Wen | Deep pupil business, author | Chu Qingzhou, post | Deep pupil business

Is the future of online music as optimistic as some people in the industry expected? I’m afraid there’s a question mark.　

On March 22nd, Tencent Music announced its 2021Q4 and full-year financial report. Online music MAU decreased by 1% year-on-year, social entertainment MAU decreased by 21.5% year-on-year, and its net profit in 2021 decreased by 27% year-on-year. In the fourth quarter of 2021, net profit decreased by 55% year-on-year.　

In this context, the total revenue has further increased, and the performance highlight of paying users increasing by 20 million year-on-year is not enough. However, Tencent Music is the leading streaming music group in the world.　

Last April, Tencent Music changed coaches. I had expected some better changes in this company. But today, it has been nearly a year since Liang Zhu took over as CEO, and the situation facing the company is still hard to say optimistic.　

Tencent Music’s conference call further pointed out that the total revenue in the first quarter is expected to drop by about 15-17%, mainly based on the macro and competitive challenges faced by live broadcast.　

In the competition, how short videos impact the online music market has become an unavoidable problem in discussing the development of the industry.

Therefore, when ByteDance focused on the online music track, it brought an indescribable excitement to the whole market.　

On the bright side, after the exclusive copyright of online music was banned last year, copyright oauth2.0 is a general trend, which seems to be a great benefit to new players. At the same time, in recent years, under the devastating baptism of short videos to music culture, the old rules seem to have been broken.　

It is in this context that ByteDance first upgraded its music business to P1-level priority business, launched the Galaxy Ark music distribution business, and upgraded its musicians to serve as a hot Galaxy platform. Recently; Also officially launched the music APP "Soda Music".

The online music market, which has been silent for a long time, has great expectations from spoiling the game to entering the game.　

Can soda music bring great changes to music streaming media?　

At present, the discussion of this issue in the industry media focuses more on the "product innovation" of soda music.　

But what does online music business mean for ByteDance? Where is the real breaking point of byte music?　

In the view of Shentong Business, the "product model innovation" of soda music may not be the future of ByteDance. How to develop a new "business model" is the key to byte music and even the whole industry.　

As a matter of fact, the differences in product models that provide streaming music services are not enough to become competitive, and the competitiveness lies in the differences in content.Because of the great differences in personal music tastes and creations, there is no standardized solution.　

As far as the current situation of the industry is concerned, the copyright content will become the core problem that restricts the development of soda music for positioning streaming media services. This paper mainly analyzes the practical problems in the development of ByteDance’s music business:　

1. Can ByteDance pay the copyright owner a satisfactory consideration?

2. The exorbitant copyright transaction price in the current market is beyond the digestion (rather than affordability) of byte music business;

3. The music business cannot provide cash flow support for bytes in a short time.

　The July 24 penalty order has brought some hope to the industry, but the situation is not optimistic enough.— —Even in the so-called "post-exclusive copyright era", the core problem of high copyright cost is still difficult to break through.　

On the one hand, according to the industry news learned by Shentong Business,Many "all-round and open copyright negotiations" are stuck in the issue of "price", which is related to the existing interests of copyright owners and is difficult to promote.　

On the other hand, international music copyright investment mergers and acquisitions are frequent, which may further raise the global music copyright price in the later period.In the first four months of 2021, the global music acquisition and music library investment reached $7 billion, and the price of popular songs increased by 20-35 times, with Indian and China markets as the focus.　

It is worth noting that many transactions and authorizations of head copyright are split transactions, which will further increase the difficulty of "collecting stamps" copyright on streaming media platforms. Bob Dylan’s copyright transactions with a total price of about 500 million US dollars are distributed in Universal and Sony.

　In the abnormal copyright business, big record companies have too many negotiating advantages.　

According to the MRC report, in 2021, the proportion of recorded music released for more than 18 months on the American music streaming platform further increased from 66.4% in 2020 to 74.5%, and nearly three-quarters of it means — —

Without copyright, there would be no online music service, which is a heavy reality that ByteDance can’t avoid.

　On the other hand, the proportion of "music copyright in stock" has been greatly increased, and the streaming media broadcast volume of new songs is declining.Online music services have gained more older users, and young users have also shown their preference for old songs, which will provide a basis for the copyright value of "old songs".　

In a short period of time, the streaming music platform is rightThe dependence on "stock music copyright" will still drag down the normal development of the whole industry.— — ByteDance, a newcomer, needs to face this problem sooner or later.　

Last September, Late reported that since June 2021, Byte has invested no less than 1 billion yuan in music copyright. On the other hand, the strategy focuses on purchasing original songs and signing long-term cooperation with online celebrity Talent.　

But frankly speaking, 1 billion yuan is sufficient for the logic of byte purchase at that time, but it can only be said that it is a drop in the bucket for streaming media services.　

Needless to say, in the era of exclusive copyright, the content of a single head record company soared to the transaction price of 100 million; In contrast, in October last year, Blackstone injected $1 billion into the new Hipgnosis Fund for the acquisition of music rights.　

For Byte, the biggest problem is not how much money it can pay, but whether the cost of its copyright expenditure can be digested in its business development.　

Theoretically, after the July 24 penalty order, the "copyright mountain" of the music industry has changed from a market subject to the copyright market price itself. It is more realistic for copyright transactions to return to the long market negotiation and adjustment. On the market level, the current demand of domestic online music platforms for copyright owners to reduce prices is a trend deviation from the background of rising global music copyright costs — — The expectation of falling music copyright price is still not optimistic in the short term.　

At present, ByteDance has copyright cooperation with the three major record companies in the world, but its use scope is still limited to short videos and related extension services. For ByteDance, it is not the right time to trade the copyright of full-length head music.　

Let musicians stay in the Tik Tok system and let more mature musicians enter Tik Tok — — Perhaps it is the most appropriate goal for the development of byte music business at present.　

In recent years, the general mode of ByteDance’s new business is basically: first, as a traffic platform to undertake related advertising business, games, online education, e-commerce, and then directly enter the market at a suitable time.　

In the era of online video, music has always been the hottest field. Nowadays, more and more songs have become popular in Tik Tok, and the effectiveness of short videos in music communication has long been valued by streaming media platforms. Tencent Music and Netease Cloud Music are all trying to make efforts in the innovation and support of short video products.　

