Enga mellom fjella

Silkpunk task #2

The problem is Victorian England. I'm allergic to it having been wounded by the American version of "looking down one's nose at others" by some members of my family. On the other hand I grew up in a factory town that laughed at many Victorian ideals. So ... this is going to be difficult if I allow it to trigger my traumas. I'll try to forget the reign of Don One who epitomized the Bleeding White Nationalism that continues to stain America.

Attitude? Yes, I have attitude.

I grew up with people being mocked and demeaned (my mother just looked down her nose); my mother and father "tried to teach us better". And in some ways they did. That said, I'm going to have to keep sneering characters to a minimum.

Also, I know very little about Victorian England and care to know less. I'm not an Anglophile like most writers at WDC. I grew up on Ibsen, Basho, and 3 encyclopedias.

Ah ... defiance ... which means I need to find a way around this.

1. Placed in Taiwan. A place I've visited but don't know enough about to write like a native. So I'll include as much culture as possible as I go along. My saving grace is that I know enough to know that I don't know and have an idea which questions to ask.

2. Think of it as a work translated into English ... with an English speaking audience in mind. Tricky? Yes.

3. The main characters must have personas struggling with personal issues based in their own culture. The male/female angst is moot. Li Vi and Chen Rong are both in charge of their family fortunes. They are the smart "business ladies". The gay/straight masculine/feminine angst is also very Western. Taiwan, like many Asian cultures was homosocial. The "we're boys so we must fight with each other" and "we fit into boxes of right and wrong" is a sad comment on American society. Taiwan is mostly Han so .

4. This is placed before Mandarin was forced down the throats of the Taiwanese after 1945 during the reign of the KMT. My main characters speak Hakka and Hokkien. The Hakka valued education and the Hokkien rice and commerce. Being bilingual was a necessity (unlike the attitude of many Americans and British who don't understand why everyone doesn't speak God's language ... theirs).

Japanese is useful, as is English (Hong Kong) and Portuguese (Macau) and Mandarin (Beijing). British colonialism is feared as it's a real threat.

So I need a couple upper-class snoots that the main characters will have to deal with (present-day young English travel-bloggers may help with attitude).

Koga-san. Trader from Kyushu [Japanese with a bit of Dutch... that's never mentioned]. (Koga is a common last name in Fukuoka but not further north). He's interested in trade and is very formal... but spying on behalf of the Imperium (Japan was expanding).

Mrs W. W. Walker (nee Ida Rose Kent) [British] (1890s names: Mary. Anna. Elizabeth. Emma. Margaret. Rose. Ethel. Florence. Ida. Bertha. Helen. 1860s...?) Mrs Walker was a curious creature who coming from money, both inherited from family and her less-than-lamented husband, did as she pleased. With a keen mind and an insatiable thirst for searching places that would upset her sister, she visits Tainan which provides her with grist for her letters and photographs. (photography quite the thing in 1890... even aerial photography possible... used by the Chen and Li family). Mrs. J. F. Bishop (nee Isabella Lucy Bird) is a real live person from that era (1831-1904?) and her notes may be useful.

Jan Kwong from Hong Kong. Of mixed Eurasian descent. (see Sir Robert Hatong) Multi-lingual 'trader', ostensibly in the tea trade ... hmm ... so says he. Hong Kong was a deeply segregated community run by the British for the British. Because ... not because the British were better, oh hell no, because the British were Best!

All three are veddy upper-class but with reasons to engage the more 'common folk'.

These three characters dovetail with the commerce of the Li-Chen family business: the tea-trade, the aerial spying, the rice-fuel... Hoan however is more interested in the 'pirate' trade which also draws attention from Koga, Walker & Kwong (which Hoan thinks of as a consortium or a 'conspiracy', both useful and dangerous). Who's playing who and for what reason provides the tension.

"Side stories":

A. There's a recurring theme in Asian film showing how relationships in past generations influence current ones. What were Li and Chen to each other in the past? Enemies? Lovers? This could disrupt or cement their present business agreement. Persuant to personal preferences I'm going to make this more than a momentary quid-pro-quo. The reader may think that the relationship is on the rocks ... but ... hint from the author (moi) it ain't.

