say anything when a) he said he loved her and b) she thought he was dead? For a), I feel a great time to tell someone about your familial relationship is when they confess to feeling romantic love for you, no matter how much you want to deny your feelings or not show your weakness! Particularly when you've already shown your weakness. I mean, you don't even have to say "I love you, too." Just a "That's nice, but I'm your sister" would work. For b), well... he's dead. It makes no sense whatsoever to weep over his chest and say "I love you" but not call him "brother" or something. So I am very confused...
Also, I would take it as more class commentary and Chae-Ohk deciding between her content but very restricted life as a servant (especially now that Hwangbo Yoon has proven to be a more fickle master than previously believed) vs. the new taste of freedom, only the show and the actors seem to be playing it more as romance. Also, I'd believe the class commentary much more except for the character of Mah. We get to see how class restrictions chafe for Chae-Ohk and lead Jang Sung-Baek down the path of rebellion, but I have problems with the character of Mah and his wife. They're mostly played for comic relief, and it seems to tie in with the idea that the slave/servant class doesn't really know how to take care of itself, and that they just want to be commoners. I mean, possibly that's what Jang Sung-Baek is fighting for, but he seems to be fighting more for the abolishment of the class system all together.
I don't know. I can't quite put my finger on what exactly bugs me; right now, it's mostly the difference between Mah and Chae-Ohk (both servants to begin with), how Mah changes when he assumes commoner status, and Gak-Chool. I suppose Mah's changes when he becomes a commoner could be attributed to the ability of any one person to transcend class, but it reads more to me as class changing the person. I.e. being a commoner is so cool that it immediately grants cleanliness and better manners, as opposed to, now that one doesn't have to worry about basic sustenance and survival, one can acquire symbols of a higher class. So while Jang Sung-Baek talks rebellion, the general framework of the drama doesn't seem to support it yet.
Also also, one of the things I find most unconvincing is that Chae-Ohk has shown angst and woe over her constricted life and has desired more freedom, but I just don't quite believe that she's that drawn by Jang Sung-Baek's philosophy. I do think she finds it tempting and appealing, but she's stricter than Hwangbo Yoon in upholding class divisions. Part of it I think is a survival technique; if she didn't, she would be punished way more than he would be. But so far, I read her as buying into the class system, despite seeing the appeal of the rebel life. A lot of this is because I read her reluctance to kill Jang Sung-Baek stemming not from her admiration for his ideals, but from the emotions she feels for him.
Anyway, will be interested to see how this concludes, although I'm a bit wary, since my sister said it made her want to throw something at the TV. Don't spoil me though! Or even hint at anything!
Ok, so now I am curious. Does anyone know anything about Chinese vs. Korean vs. Japanese methods of swordfighting, circa the Joseon Dynasty (1392-1910)? I am guessing Damo is set around the 1600s, though really, that is a total stab in the dark. So that would be late Ming/early Qing for China and early Tokugawa/Edo for Japan.
Mostly I am curious because the show says something about how Chinese and Korean swordfighting techniques focus on enemies on all four sides, meaning any one stroke probably won't go through the entire body, whereas Japanese swordfighting techniques focus on enemies in the front, meaning any one stroke will more likely go through the entire body.
I am also incredibly sad now, because up to this point, both Chae-Ohk and Hwangbo Yoon were behaving rationally, albeit tempered by their immense devotion to each other. But mostly, I loved them together because they listened to each other despite occasional blow-ups in temper, and I loved Hwangbo because he never took advantage of his rank. I dislike seeing them both being manipulated by the narrative into Big Misunderstandings and Big Secrets.
That said, I adore how Chae-Ohk has fairly consistently varied bouts of angst and crying with action, particularly her madcap scheme to break into the palace! Chae-Ohk, you are awesome. And I love the reversal of the trope in which the hero is the one to bring healing (or usually waits at home) while the heroine runs off and has swordfights. Sadly, this is less the case now that everyone's out in the forest.
Hwangbo Yoon! I yell at you for taking words said in sleep to mean something! Argh. I mean, I do not blame him for feeling bad, but he should at least ask her or talk instead of jumping to conclusions. I am particularly grumpy because it's affecting his better judgment regarding troops and whatnot, though thankfully he still caught on to the guards/soldiers deployed by the other side. And I lost a lot of respect when he ended up being cruel to Chae-Ohk because he thought she loved someone else. Aiiieeee.