This means that,Musicians not only flow between music platforms, but also flow between short videos and music platforms.For music creators who became popular through Tik Tok and bilibili,The natural innovation and short popularity of short videos are the inherent limitations that restrict their development to more professional musicians.　

When the industrialized and more complete music platform invites short video musicians, the loss will inevitably occur on the short video platform.　

In fact, short video has become an important link in the modern music industry, such as the distribution service of Galaxy Ark, which is still a business closely linked with traditional streaming media. The Red Star River is nothing more than a musician’s version of the "Creator Support Program".

In addition, another key point is that, unlike the previous games, online education and e-commerce businesses,Online music business is not a business that can bring cash flow in a short time, which will affect Byte’s determination to invest in music to some extent.　

Expect the majority of C-end users to recharge their music experience, and look at ARPPU, where two domestic music giants are wandering below 10 yuan, and you will know that there is still a long way to go.　

Even in the film and television industry, which is highly dependent on incremental content, the high content cost is still difficult to be solved by self-control. For the music market based on "inventory copyright", the inequality of copyright transactions is almost a fateful problem.　

In the early years, the expansion of Tencent Music was based on the game of burning money, but in today’s Internet environment, whether for the music industry or ByteDance,Commercialization will be the top priority from the beginning.

For the massive traffic resources of bytes, the in-depth exploration of music business will gain more realistic benefits for byte music from streaming media platforms, copyright parties and advertisers. This means that in a short time, byte music will still be highly dependent on the Tik Tok system.

To put it simply, from the perspective of monetization, the return rate of games and e-commerce is higher, and within the limited traffic distribution, the resources that Tik Tok system can give to music business are insufficient. However, the failure to "de-Tik Tok" will also restrict the further independent development of its music business.

Compared with the original music business, the biggest change of soda music is not the innovation of product model, but the exploration of paid business model based on copyright content..　

At present, soda music has been launched on the paid membership system and digital album sales, and the membership price is low.　

In today’s huge byte business system, payment has always been a very lacking business model. Wukong question and answer, online education, etc. had the opportunity to go further in the payment model, but they have all been defeated; The byte game business, with reference to the development of Ali Linxi Entertainment, still needs breakthroughs in research and development and opportunities.　

However, the paid service of online music is really a choice with long payback period; Coupled with the purchase restriction of digital albums since last year, at present,The online music business income of the whole industry still only has the significance of equalizing the cost level.　

According to the conference call of Tencent Music Financial Report, it is expected that the online music business will break even at the operational level in 2022. This is enough to show the difficulty of making profits in online music business.　

The music industry is largely driven by streaming media, but direct sales to fans are the largest share of most artists’ income.Does the online music platform exploit musicians?　

Maybe not.　

The first financial report disclosed by Universal Music Group at the beginning of the month showed that in fiscal year 2021, the company’s revenue was 8.504 billion euros, an increase of 14.4% compared with 2020, and an increase of 17.0% at a fixed exchange rate. Operating profit reached 1.399 billion euros, a year-on-year increase of 15.4%.      

Subscription and streaming media revenue are still the main sources of performance of copyright giants such as Universal, and are increasing year by year.　

On a global scale, the contradiction between musicians and online music platforms is still fermenting, and more and more musicians try to bypass the music platform to release their works. In 2021, independent musicians earned $9.9 million on the musician website Bandzoogle.　

For ByteDance, who is at the forefront of the global social media wave, it is indeed the most appropriate way to combine the advantages of its creator ecology with the wave of independent music.　

In the process of ByteDance’s rapid growth to a new level of Internet in China, the "traffic advertising model" is almost the only pillar of its commercialization. In essence, ByteDance is still an "advertising behemoth". In recent years, the expansion of Byte to e-commerce, games and even corporate services all shows anxiety before the peak of traffic.　

The diversification of business models often points not only to the growth of business space, but also to the only way for enterprises to feel safe.　

The product model of soda music, to some extent, shows that Byte is not determined enough to develop the music business, but this may not be a bad thing.　

If you know enough about the online music business, you will know that the situation of a renewed war is unlikely to happen. The industry will still slide on the old road for a long time before the long-standing disadvantages are broken.　

Byte music is busy fighting left and right. Don’t expect too much for the time being.

On June 16th, in Lidong Street, Hong Kong, the regional flags of National Flag of the People’s Republic of China and Hong Kong Special Administrative Region fluttered in the wind. Xinhua News Agency reporter Li Gangshe

　　Xinhua News Agency, Hong Kong, June 26 (Reporter Wei Hua) There are still a few days to go before the 25th anniversary of Hong Kong’s return to the motherland, and a festive atmosphere has permeated the streets of Hong Kong. On Hong Kong Island, Kowloon and the New Territories, large and small celebration banners and posters dot the streets. At night, bundles of colorful lights illuminate the dark sky of the city.

　　"Celebrate the 25th anniversary of Hong Kong’s return to the motherland", "Celebrate the return of Hong Kong with one heart and create the future with peers" and "forge ahead for 25 years and join hands to embark on a new journey" … … No matter on the external walls of high-rise buildings, or on the lampposts on both sides of roads, or on the body of tinkling cars driving leisurely, a series of celebration slogans come into view, and a red flag is particularly bright against the blue sky and white clouds.

　　As night falls, strolling along the Avenue of Stars by the sea, we can see the poster light show performed by the skyscrapers, which makes the Victoria Harbour, which is already brightly lit, more colorful. Bundles of lights shoot into the sky, dancing with the rhythm of music, and complement each other with the continuous light belt. The lights are projected onto the water, and the Victoria Harbour seems to be covered with a colorful coat.

This is a lantern shot in Tsuen Wan, Hong Kong on June 25th. Xinhua News Agency reporter Binghui Lu photo

　　Lidong Street is a pedestrian street located in Wan Chai, Hong Kong Island. The 200-meter-long street gathers many shops such as restaurants, teahouses and hand-run shops. With the approach of the anniversary of the reunification, red has become the main color of Lidong Street. The flag array composed of national flags and regional flags hangs high in the atrium, swaying gently with the wind, and the scene is spectacular, attracting passers-by to stop and watch.