B. Yaoi is a film/book genre that uses Asian homosociality to hint at homoeroticism which hints at actual same-sex sexual relationships. It's also referred to as BL (Boy-Love) and is geared towards a young female audience. The background of rivalry, family, interference, cultural norms, violence ... appeals to different audiences. Again, hint the Chok-Poh relationship will unfold, may be uneven, may run up against convention (both would be normally be expected to marry) however this is Tainan, a port city, not backwards Inland China. It will not be violent. Stupid maybe, accidents maybe ... they ain't the brightest members of their families (that would be their older sisters). Also ... this relationship endures in some form. The reader may disagree (but they're wrong!).

C. Interference by Immortals. Mazu is a goddess (based on a person who actually existed) and her presence (or absence) calms or roils the Seas. And the Seas cannot be ignored by fisher-folk. Also, there are typhoons.

Hoan is almost immortal. She is the offspring of a famous goddess Bai Zu Shen. Her symbol is the black/white venemous krait (snake)? Kraits are found in Taiwan. (rice paddy, swimmer, 2 hours till...) But... is she good, evil or neutral? And why is she a pirate? Or is she a victim of pirates? Who are these pirates?

The legend says that, after thousands of years of practicing magic power, the white snake Bai Su Zhen transformed herself into a young woman and fell in love with the human man Xu Xian. Together, they ran a hospital, saving lots of human lives with medicine and magic. However, this love between goddess and human was forbidden by the world of the gods and, eventually, Bai Su Zhen was imprisoned in a tower for eternity. Since then, the Chinese regard her as a symbol of true love and good-heartedness.

黑帝 Hēidì — Black Deity is ascendent during his season of cold and water (winter). The season is important so it needs to be woven in as a sub-text. He is symbolized by a black dragon and tortoise-snake.

Bluegreen Dragon (青龍 Qīnglóng). Is Chok-Poh's flying-dragon airship a silkpunk qinglong? https://en.wikipedia.org/wiki/Azure_Dragon Symbolizes East and Spring. Unfortunately it was used by the Qing Dynasty so it may have negative connotations as well... especially to Hakkas like Li.

D. Use of color. This is winter (black). Yellow can denote a change of season to spring (green, blue-green). Chok-Poh are young and black should be their color (today black is common among young men in Taiwan) so... does flying-riding a blue-green dragon-boat send a message? White and red have very strong meanings of death and love and unless a subliminal message is being sent they can be avoided.

E. Pirates. They do exist in the seas ... but are they actual characters or a mischaracterization by others? Hoan may seem like a pirate to others and for that reason either sought out, avoided or 'demonized'. The same could be said for Kwong and Koga. Is this merely an obsession of Mrs. Walker? Is this simply a red herring? Or a fish-net-full?

COLORS:

https://www.nationsonline.org/oneworld/Chinese_Customs/colours.htm

Today:
1. Yellow is still reserved for royalty. Clothing and objects that are yellow in color still resemble a higher social status. Although each dynasty designated each official rank with their own color, yellow is reserved or the emperor himself.
The color yellow and its shades are also the main color of Buddhism; thus it represents being free from worldly cares.

YELLOW- nourishing, supporting, stabilizing, ripening, grounded, solid, reliability,
sunbeam, warmth, clarity, royalty, good faith, empathy vs. anxiety

Five Elements: Earth; Direction: Centre, zenith; Season: change of season (every 3rd month); Condition: damp, wind;
Energy: stabilizing; Phase: Yin- Yang balance; Development: ripening; Planet: Saturn;
Animals: naked (mankind); Celestial creature: (Yellow) Dragon, (Yellow) Qilin, Phoenix; Fruit: dates; Grain: rice;
Action: thought; Sense: touch, taste; Sound: singing; Smell: fragrant; Taste: sweet, aromatic.
Trigram bagua: K’un, Gen

2. Red is still used for happiness and joy. In fact, after the Ming Dynasty, only the Emperor's close relatives could have homes with red walls and yellow roof tiles. Peasants could only live in homes made with blue bricks and roof tiles. Today though, most houses are made of black tiles and white walls.

RED - traditional bridal color, expansive, blooming, dynamic, enthusiastic, reaching upwards, good luck, celebration, happiness, joy, vitality, long life; red purple brings luck and fame, money, recognition, propriety, creativity, joy vs. over excitation.

