Thunderbolt Fantasy

A few weeks ago, I wrote about the Kung Fu puppetry of Taiwan, but little did I know that I wasn’t the only one who’d taken an interest in Taiwan’s Wuxia puppetry- Japanese writing star Urobuchi Gen (the man behind Madoka Magica, Psycho Pass, and Fate/Zero) had also taken an interest in Pili Puppetry form. In a twist of fate, Pili was also looking to work with him, and as a result of that partnership- Thunderbolt Fantasy (Toriken Koki), a Japanese-Taiwanese hybrid TV series was born! (You can hear about this story in full in the Episode 0 special on Crunchyroll.)

I only heard about this show a week ago, and when I did I got pretty excited. I’ve never been able to watch a Pili series before, much less one as it aired, and this one was being simulcast with English subtitles on Crunchyroll. Thus, I eagerly waited for July 8th, when the first episode would air, and couldn’t wait to watch it last night when it popped up on the list.

So, how was it?

In short- as awesome as advertised!

I’ve seen clips of Pili shows, and even watched Legend of the Sacred Stone, but this was a whole other level. The puppet-work is amazing, the story and characters are engaging, and the craftsmanship in everything is a sight to behold. I couldn’t believe how into it I got, and by the end of the episode all I wanted to do was watch more!

In the Episode 0 (Making-of), the Japanese partners talk about how they were on set in Taiwan and the wonder of watching a piece of wood and cloth come to life the moment a human hand was put inside. I haven’t seen it done in person (although I’d like to, someday) but I can completely understand what they meant, as you literally forget you’re watching puppets at times because of the way they move and act. It really does take the magic of puppet theater and bring it into the 21st century.


The story?

The story at first blush is fairly standard. A great evil lord is trying to get his hands on mystical artifact, and killing everyone who gets in his way, which leads him into conflict with our heroes. Like I said, standard. But given Urobuchi’s reputation as a writer (it was written by him, but produced by the Taiwanese) I suspect there will be some nice twists coming that take it in a different direction. Not that it matters, because this story isn’t about the plot but the characters and action, both of which will keep you watching.

One thing I did like about this show is that each character has a different voice actor. In the original Taiwanese Pili shows, there is just one person doing the voices for all the characters, which is fine, but having a full cast allows each character to have a bit more life to them. It adds to the immersion, and I liked the voices they chose. One weird thing is that the English subtitles use the Chinese names, while the Japanese actors are using the Japanese names. It does make it more authentic, but it makes it a bit harder to remember everyone’s name since you’re hearing and reading different names.

In any case, Episode 1 has garnered 5/5 stars on Crunchyroll (with 123 votes) and I suspect it will be cult hit here and in Japan. (It’s only disadvantage is that it came out the same week Pokemon GO! launched) I hope so, because it really deserves the attention, and I’d like to see them do more in the future.

Want to check it out?

New episodes air on Crunchyroll each Friday evening starting July 8th (July 16th if you have a free account and are delayed a week), and I strongly recommend you do so. You might watch to watch Episode 0, which is available for everyone July 8th, and includes a preview of the show in the last five minutes.





The Kung Fu Puppetry of Taiwan

Pili Puppet show at Taoyuan International Airport, Taiwan

Pili Puppet show at Taoyuan International Airport, Taiwan. Picture by Harris Tsam


As far as I know, Taiwan is one of the few places where puppetry is not only appreciated, but where puppet shows are shown on national television. In particular, the Pili programs of gloved puppetry shows have continued to capture the imaginations of young Taiwanese with their creative and colourful puppet storytelling.

The credit for upholding the long lasting popularity of Hand Puppet Shows in Taiwan, no doubt, belongs to the Huang family. Through their creative performances and their skillful management, they continue to find new ways to evolve the Hand Puppet Shows. Ultimately, the Huang family had developed the famous PiLi Dynasty with the PiLi Puppet Theatre. Following the current trends of modern society and the technological media- television became the new performing stage of the Puppet Shows and delivered this theatrical artistry to even a much broader audience. In its effort to attract the young viewers of the new generation, PiLi Puppet Theatre continued to create new and interesting concepts in their stories, including- illusionary time and space themes and action-packed Chinese kung-fu sequences. Now, the Puppet Show’s stage and presentation techniques can now expand to a different level of possibilities.  From

During my own time in Taiwan, I have seen first hand how popular these shows are, as there are specialty stores selling copies of the puppets and related merchandise and even a Pili-themed museums. The puppets themselves are so beautiful, I was tempted to buy one just for display.