　　Li Wenlong, the contact person of various associations in Wan Chai District, told reporters that the idea of building a "flag sea" in Lidong Street has long existed, and this plan has also been strongly supported by merchants. In addition, they will also light up special lighting to show Hong Kong’s multiculturalism near Wan Chai Waterfront Park and Victoria Park to welcome the anniversary of the reunification with the public.

On June 23rd, a sailboat hung a banner to celebrate the 25th anniversary of Hong Kong’s return to the motherland and sailed in Victoria Harbour. Xinhua News Agency reporter Binghui Lu photo

　　A red sailboat "docked" at a lawn in front of the North Point Meeting. This sailboat is about 7.5 meters long, and the words "Celebrating the 25th anniversary of Hong Kong’s return to the motherland" are printed on three red sails.

　　Li Shaorong, secretary-general of the Hong Kong Eastern District Association, said: "The Hong Kong SAR has been established for 25 years, and this year is a new starting point. It is a blessing for us to build a sailboat and hope that Hong Kong will get better and better in the future. "

　　In yuen long merchants association secondary school, more than 250 teachers and students from 25 schools are creating large-scale murals. According to Lin Bizhu, vice chairman of the Yuen Long Literature and Art Association, the mural, which is more than 30 meters long, was created by teachers, students and volunteers at school and will be opened to the public on the 28th.

　　It is reported that this mural will depict the dream home in the author’s mind from many aspects, such as the feelings of home country, the characteristics of Hong Kong, the people’s Qi Xin’s anti-epidemic and people’s livelihood, so that the people can feel the feelings of the community and celebrate the 25th anniversary of Hong Kong’s return to the motherland.

　　Tempered glass doors and windows have become a common material in many buildings, and many people will choose tempered glass doors to install in bathrooms and other places for home decoration, which is both beautiful and can realize the functions of dry and wet separation. However, it is such a material recognized by the public that it actually exploded! What’s going on here?

　　The crackling of the bathroom at night

　　In June 2018, Mr. Wu, a citizen who lives in Banqiao New Town, Yuhuatai District, ordered a bathroom tempered glass shower door at a merchant in the nearby building materials market, with a price of 5,000 yuan, and has been using it normally since then. At 10 o’clock on the evening of July 4, 2019, Mr. Wu’s family was watching TV in the living room after taking a shower. Suddenly there was a bang in the bathroom, followed by the sound of broken glass.

　　Mr. Wu was shocked and quickly opened the bathroom door to check, and found that the shower door burst and the broken glass fell to the ground. On the one hand, Mr. Wu was glad that his family was not taking a bath when the explosion occurred, otherwise he would definitely be injured. On the other hand, he thought that the well-tempered glass had only been used for one year and suddenly "exploded". It must be that unscrupulous merchants sell unqualified tempered glass to themselves. So the next day, Mr. Wu called Yuhuatai District Market Supervision Administration 12315 to make a complaint.

　　Self-exploding toughened glass door

　　After receiving the complaint, the staff of Yuhuatai District Market Supervision Administration immediately contacted Mr. Wu and the merchants to understand the situation. The merchants said that all tempered glass was purchased from regular manufacturers. As for why the products suddenly exploded, they were not clear, only asking the manufacturers. Later, the staff contacted the tempered glass manufacturer by telephone. According to the explanation of the manufacturer’s technicians, tempered glass does explode itself, which is inevitable because of the production process of tempered glass itself. Especially in the shower room, the glass is unevenly heated and is more prone to bursting. Finally, under the coordination of the staff, the manufacturer promised to replace Mr. Wu with a new laminated glass shower door for free, which has a higher safety factor than traditional tempered glass.

　　Because modern float glass production technology can’t completely eliminate the existence of nickel sulfide impurities, self-explosion of toughened glass is inevitable, which is the inherent characteristic of toughened glass. China’s current standard (GB 15763.2-2005) has no restrictions on the self-explosion rate of tempered glass for the time being. According to relevant data, the self-explosion rate of tempered glass in China is about three thousandths at present.

　　Safety and explosion protection need to be cautious.

　　Yuhuatai District Market Supervision Administration reminds consumers that the use of tempered glass is risky and should be used with caution when choosing home improvement. For consumers who have installed tempered glass, besides paying attention to safety in daily use, they can stick high-performance polyester film on the glass. Commonly known as safety explosion-proof membrane, when the glass is broken for various reasons, it can stick to the glass fragments to prevent splashing and protect people from the splashing glass fragments. Conditional citizens can also replace tempered glass with laminated glass. Laminated glass is made up of two pieces of glass glued together with film. Even if both pieces of glass burst, the glass particles will stick together, and generally there will be no injuries.

　　Reading tips

　　The raging epidemic has disrupted the pace of life and work of many people, and also ignited the "home economy" including live broadcast. This Spring Festival, Jiang Heng, a 20-year-old rural girl, returned to live broadcast after only four days’ rest, and accompanied nearly 20,000 fans online for this exceptionally long holiday … …

　　"During the epidemic, everyone must pay more attention to protection and go out as little as possible. If you have nothing to do, you can go to the live broadcast room in Hengheng. I will chat with you and sing your favorite songs … …” At 6 o’clock on the morning of March 10th, Jiang Heng, dressed properly, was already sitting in front of the computer and officially started the live broadcast of the day.

　　Live stream economy, online celebrity, which is not limited by time and space, has made great strides at present, and the low employment threshold has also enabled many grassroots people who have walked out of the countryside to find a way to break through the trend. A few days ago, the reporter interviewed three anchors from online celebrity, who were born in rural areas, to find out their stories of life counterattack.

　　Catering executives transform into anchors.

　　Jiang Heng’s hometown is in Shuangyang, Changchun, and he was promoted from a waiter to a supervisor. More than half a year ago, due to too much entertainment, Jiang Heng was admitted to the hospital. After leaving the hospital, she resigned decisively. After resigning, she was introduced by a friend to the current live broadcast company. After a simple interview, she became the key training object of the company because of her sweet appearance and steady personality.

　　After joining the company, she ate and lived in the studio provided by the company. The room of more than ten square meters is warmly decorated. The company is equipped with a set of live broadcast equipment. The sound card, camera and lighting are all deployed by professional teachers according to her voice and appearance characteristics. This job is a surprise for Jiang Heng, and the working environment is more comfortable.

