The 8th episode of "Love, Death and Robots" is basically faithful to Liu Yukun's original work of the same name, so it can be seen that the parts involving oriental mythology are less free associations and "nationality" made by Westerners. Aesthetically, it also accurately creates the shadowy beauty of the eastern style, such as Yehua, Liuyun, Banyue, tree shadow and so on. After watching it, I was amazed. It turns out that Liaozhai Zhiyi and sci-fi heavy metal can also be combined. The mother of the protagonist Xiaoyan, the fox demon Xiaojin, is a typical fox spirit in traditional Chinese folk tales. The vixen is a metaphor for the perverted woman. In the instinctive mutual exchange of love and death, two kinds of imagination are split. The high-energy person can not only satisfy a man's highest desire for lust, but also attract the soul and soul, which is the scourge of the lost mind. The imbecile is the beautiful expectation of love. When she transforms into a human form, she is a picturesque beauty, the love dream of a down-and-out son, and a erotic gift for a lost scholar. Based on the image of "split", the fate of the fox spirit also has two points: one is "conforming to the good", like the kind and cute represented by Yingning in "Strange Tales from a Liaozhai"; Daji, who defeated the Yin Shang in "Happy Hunting", and Xiao Jin in "Happy Hunting". Although the will of men is still overwhelming, the vixen in the classical narrative actually has a little bit of femininity. It contrasts men's fear of women's power. Based on the sexual viewpoint of "replenishing/harvesting", men are afraid of being sucked dry, vixen The imagery strongly conveys their fear of "prosperity of yin and decline of yang", and the phobia of demons is not a variant of phobia of women. Ironically, it was not the power disparity between the demons that destroyed Xiaojin, but the "feminine" tenderness and compassion. This is a typical "white snake text", who cultivated supreme mana, but became a vulnerable group for an ordinary and useless man. hehe. The story goes on, Kim's child, 2. The 0th version of the fox demon Xiaoyan went online, but she followed the narrative scene and experienced a "disappearance": in the modernization transformation of the ancient eastern land, she stripped off the "demon character", lost her "magic power", and could not be deformed. , unable to hunt, and the available survival weight, only the beautiful body of a human woman is left, and this is precisely what killed her mother. In order to survive, she can only do what her mother was misunderstood to do: charm men. Under the dual construction of body and culture, this vixen has experienced dual disorders of body and mind. She did not fall into the vulgar whirlpool of love with the kind trabecular like her mother, but she experienced the more basic physical fate of human women: weakness. It's just that the male character she faces is not an oriental man who fears women and fears divine power, but a western man who believes in power and has no fear. They smashed down the temple where she lived, they didn't honor beliefs made of mud, they forged roads and weapons out of steel. They are arrogant and contempt for other races and genders. In the face of such a man, Xiaoyan lost her sexual initiative, and even more lost her body's subjectivity. She used eroticism, but lost her dignity, and experienced all the language of physical violence that a human woman could encounter: raped, beaten, watched, cut, turned into a machine... The gender war provoked by oriental men, He was completely pushed by Western men to a situation where he had to take revenge. Xiaoyan said to Xiaoliang, "I want to hunt, hunt those who think they can control us, hunt those who do evil but call it progress". And this oriental man just mastered the magic that can restore her "magic power". Through the mechanization of her body, her hunting ability "returned" in a more modern, industrial and sci-fi way (still worshipped by men). Thanks, hehe.) This transformation path is a typical "Iron Man text", and the "gods, monsters and monsters" in the east have been completely replaced by the "superhero" text in the west. However, the paradox is that Xiaoyan's body not only carries the revenge of women, she also carries a little revenge of orientalism. Through the transformation of Xiaoliang's hand, the male author has added some revenge to the Western colonists in Xiaoyan. The dream of power countermeasures. In a word, the transformed Xiaoyan finally got rid of the physical predicament of women. She completely said goodbye to the animality and natural meaning of her body, and also to "weakness". She has no sex, but gender remains extremely firm. The complete liberation of her body allows her to fly over the walls in this jungle of steel and asphalt in "true form", until she stands at the top, facing those The face of the man who thought he could have her growled. This is a kind of fantasy created by technology for feminism, and feminists must feel very cool when they see it. Unfortunately, I was even more disappointed after watching it. Just like watching Iron Man, we still have to admit that the human body is weak, powerful dream-making is the reverse construction of reality, and women still cannot get rid of their physical fate. Although feminists hate to define gender in terms of biology, the body is not just a field of politics and power. The foundation of biology is just as strong. How exactly do we view our bodies? How to hold up this weak body? In a 1v1 situation, how can you roar in the face of a man who can use his physical advantage to inflict violence at any time? Who dares?
View more about Love, Death & Robots reviews