How beautiful are they? Watch this amazing 2010 opening for one of the Pili TV series:


There have been several attempts to bring these shows over for English audiences as well, the first was an international release of Legend of the Sacred Stone, a somewhat rare film that has garnered a 7.3/10 rating on IMDB and a small cult following for it’s crazy-ness. You can see a sample here:


The other was in 2006, when Cartoon Network took one of the Pili series and dubbed it into a show called Wulin Warriors. Sadly, as is often done with foreign non-animated properties (and some animated ones as well!) the dubbers decided to have “some fun” with it, and “liven it up”. So while the visuals might still give you some of the spirit of the original, the dub itself and the creative changes seem targeted squarely at 8-10 year old boys. Someone has put all 13 episodes up on YouTube, if you can get through that many…

And that character that rambles on about pizza and makes bad jokes? In the original show, he’s a deaf mute. (I guess now we know why!) I haven’t seen the original, but I imagine it’s a heck of a lot more watchable. The only redeeming thing about this one is the beautiful puppetwork.

Anyhow, if you happen to come across one of these Pili productions or characters, now you know what they are. Unfortunately, there’s no fansubbed versions of the shows out there, and unless you speak Mandarin you won’t be able to follow the originals well. My own Mandarin isn’t up to the task, yet, but maybe someday.

More about Taiwan puppet culture in this short 5 minute documentary:


End of NTU

Saturday and Sunday morning and afternoon the campus is filled with groups of men with cameras following around beautiful women in sexy or strange outfits. They’re camera clubs who hire the model collectively to spend a few hours posing for them. It’s a good gig for both sides, although one wonders how the models feel about it. In this case the model was wearing a sexy angel costume (with wings), a pink wig, AND bunny ears! You have to wonder how they explained what she’d be wearing to her, or how they decided this was the costume they wanted her to wear…”I want a bunny girl!” “I want an angel”, “I want a girl with pink hair!” Still, it does keep the campus interesting!

A view of the agricultural gardens where they grow experimental crops, and one of the more modern buildings.

Flowers from the side of the path.

Students come,
Students go,
Knowledge flows forever.

And Rob went home to take a nap… Posted by Picasa

Written Chinese (full)

Yesterday during my Chinese Language class an interesting topic came up: why do the Chinese people keep using their traditional writing system. Currently, as I’m sure almost all of you know, the Chinese use a system based on writing picture symbols (although the picture element has become extremely abstract) where each Chinese Character (called HanZi in Chinese) represents both an idea and a sound. Unlike English, Greek, Arabic or any of the other phonetic writing systems used by most of the world where each symbol represents a sound, HanZi have no inherent sound beside the one that people memorize to go with it. If you study English alphabet and pronunciation for a week, you can read almost anything ever written in English, your pronunciation might be off and you won’t understand what you’re reading, but you will be able to read it because it’s just codified pieces of sound. If you know the code, you can read it, it’s that simple, and on top of that it ties the written language and the spoken language deeply together.

In Chinese, this connection is made more difficult because with HanZi, you either know them or you don’t, and if you don’t you have almost no hope of pronouncing them. (There are a few tricks that can allow a native speaker to guess, but it’s nothing certain.) This makes learning to write Chinese infinitely more difficult than learning to write English, and creates a situation where people who study Chinese for years still cannot read a book if they haven’t been also memorizing the HanZi as they go.

And, there are over 50,000 HanZi! Of them roughly 10,000 being in common use, and roughly 3000 being essential to handling a general language text like a newspaper. This means that while growing up Chinese children are spending huge amounts of academic time just memorizing HanZi through rote memorization. And that’s just the individual HanZi, they’re usually used in combinations of 2 to 4 characters which can change the meaning completely so they also have to be memorized. Quite the feat, actually, maybe they really are smarter than us!

So, we come to my classmate’s question: “Isn’t that a huge waste of time? Wouldn’t the children and society be better served by using a phonetic writing system like English and spending that memorization time on arts, history, music, physical education, science or any number of other subjects or activities?”