　　"At first, I felt that the live broadcast was very simple. After a long time, I found that there was actually a lot to learn." Jiang Heng told reporters that on the surface, it is easy for the live broadcast industry to make money, but it takes a lot of thought to ensure the stability of income. Usually, she will watch more live broadcasts of others, learn from experience and find out the shortcomings.

　　Within more than a month after the outbreak, the number of fans of Jiang Heng soared by more than 10,000. At the worst of the epidemic, the live broadcast rooms are discussing related topics. Jiang Heng is also cooperating with everyone’s schedule to extend the live broadcast time appropriately, and often reminds everyone to pay attention to protection and comfort fans in the epidemic area. "I hope that the epidemic will pass quickly and everything will be fine." Jiang Heng said.

　　In the past, Jiang Heng’s family was very opposed to her being an anchor, but now there is no prejudice, and they have also opened accounts to increase the popularity of Jiang Heng’s live broadcast room. "In fact, the anchor also has many rising channels, and I plan to further my talents in the future." Jiang Heng hopes to work hard and save more money to lay a better economic foundation for the future.

　　Craftsmen try to find the market to test the water live.

　　Yu Jianhua, 43, was born in Quannongshan Town, Lianhuashan Eco-tourism Resort in Changchun. He has worked as a tower crane and a barbecue chef. Because he loved straw weaving since he was a child, in June 2018, he founded Changchun Limin Fangcao Farmers’ Professional Cooperative. In just four months, he applied for six intellectual property rights protection with his own weaving method and design.

　　In order to open the market of straw-woven products, Yu Jianhua took two small videos of the straw-woven scene with the help of the popularity of the live broadcast platform. Unexpectedly, one of the videos showing the deaf-mutes working on small pendants suddenly became popular.

　　The live account has increased by 40,000 fans in three days, which made him too excited to sleep. "I remember it very clearly. It was August 21, 2019. At 8 o’clock in the evening, I specially rushed to the office from home to try live broadcast for the first time."

　　Since then, Yu Jianhua will broadcast live on time every night from 8: 00 to 10: 00, and the "typhoon" has become more and more skilled. The number of fans has gradually increased to more than 80,000. Some people want to study in this industry, as well as some leaders of foreign cooperatives, cadres who want to develop poverty alleviation industries and merchants engaged in the import and export trade of handicrafts.

　　"The live broadcast has a great influence on me. It not only exercises my expression ability, but also gives me a deeper understanding of the craft. I want people who like this industry not only to learn the compilation skills, but also to benefit from it." Yu Jianhua said that through the live broadcast platform, Fangcaoshe’s products were sold out of stock, and its brand influence was growing.

　　Affected by the epidemic, Fangcaoshe has not resumed work, but this has not delayed the normal live broadcast work. As the first person to draft the live broadcast, he now adjusts the daily live broadcast to once a week, and puts more energy into developing the industry. He plans to unite the leaders of straw weaving cooperatives all over the country to make straw weaving into a large-scale, high-quality value-added industry and take the brand development route.

　　The working boy became the "online celebrity" with goods.

　　Liu Jinyin, 29, was born in Shi Cun, Block 3, Majie Street, Hejiang County, Luzhou City, Sichuan Province. After dropping out of school, she began to learn crafts and work everywhere. Two years ago, Liu Jinyin, who failed to start a business, saw that some workers made money on the live broadcast platform in their spare time and wanted to try it.

　　Liu Jinyin, who tried the live broadcast of water for the first time, went from trial and error to skilled technology, and his income and expenditure began to have a surplus. Later, the staff of the platform made a special trip from Beijing to Liu Jinyin’s home to introduce his experience from dropping out of school to playing live broadcast and then influencing others. Since then, he has become popular and the number of fans has risen rapidly.

　　After breaking into fame, Liu Jinyin, who has been living in rural areas by live broadcast, began to sell mountain products, and set the agricultural products base of the online shop in Shiding Mountain, a poor village more than 70 kilometers away from home. The local native products raised and planted in the original ecology are of high quality and are very popular with fans. In 2019, all kinds of agricultural and sideline products were sold for nearly 5 million yuan, which helped the villagers to increase their income by more than 3,000 yuan per capita, and made the villagers in Shiding Mountain feel the "power" of online celebrity.

　　During the epidemic, express delivery stopped in some areas, and Liu Jinyin’s newly opened physical store with an investment of 100,000 yuan was also forced to close, which affected his income to some extent. Fortunately, the current express delivery is gradually recovering, and the income is slowly getting better.

　　Today, Liu Jinyin’s live account has 850,000 fans, and the sales of mountain products have been in short supply. This year, he plans to increase the total sales to more than 20 million yuan. In the future, he hopes to continue to create well and help more poor mountainous areas get rid of poverty and become rich.

　　"My culture is not high. If I don’t change and innovate, fans will get bored sooner or later." Liu Jinyin was not lost by the aura of "online celebrity". He rationally told reporters that the competition in the industry was becoming more and more fierce, and he had to bear great pressure every day. He paid attention to current events whenever he had leisure time, and read books on media operation, food and other aspects, so as to make himself more connotative and have development potential.

General Office of Tianjin Municipal People’s Government on

Notice on strengthening the acceptance and disposal of safety production reports

Jin Zheng Ban Han [2017] No.166

District People’s governments, commissions, bureaus and directly affiliated units:

In order to conscientiously implement the Law on Work Safety and the Regulations of Tianjin Municipality on Work Safety, strengthen social supervision in the field of work safety, encourage all sectors of society and the broad masses to report hidden dangers of work safety accidents and illegal acts, promptly control and eliminate all kinds of hidden dangers of work safety, and effectively prevent and contain serious accidents, with the consent of the Municipal People’s Government, the "12350" reporting hotline has been removed from the platform of the municipal convenience service hotline since January 1, 2018, and will be handled by the Municipal Emergency Disposal Center for Hazardous Chemical Accidents (Municipal Safety). The relevant matters are hereby notified as follows:

First, attach great importance to the acceptance and disposal of safety production reports.