I'm also very confused now -- does Chae-Ohk know Jang Sung-Baek is her brother? I thought she did, but now it seems she doesn't? Either that, or the narrative is making her not say anything while teasing us horribly by missed meetings. Narrative, you should take note from Heroes and stop doing that, because it makes the characters look stupid. And I do not want Chae-Ohk to look stupid! I am massively handwaving it as her desire for freedom and the life Jang Sung-Baek speaks of. Unfortunately, I don't think the actress or the script is playing it that way. I also laughed at the Cave o' Angst and DOOM! Flares! Unseen! Bonesetting! Wounds! SCORPION BITES! Sucking the poison out! Getting poisoned via wounds in the mouth! Bwahaha!
I also adored the analysis of sword wounds and the conclusion that the killers must have been Japanese, along with the sudden appearance of rogue Japanese assassin people!
The court intrigue continues to be awesome, and now I am horrifically worried about the Police Chief. I also really like his daughter (Nan-Hui?), though I laughed and laughed at his attempted suicide and her return threat of suicide. Awesomesauce.
Even so, the angst of the last scene in episode 12 just about killed me. After all his mean behavior Hwangbo Yoon is still willing to give up his position and rank and become a commoner! And eeeeek! Chae-Ohk! Gah! I am handwaving it as her not wanting him to give things up for her, but honestly, I am not convinced that the drama is playing it that way, particularly given the cave scene with Jang Sung-Baek and the fact that in the past, Chae-Ohk has been perfectly willing to tell Hwangbo Yoon that he shouldn't give stuff up for her.
I am still confused about the cave scenes. How does she not know he's her brother? And if she does know, why didn't she say anything when a) he said he loved her and b) she thought he was dead? For a), I feel a great time to tell someone about your familial relationship is when they confess to feeling romantic love for you, no matter how much you want to deny your feelings or not show your weakness! Particularly when you've already shown your weakness. I mean, you don't even have to say "I love you, too." Just a "That's nice, but I'm your sister" would work. For b), well... he's dead. It makes no sense whatsoever to weep over his chest and say "I love you" but not call him "brother" or something. So I am very confused...
Also, I would take it as more class commentary and Chae-Ohk deciding between her content but very restricted life as a servant (especially now that Hwangbo Yoon has proven to be a more fickle master than previously believed) vs. the new taste of freedom, only the show and the actors seem to be playing it more as romance. Also, I'd believe the class commentary much more except for the character of Mah. We get to see how class restrictions chafe for Chae-Ohk and lead Jang Sung-Baek down the path of rebellion, but I have problems with the character of Mah and his wife. They're mostly played for comic relief, and it seems to tie in with the idea that the slave/servant class doesn't really know how to take care of itself, and that they just want to be commoners. I mean, possibly that's what Jang Sung-Baek is fighting for, but he seems to be fighting more for the abolishment of the class system all together.
I don't know. I can't quite put my finger on what exactly bugs me; right now, it's mostly the difference between Mah and Chae-Ohk (both servants to begin with), how Mah changes when he assumes commoner status, and Gak-Chool. I suppose Mah's changes when he becomes a commoner could be attributed to the ability of any one person to transcend class, but it reads more to me as class changing the person. I.e. being a commoner is so cool that it immediately grants cleanliness and better manners, as opposed to, now that one doesn't have to worry about basic sustenance and survival, one can acquire symbols of a higher class. So while Jang Sung-Baek talks rebellion, the general framework of the drama doesn't seem to support it yet.
Also also, one of the things I find most unconvincing is that Chae-Ohk has shown angst and woe over her constricted life and has desired more freedom, but I just don't quite believe that she's that drawn by Jang Sung-Baek's philosophy. I do think she finds it tempting and appealing, but she's stricter than Hwangbo Yoon in upholding class divisions. Part of it I think is a survival technique; if she didn't, she would be punished way more than he would be. But so far, I read her as buying into the class system, despite seeing the appeal of the rebel life. A lot of this is because I read her reluctance to kill Jang Sung-Baek stemming not from her admiration for his ideals, but from the emotions she feels for him.
Anyway, will be interested to see how this concludes, although I'm a bit wary, since my sister said it made her want to throw something at the TV. Don't spoil me though! Or even hint at anything!
Ok, so now I am curious. Does anyone know anything about Chinese vs. Korean vs. Japanese methods of swordfighting, circa the Joseon Dynasty (1392-1910)? I am guessing Damo is set around the 1600s, though really, that is a total stab in the dark. So that would be late Ming/early Qing for China and early Tokugawa/Edo for Japan.