The Japanese, Koreans and even the Taiwanese realized this to a degree, all of them developing phonetic writing systems to use alongside the HanZi in varying degrees. The Taiwanese just use their phonetic system as a stepping stone for children to learn first before they learn HanZi, the Japanese use a hybrid of HanZi mixed with phonetics and the Koreans do the same as the Japanese but use the least number of HanZi of all three in their writing system. Both the Japanese and Koreans are actively trying to remove the HanZi from their writing systems, but finding it difficult for the same reason the Chinese are reluctant to remove them: homonyms.

For those who slept through grammar (I know I did, and now I teach it! O_o! Ironic!) a homonym is a word that is pronounced the same as another word so they share the same sound but have different meanings. Well, these asian languages are filled with Homonyms, especially Chinese which has an almost horrific number of them. In speaking, they tell them apart by pronunciation tone and context, but in writing the only way they could come up with to tell them apart was to create separate characters to represent them.

Now, I do have to admit, HanZi are pretty useful once you get used to them, and in fact during Chinese class there are often times when I wish I was looking at the HanZi so I knew which Chinese word written in PinYin the teacher had just written on the board. While PinYin does use Tone Markers to distinguish between words with the same basic sound, I find it’s often not enough to be sure which word you are looking at since often several homonyms can also be pronounced with the same tone.

Also, HanZi, as some have pointed out, are the spirit and culture of the Chinese people. Those symbols represent a way of thinking different from western thought (so different they use the other side of the human brain when decoding them) and contain deep meanings that often go beyond simple sound. When a Chinese person reads a poem they are not just reading the sound, but looking at a piece of artwork as the HanZi are also carefully chosen to elicit certain ideas or feelings on a level beyond simple phonetic communication. Of course, through word choice an English poet can do the same thing to a degree, how big a degree I don’t know because I’m not bilingual enough to compare the two. Nor am I likely to be for a long time, thanks to the degree of difficulty in learning the HanZi system.

Newsweek and Time have both recently had cover stories questioning Does the Future Belong to China? and as someone who is sitting on China’s doorstep I have often asked myself the same question. Having a neighborly view into China’s windows I have been watching the giant carefully as it moves and deals with an exploding economy and world class status in it’s higher levels of society. I often ponder China’s future in the world, and consider where it will go from here and if it can overcome the numerous obstacles it faces.

One of those obstacles I can clearly see hindering them is their language, specifically the writing system I am talking about in this journal. As someone who has studied both Mandarin Chinese and Japanese (both touted at times to be the “language of the future”) I can’t help but notice how few people (foreigners) actually manage to stick with and learn these languages to any real degree of proficiency. Most get as far as “survival” level, and then tend to quickly give up anything more simply because it’s just too hard, and one of the major obstacles I’ve noticed kills most of their enthusiasm is learning to read and write.

If I were to study Spanish, as soon as I began to master the spoken language I could begin putting the written language to work, and the same is true for almost any other phonetic language. This would let me practice and work in that language; improving my skills even if I didn’t have a person who spoke the language to practice with. Yes, each phonetic language has it’s quirks, and sometimes languages vary in their spoken and written forms, but for the most part phonetic languages are intimately tied with their written forms. And, it’s the very discontinuity between spoken and written Mandarin (and Japanese and to a lesser extent Korean) that makes them not only hard to learn but will prevent them from becoming global languages.

When you couple this with the simple point that it’s hell to program a computer in Chinese, which means that programmers learn how to program in English, and the languages of business and science are still English, you see why Chinese learn English and not the other way around. I’m not complaining, it means more work for me, but since my classmate brought up the above point I have been thinking about this a lot. Wouldn’t the people of China be better served by creating and using a new written language based on phonetics instead of symbols? I’m not saying they should use the English system like PinYin, but even that would be better than being stuck with a language that is both impractical and in the long term limits their ability to compete on a global cultural scale.

And any language which can’t compete will eventually die off, no matter how many poor people speak it. Like a corporation, if a language is not expanding, it’s dying because another language will be expanding around it.

I know it won’t happen, but if Chinese is to be around for another 6000 years, there’s going to need to be a few changes made, because they’re not isolated anymore and they can’t afford to be sentimental if they want their culture and language to survive.