All districts, departments and units should fully implement the spirit of the 19th National Congress of the Communist Party of China, take Socialism with Chinese characteristics Thought of the Supreme Leader in the New Era as a guide, vigorously carry forward the idea of putting life first and safety first, firmly establish the concept that "hidden dangers are accidents, and accidents must be dealt with", strengthen the acceptance and disposal of safety production reports from a political perspective and adopt a "zero tolerance" attitude, strictly and realistically grasp the implementation of safety prevention responsibilities and preventive measures, and eliminate safety hazards to the maximum extent.

Two, clear production safety report acceptance and disposal principles and division of responsibilities.

(1) Working principles. Adhere to the principle of unified acceptance, centralized handling and who is in charge and who is responsible for the acceptance and disposal of safety production reports; Adhere to the principle of first responsibility system; Adhere to the principle that actions must be investigated and verified.

(2) Division of responsibilities. The emergency handling center of hazardous chemical accidents is attached with the brand of complaint reporting center of the Municipal Administration of Work Safety, and undertakes the service guarantee work of "12350" reporting hotline and the acceptance, collection, collation and summary of complaint information. All districts, departments and units should adhere to the principle that "safety must be managed in industry, business, production and operation", take the initiative, take the initiative, and actively accept and handle reported problems in accordance with the principle of territorial responsibility for production safety and the opinions of the Municipal People’s Government on further clarifying and standardizing the responsibilities of production safety. All districts, departments and units shall, in accordance with the division of responsibilities for production safety of their own units, specify the departments specifically responsible for handling, promptly and effectively deal with all kinds of hidden dangers, promptly reply to informants, and feed back to the Municipal Emergency Disposal Center for Hazardous Chemical Accidents (Complaint Reporting Center of the Municipal Administration of Work Safety) according to the time limit.

Three, standardize the handling process of safety production report acceptance and disposal.

(1) Timely registration and acceptance. City Emergency Disposal Center for Hazardous Chemicals Accidents (Complaint Reporting Center of the Municipal Administration of Work Safety) is on duty 24 hours a day, answering the phone and promptly handing over all kinds of reporting problems.

(2) Classified disposal. The organizers should establish a working mechanism of "quick investigation and quick handling", investigate and deal with the reported problems in conjunction with the relevant industry authorities at the first time, complete the problems within a time limit, eliminate potential safety hazards in time, and ensure the safety of the people.

(3) Tracking and supervising. The Office of the Municipal Security Committee shall supervise the handling of each undertaking unit. Incorporate the investigation and handling of reported problems into the scope of safety production supervision and assessment.

(4) reward for reporting. The Office of the Municipal Safety Committee and the people’s governments of all districts shall reward the informants according to the requirements of the Law of People’s Republic of China (PRC) Municipality on Work Safety and the Regulations of Tianjin Municipality on Work Safety.

(five) summary analysis and notification. City Center for Emergency Disposal of Hazardous Chemicals Accidents (Complaint Reporting Center of the Municipal Administration of Work Safety) makes a summary analysis of all kinds of reported problems, reports to the city leaders regularly according to procedures, and informs all districts, departments and units to provide support for the city’s work safety.

Fourth, the job requirements

(1) Strengthen organizational leadership. All districts, departments and units should strengthen the leadership over the acceptance and disposal of safety production reports, clarify the responsible persons and departments in charge, make overall arrangements, formulate the work procedures and disposal methods for reporting safety production problems in their own units, and ensure that the work is put in place.

(2) Dispose of it in time. For the emergency reporting problems reflected by the masses, the organizer shall complete the investigation and handling within 24 hours; For general reports, the organizer shall complete the investigation and handling within 10 working days; For accident reports, the organizer should verify them in time and investigate and deal with them in accordance with relevant laws and regulations.

(3) Strengthen law enforcement inspection. All departments responsible for the supervision of production safety should further strengthen the law enforcement inspection of the problems reported by production safety, investigate and deal with them according to laws and regulations, eliminate hidden dangers in time, and ensure that the rectification is in place.

(4) Vigorously publicize and guide. The office of the Municipal Safety Committee should use news media such as television, newspapers, radio and Internet to strengthen the publicity of the "12350" reporting hotline, strengthen the supervision of public opinion, effectively deter illegal activities in production safety, and make the "12350" reporting hotline play its due role in the work of production safety in our city.

(five) serious supervision and assessment. The Office of the Municipal Safety Committee shall carry out target management assessment on each organizer, and incorporate the assessment results into the city’s safety production assessment system, and severely deal with irresponsible work, buck passing, corruption, disclosure of informants’ information, etc., and notify them.

The people’s governments of all districts and departments of the municipal government are requested to submit the Contact Form of the Organizer of the "12350" Reporting Line to the Office of the Municipal Security Committee before 15: 00 on December 31, 2017 (Tel: 28450303; Fax: 28450301).

Attachment: Contact Form of Organizer of "12350" Reporting Hotline

General Office of Tianjin Municipal People’s Government

December 29, 2017

attachment

"12350" Report Line Organizer Contact Form

Unit (seal):

Submitter: Tel: Date of Completion: Year Month Day

　　Lowering the mortgage interest rate, reducing the down payment ratio, relaxing the purchase restriction policy, giving tax and fee concessions and subsidies to buyers, increasing the support of provident fund for buying houses, and supporting talents and families with many children to improve their living conditions … … Recently, the real estate control policies have been adjusted in many places across the country, and the loose policies have shown a blowout trend.

　　In order to support the rigid and improved housing demand, the "warm wind" in the real estate market is blowing frequently. What are the specific policies? What benefits have these policies brought to property buyers? How will the policy promote the stable and healthy development of the real estate market? In this regard, the "Workers Daily" reporter combed.

　　Lowering the loan interest rate and reducing the cost of buying a house

　　"The loan interest rate is lowered, and the maximum amount of the first housing provident fund loan is raised. Now buying a house can save a lot of interest." On the fourth weekend of May, Ms. Wang from Jinhua, Zhejiang Province looked at several properties in one breath, ready to take advantage of the east wind of the policy and settle down for herself.

　　"According to the loan amount of 500,000 yuan, the term of 30 years and the equal repayment of principal and interest, the average monthly payment can be reduced by about 45 yuan, and the interest expenditure will be reduced by about 16,000 yuan in the next 30 years." On May 20th, the central bank released the latest loan market quoted interest rate (LPR), and the LPR over five years dropped from 4.6% to 4.45%, down by 15 basis points, from which industry experts gave such a set of calculation data.