Mostly I am curious because the show says something about how Chinese and Korean swordfighting techniques focus on enemies on all four sides, meaning any one stroke probably won't go through the entire body, whereas Japanese swordfighting techniques focus on enemies in the front, meaning any one stroke will more likely go through the entire body.
Tags:
(no subject)
Tue, Jan. 8th, 2008 08:41 pm (UTC)(no subject)
Tue, Jan. 8th, 2008 09:30 pm (UTC)(no subject)
Tue, Jan. 8th, 2008 08:57 pm (UTC)(no subject)
Tue, Jan. 8th, 2008 09:31 pm (UTC)A very simplified history of martial arts
Tue, Jan. 8th, 2008 10:21 pm (UTC)I think that practical sword and other weapon styles developed independently in various countries, and were not necessarily connected much to the styles I write of below. But I think the stylistic issues may be relevant anyway.
A brief history of one timeline for the evolution of one martial art, dates elided due to laziness:
India: Kalaripayat evolves in south India. The barehanded portion is complex, uses "animal forms," feints, and looks to me a lot like some types of kung fu. The weapons portion uses a short staff, a long staff, and some very exotic weapons which I am told were more for training than real fighting, like the urumi (flexible sword) and spear.
Aesthetic: None of this is of the "one blow, one kill" school, but with the idea that many moves are used. Very athletic, very pretty, requires great flexibility.
The monk Bodhidharma, aka Dharma or Daruma, notices the Chinese monks are soft and lazy. He brings this style to...
China: Here it evolves into the MANY styles collectively known as kung fu. Also not a "one blow, one kill" style. Still a use of animal forms, still the idea is that you will use some moves to confuse or distract, others to weaken, and other to actually strike a wounding or killing blow. Note use of unusal types of swords, spears, sectional staffs, and other less than practical weapons.
Aesthetic: Similar to kalaripayat. Many blows, variation in posture, ie, crouching then leaping.
This style travels to...
Okinawa: Here it transforms into Okinawan-style karate. More unusual weapons are added. The long staff (bo) and short staff (jo) are still there; the sword and spear are dropped, and the tonfa, oar, sai, etc are added.
Aesthetic: More linear, though still softer and more circular than Japanese karate, generally. Less variation in posture.
An Okinawan teacher takes this to...
Japan: Here it becomes Shotokan karate, plus other styles. Weapons are generally dropped or de-emphasized.
Aesthetic: Linear-- this is not literally that the enemy is at the front and you attack straight-on, but it's going in that direction. One blow, one kill is the ideal. Not so fancy, way fewer separate techniques, little variation in posture, not very pretty. Forms not named after animals.
So basically, Japanese karate is similar to the Japanese swordfghting aesthetic you see in samurai movies, that Miyamoto Musashi writes about, and that Jin uses in Samurai Champloo: hard, linear, straightforward, fewer techniques, short fights, geared toward fighting one person at a time. "One blow, one kill" and "one encounter, one chance" are key concepts.
My guess is that Chinese swordfighting might be more like kung fu: hard-soft, more circular, many moves used to do different things, maybe geared toward lots of enemies. The styles of kung fu are not typically "one encounter, one chance;" there will be many blows exchanged in order to come to a conclusion.
That sounds similar to what the drama said about respective sword styles, right?
(Edited to erase factual error, sorry.)
Re: A very simplified history of martial arts
Wed, Jan. 9th, 2008 01:31 am (UTC)(no subject)
Tue, Jan. 8th, 2008 09:30 pm (UTC)She suspected JSB was her brother earlier on, but he told her he never had any siblings when she asked when she was undercover, so she decided she was wrong. Honestly, I think both deny it because they can't handle the thought of the sibling they've looked so long for being someone they have to fight. They both convince themselves that the feeling is romantic, because, twisted as it is, it's easier to think of battling your lover than it is your sibling, especially when so much of your life revolves around your hoping of finding your sibling and having them join you. The reality is just too much, so they delude themselves.
Damo is set in the 1700s.
(no subject)
Tue, Jan. 8th, 2008 09:32 pm (UTC)I am trying to handwave myself into thinking this, only the way the scenes and her character and everything have been set up really seem to be going for the romantic aspect.
She suspected JSB was her brother earlier on, but he told her he never had any siblings when she asked when she was undercover, so she decided she was wrong.
Ahhhh ok, thanks. I totally missed that.