Five Elements: Fire; Direction: South; Season: summer; Condition: heat;
Energy: expansive; Phase: full Yang; Development: blooming; Planet: Mars;
Animal: winged, especially poultry; Heavenly creature: Vermilion Bird, (Red) pheasant; Fruit: apricot; Grain: beans;
Action: sight; Sense: touch; Sound: laughing; Smell: scorched; Taste: bitter;
Trigram bagua: Li

3. Blue-green is still a symbol of spring when everything is filled with vigor and vitality. Therefore, someone that is hoping for longevity and harmony will decorate with blue-green colors.

GREEN - growing, generating, sprouting, striving, refreshing, balancing, calming, healing, self assurance, foundation, benevolence, health, harmony, sensitivity, patience vs. anger

Five Elements: Wood; Direction: East; Season: spring; Condition: windy, rain;
Energy: generative; Phase: new Yang; Development: generative; Planet: Jupiter;
Animal: scaled, especially dragon; Heavenly creature: (Azure, Green) Dragon; Fruit: plum; Grain: wheat;
Action: countenance; Sense: sight; Sound: calling; Smell: rancid; Taste: sour;
Trigram bagua: Xun/Sun, Zhen

4. White is a symbol of the unknown and purity. The color white is used during the time of mourning, death, and during ghost festivals.
Therefore Chinese people will wear white during a funeral or while summoning ghosts.

WHITE - mourning, contracting, withering, righteousness, pureness, confidence, intuition, strength, organization, death, ancestral spirits, ghosts, courage vs. sadness

Five Elements: Metal; Direction: West; Season: autumn; Condition: dry, clear;
Energy: contracting; Phase: new Yin; Development: withering; Planet: Venus;
Animal: furred, especially tiger; Celestial creature: (White) Tiger; Fruit: peach; Grain: hemp;
Action: speech; Sense: smell; Sound: lamenting; Smell: putrid; Taste: pungent, spicy, acrid;
Trigram bagua: Qian/ Quian, Dui

5. Black is used as the symbol of winter and the westerly skies which behold the heavens. It is used for times of the unknown and for the winter months.

BLACK - color for young boys (who will continue the family/ancestor lineages),
delving into the depth of something, flowing, dormant, conserving, immortality, stability, knowledge, trust, adaptability, spontaneity, power, career, will, emotional protection, calmness vs. lack of will

Five Elements: Water; Direction: North; Season: winter; Condition: cold;
Energy: conserving; Phase: full Yin; Development: dormant; Planet: Mercury;
Animal: shelled, especially tortoise; Celestial creature: (Black) Tortoise; Fruit: chestnut; Grain: millet;
Action: listening; Sense: hearing; Sound: moaning; Smell: rotten; Taste: salty;
Trigram bagua: K’an

From "Invalid Entry" : For this week's assignment, I'm going to offer you a choice of plot lines. I want you to choose one and decide on a setting for it. Go to the Discussion Page and deliver a more polished synopsis of your elevator pitch that includes a bit of the prospective action with special attention given to what your venue, specifically, brings to the story, and why you chose it over any other place where it might have been set.
Your sample story lines are as follows:
1. A well-meaning doctor, seeking a formula to regenerate amputated limbs, inadvertently creates monsters.
2. A group of fashion models use their looks and status to become close with captains of industry for the purposes of espionage, blackmail, or assassination.
3. Mysterious goings-on in an antique, curio, or pawn shop that almost always seems to be closed.
4. An airship full of explorers flying over a vast unexplored region discover . . .
5. An automaton is being used for nefarious purposes.
6. Continue to develop the one you originated in response to last week's lesson.

From "Riding the water dragon (silkpunk): intro-excerpt. [70ab]" 

Elements

Setting: Taiwan 1890s
Silkpunk (flying-fish-and-dragons (airboats), airships, mechanical whales, steam, rice-alcohol-fuel)
Conflicts: commerce and pirates, conventional cultural expectations at a time of change.
Shenmo (immortals, gods): Mazu, Hoan
Cryptids (mythological creatures): mo-sin-a
Bromance/BL/Yaoi: Chok, Poh

I want to create layers. Or maybe just hot-pot.

For: "Invalid Item"  "Invalid Item"  "Invalid Item" 
Plus: "Invalid Item"