　　Earlier, the central bank and China Banking and Insurance Regulatory Commission issued a document pointing out that the interest rate of the first home commercial personal housing loan can be lowered by up to 20 basis points. These two adjustments in the credit policy mean that the minimum loan interest rates for the first suite and the second suite reach 4.25% and 5.05% respectively, which is conducive to reducing the cost of purchasing houses with just-needed and improved needs. In addition to lowering the mortgage interest rate, local governments have also improved their real estate policies in light of local conditions, and relaxed administrative restrictions such as purchase restrictions and sales restrictions by reducing the down payment ratio, narrowing the scope of purchase restrictions, and giving tax concessions to buyers.

　　In terms of relaxing purchase restrictions, Wuhan, Jinan, Taiyuan, Hangzhou, Xiamen and other cities have lowered the threshold for buying houses, among which Wuhan and Jinan have adjusted some areas from the scope of purchase restrictions to the scope of unlimited purchases; Taiyuan new citizens do not need to settle down and social security to buy the first suite, and registered families who have settled in Hangzhou for less than 5 years no longer need social security to buy second-hand houses.

　　In terms of relaxing restrictions on sales, Harbin issued a document to abolish the previous regional restrictions on sales. Buyers can complete the registration of real estate ownership and obtain real estate warrants to be listed and traded. Nanjing and Jinhua’s new houses have been listed and traded for three years from the date of contract filing, and Qingdao, Dezhou, Jining and other places in Shandong have either shortened the time for restricting the transfer of houses or cancelled the policy of restricting sales. In addition, Taiyuan and other places also encourage reducing the down payment ratio of the first set of new commercial housing and giving deed tax subsidies.

　　Provident fund policy promotes the release of home demand

　　Since the beginning of this year, the pace of the introduction of property market regulation policies has been accelerated and intensified. In addition to relaxing the policies of restricting purchases and sales, many places have focused their efforts on the housing provident fund policy, including increasing the amount of provident fund loans and reducing the down payment ratio of provident fund loans.

　　In terms of increasing the amount of provident fund loans, Jinan, Nanjing, Anhui Lu ‘an, Sichuan Ya ‘an and Liangshan have raised the maximum amount of housing provident fund loans. Taking Nanjing as an example, the maximum loanable amount of the second housing provident fund loan for the first time has been adjusted from the current 300,000 yuan/person and 600,000 yuan/household for both husband and wife to 500,000 yuan/person and 1 million yuan/household for both husband and wife, so as to reduce the burden of purchasing houses for groups with improved needs.

　　In terms of reducing the down payment ratio of provident fund loans, Huainan, Anhui, Baotou, Inner Mongolia, Tai ‘an, Shandong and other places have adjusted the minimum down payment ratio of provident fund loans to 20%. Qingdao has abolished the stipulation that the age of second-hand houses is linked to the down payment ratio, and will no longer increase the down payment ratio step by step according to the age of houses, and relax the sum of the loan period and the age of second-hand housing provident fund loans to a maximum of 50 years. In addition, many places have also cancelled the restrictions on household registration of housing provident fund loans in different places.

　　Some experts believe that the adjustment of the provident fund policy is effective for cities with low housing prices and a high proportion of provident fund loans to the total housing prices. It is expected that more second-tier and third-and fourth-tier cities will continue to exert their efforts in the housing provident fund policy in the future to promote the release of potential home ownership demand.

　　Support talents and families with many children to buy houses and live in peace.

　　On May 15th, the relevant departments of Haikou issued a document saying that imported talents can enjoy the same treatment as local residents when they settle down, and those who have not settled down can buy houses in Haikou as long as they have 12 months of social security.

　　Haikou’s new policy of stabilizing the property market reflects a major direction of real estate regulation and control policies. For talented people and families with many children, various localities have introduced special preferential policies such as purchase restriction, loan restriction and provident fund to attract foreign talents to settle down and support families with many children to improve their living conditions.

　　In Taiyuan, qualified talents will receive a one-time housing subsidy of 50,000 yuan to 200,000 yuan according to different levels; In Xiamen, families with two children and above registered in this city can buy a third house; In Yangzhou, Jiangsu Province, the down payment ratio for applying for housing provident fund loans for talented people and families with two or more children has been adjusted from 30% to 20%… …

　　It is generally believed in the industry that the policy of easing the purchase of houses for families with two children and three children will be one of the key directions for the future regulation of the property market. Experts said that a series of real estate support policies will help support the commercial housing market to better meet the reasonable housing needs of buyers, and promote the virtuous circle and healthy development of the real estate industry due to the city’s policy.

　　A country once called one of the "axes of evil" by former US President George W. Bush has become the most attractive cake in the global market this year.

　　

　　Iran, a country with a population of 80 million, has been sanctioned four times by the United Nations for nuclear issues since 2003. Not only has its economic situation been in free fall, but even daily necessities such as food and medicine have been in short supply: the prices of the most basic foods such as milk and vegetable oil were once ridiculously high, and many commodities can only be bought on the black market.

　　

　　On January 16 this year, the United States and European Union countries lifted sanctions against Iran after Iran fully fulfilled its commitments under the nuclear issue agreement. Iranian President hassan rouhani then celebrated the lifting of economic sanctions on Twitter: "Iranians have extended friendly hands to the world, leaving hostility, suspicion and conspiracy behind, and Iran’s relations with the world have opened a new chapter."

　　The hungriest market in the world

　　The Iranian market that has turned a new chapter can be described as "hunger and thirst", especially the energy industries such as oil, natural gas and solar energy, as well as the manufacturing industries such as automobiles, railways and aviation. After more than ten years of "isolation", these industries need to be upgraded urgently.

　　

　　The Economist pointed out that the reopening of the Iranian market is an explosive news for international automobile manufacturers. At this moment, the American market is close to the peak; The short-term rebound in the European market is also coming to an end; Emerging markets such as Brazil are plummeting … Iran’s auto market is particularly attractive when the growth possibility of the global auto market is uncertain.

　　

　　Before the sanctions, Iran was the leading automobile producer in the Middle East, and ranked 16th in the world in 2006. Nearly 10% of its employed population directly or indirectly served the automobile industry. Automobile is the second largest industry in the country after oil.

　　With the lifting of sanctions, Iran’s original trading partners have returned to the market, and the Iranian auto market has gradually stabilized from violent fluctuations. Iran’s reached 1.65 million in 2011; Affected by sanctions, it fell to 740,000 vehicles in 2013 and recovered to 1.09 million vehicles in 2014. In 2015, Iran basically returned to the level of five years ago, reaching 1.557 million vehicles.

　　

　　Last year, when the six-party talks on Iran’s nuclear issue were slightly fruitful, the Group immediately returned to Iran, and successively signed cooperation agreements with Iran’s largest automobile manufacturer (Khodro) and the second largest automobile manufacturer (PA) to set up a new joint venture factory. In order to show enough sincerity, the group also forgave Iran’s debt of 427 million euros.

　　The Iranian government is also eager to help itself return to the international market with the help of foreign capital. According to the Iranian government, foreign-funded enterprises that set up factories locally and export 30% of their products will enjoy relaxed taxes and other preferential policies. It has been announced that it will export 30% of its cars produced in Iran to other countries in the Middle East to make full use of the preferential treatment provided by the Iranian government. Iran, which is located in the center of the Middle East, has great potential to become a trade hub in the region.

　　

　　Such a development prospect has made Iran, which has been freed from the shackles of sanctions, a beacon overnight. Not only French automakers, Daimler AG, which gave up its 30% stake in Iranian Diesel Engine Company in 2010, also announced that it would restart its sales and manufacturing business in Iran. Automobile manufacturers, such as,, and, which have no production lines in Iran, have also begun to look for partners in Iran.

　　

　　China speed in Teheran.

　　It is not only debt relief, but also the first time to return to Iran to invest and build factories. The ambition for the Iranian market is very obvious. French automakers once dominated the market in Iran, and in 2011, they gained a third of the Iranian auto market.

　　But it is not so easy for it to get these shares back now, because the Iranian people are a little reluctant to buy it. The Iranian government is dissatisfied with France’s tough stance in the nuclear agreement negotiations, and it is also worried about the rapid withdrawal from the Iranian market after the alliance with Iran in 2012. Under the round of sanctions in 2012, China chose to leave the country one after another, which gave an excellent opportunity to its automobile manufacturers.

　　

　　Since then, China auto companies have become the stars of the Iranian auto market and quickly gained a foothold. China-made cars are popular in Iran. According to the survey data of automobile consulting company IHS, in 2011, China automobile accounted for only 1% of the Iranian automobile market; By 2015, this number has soared to 9%. Among them, it is one of the first China car companies to enter Iran. Nearly 10 China car companies have successively launched 30 models in Iran, with different price ranges.

　　According to experts, the current Iranian sedan market has almost been dominated by China cars, which locals call "Teheran China Speed". With the lifting of sanctions, China will import more cars into Iran, and now Iran has become the largest automobile exporter in China.

　　

　　Professor Ezadi from the School of Mechanical Engineering, Teheran Tus University of Technology believes that today’s Iranian consumers are paying more and more attention to the diversity of goods, and the beautiful appearance and rich configuration of China cars just cater to consumers’ preferences. For a long time in the past, Iran’s local automobile products were basically not diversified. Until today, manufacturers are still producing old Pride and models repeatedly. Consumers have long been tired of these unchanging cars, and the beautiful and cost-effective China car just meets this demand.

　　China car companies that have been deeply involved in the Iranian market and French car companies that once dominated the Iranian market will fight a "tough battle" to grab this cake in Iran. This makes Americans a little anxious. Forbes pointed out that Iranians like the price of China cars and rely on their friendship with China. Expect and wait for French car companies to return to the Iranian market and start joint ventures again; Appreciate and need the technology of German car companies. There is basically nothing about American automakers. If American automakers don’t act, all that awaits them is cake crumbs.

　　

　　What kind of cars do Iranians like?

　　It is not entirely impossible for American automakers to please Iranian consumers. It may be a breakthrough. In the past few years, even if the purchase needs to pay a tariff as high as 90%, it can’t stop the rich Iranians from loving them. Even during the peak period of sanctions from 2011 to 2012, Iran still imported 563 vehicles with a total value of nearly US$ 00,000. Due to the 90% tariff, the total price of these products is $100 million, which is still snapped up by the wealthy Iranians.

　　

　　Although there are many local automobile manufacturers in Iran, in the eyes of Iranian consumers, imported goods have been equated with high-quality goods. Is the best car. It is a hot commodity in the automobile consumption market, and about 47% of the respondents said they would choose to buy it. In order to promote consumption, the Iranian government has also begun to gradually reduce tariffs. Analysts predict that it has great development potential in Iran. It is estimated that by, the sales volume will reach an average annual growth rate of 66%, while the sales growth rate of other vehicles can only reach 16%.

　　For ordinary Iranian consumers who can’t afford it, they prefer comfortable mid-level cars, and long cars are the most popular. At present, Iran has 147 cars per 1,000 people. Comparatively speaking, the figures in Britain and the United States are 519 and 809 respectively. The potential of Iran’s automobile market is self-evident. If the Iranian people have started to draw up shopping lists after the lifting of international sanctions at the end of January, the car is definitely the first commodity they want to buy.

　　

　　Foreign automakers who have done some homework on the Iranian market will choose to introduce younger models to the Iranian market. Because Iran’s population structure is very characteristic, its total population is basically the same as that of Germany, but nearly 70% of the population is under 30 years old and has received higher education, especially in the fields of science, engineering and technology. The number of young people in Iran will reach its peak in 2040, and this demographic structure has also laid the foundation for the rapid growth of automobile consumption.

　　Oil country cart?

　　Although Iran is the seventh largest oil producer in the world, its refining capacity is limited and it even needs to import gasoline. The backward oil refining method makes the air pollution extremely serious, and the toxic components in the air far exceed the standard, so it is often necessary to stop work and study in winter. Avaz, a major Iranian oil industry town, is among the most polluted cities in the Middle East, and Teheran is among them. In order to control pollution, downtown Tehran stipulates that only taxis and buses can pass during the day.

　　

　　In order to reduce pollution, the Iranian government has set up an electric vehicle policy-making headquarters to encourage people to use natural gas mixed or pure electric vehicles. At the same time, it also reduced the import tariff of automobiles. In the case that the import tariff of traditional power vehicles is as high as 90%, the import tariff of automobiles is only 4%. Strong support made Iran’s hybrid car sales increase by 112% in 2014.

　　Some related companies have seen the business opportunities. South Korea’s LG is in contact with Iran’s largest automobile manufacturer, hoping to provide power batteries and supporting charging facilities for its electric vehicles. The car company plans to complete 60,000 electric cars by 2008.

　　In 2014, Iran’s Fuel Protection Committee (IF) announced that, as part of a project supported by Iran’s Ministry of Oil, IF planned to drive 400,000 electric motorcycles, 120,000 hybrid taxis and 20,000 compressed natural gas taxis onto the streets of Tehran, and finally let the fuel trucks disappear on the streets of Tehran.

　　

　　Although this project is not the fastest, Iran’s attitude towards environmental pollution has won a lot of praise. American media commented: "Ironically, sometimes a country’s culture looks conservative, but its energy policy is very free. Apart from the United Arab Emirates, few Middle Eastern countries are willing to do something to deal with climate change."

As early as before the Qing court prepared for constitutionalism, the newspaper industry in China was actually quite developed. Newspapers, represented by Times, Ta Kung Pao, Times and Beijing Daily, are well-known in Beijing, Shanghai and Hong Kong. After the Qing court promulgated the Outline of the King James Constitution, the Constitutionalists set up newspapers and periodicals in various places. As of May, 1911, according to incomplete statistics, there were more than forty newspapers and periodicals that only held a constitutional position.

Constitutional newspapers in the late Qing Dynasty

Ironically, the constitutional imperial edict was promulgated on September 1, 1906, and on September 29, the same month, the Beijing dialect daily and the Zhonghua newspaper were blocked at the same time, on charges of "arbitrarily discussing state affairs, fabricating rumors, echoing bandit parties, and making irresponsible remarks." The real reason is that the Chinese newspaper published the news that the Qing court secretly executed two royalists who returned from Japan, while the Beijing Daily ridiculed the arrest of a Taiwan Province man who came to Beijing by mistake for Sun Yat-sen. Peng Yizhong, the newspaper owner, was exiled to Xinjiang on the grounds of murder.

In a word, the basic position of these newspapers is "asking the emperor for democracy". In the process of running a newspaper, it was frequently examined and interfered by the Qing court. Therefore, many newspapers have not existed for a long time. For example, Beijing Daily, sponsored by Wang Kangnian, was founded on March 28th, 1907, and was ordered to close by the Ministry of Civil Affairs on August 26th because of the case of Yang Cuixi. The organ publication "On Politics" of the Political News Agency was closed down less than 10 months after its publication.

The people who presided over the speeches in these newspapers were intellectuals in the transitional period. After the abolition of the imperial examination system in 1905, a large number of scholars either went to study in the West or participated in new schools or speech institutions in China. At that time, famous writers included Liang Qichao, Da Sheng, Xiong Fanyu and Gu Zhongxiu.

More than a dozen of the above 40 newspapers are related to Liang Qichao, either as writers or publishers. For example, every issue of Guo Feng Bao was edited by Liang Qichao and sent to Shanghai for printing, half of which were written by Liang. With these opinion leaders as the center, the Constitutionalists have formed a number of speech centers.

Constitutionalists first kept great hopes for preparing for constitutionalism. After the introduction of the official system reform plan in November 1906, their attitude changed. This administrative system reform is nothing more than abolishing several small departments and changing the names of several departments. In fact, it is still a change of medicine. For example, in the central ministries and commissions, the proportion of Manchu and Han officials changed from 50-50 to 60-40. Nanfang Daily is extremely dissatisfied with this, saying that "it is a trick of autocracy in the name of fake constitutionalism."

The first revolutionary newspaper

In the autumn of 1899, Sun Yat-sen sent Chen Shaobai to Hongkong to organize a newspaper to publicize revolutionary ideas. As the British Hong Kong government prohibited Sun Shi from entering the country, Sun Yat-sen had to buy machines in Japan to raise funds, and told Chen Shaobai to name the newspaper China Daily. China Daily was officially published in Hongkong on January 25th, 1900, with Chen Shaobai as the president and editor-in-chief. The newspaper published a journal and a journal at the same time, with a dozen columns. The most popular column for the general public is "miscellaneous", which is to publish popular jingles and jokes in China to satirize current events.

The China Journal was published until 1913. It is generally believed that it was not revolutionary in the early days, and many of its ideas were the same as those of the constitutionalists. Some early serial articles only advocated limiting monarchical power and expanding civil rights, but did not clearly advocate revolution. In August, 1900, the newspaper published Zhang Taiyan’s "Please Strictly Refuse Manchu People to Enter the National Assembly" and "Discarding Braids", and then began to advocate Manchu Revolution.

When the newspaper published Zhang’s article, it added a sentence, publicly calling the Qing government a "barbaric government", which clearly expressed the newspaper’s position. In 1903, Guangzhou’s Ling Poster accused the revolution of anti-Qing, and China Daily published an article to refute it. The two sides fought each other in writing for months, while revolutionary figures in Guangdong submitted their books to the newspaper, expressing their support for the newspaper, and the sales of China Daily increased greatly.

China Daily is not only an organ of speech, but also a propaganda organ of the Xing China Association. Revolutionaries often hold secret meetings in the newspaper office at 27 Stanley Street, Central, Hong Kong. The command post of Huizhou Uprising was also located here. In a word, China Daily not only advocates revolution, but even directly launches armed struggle, which is one of its major characteristics.

Another newspaper, The National, founded in Tokyo, is more revolutionary. The newspaper severely condemned the Qing government’s act of flattering foreign countries and betraying the country, accusing them of stealing peace and being willing to hand over sovereign territory to others. If China wants to stand on its own feet and China wants to be rich and strong, it is necessary to overthrow the Qing government and make a revolution. The newspaper also introduces the revolutionary thought and history of European and American bourgeoisie to readers. They pay special attention to the correction of the concept of communication, for example, to separate the "state" from the "imperial court" and to be nationals rather than slaves.

Sue reported: strict censorship of speech

Su Bao was founded on June 26th, 1896 by Hu Tiemei, registered with the Japanese Consulate in Shanghai by his Japanese wife, and written by Zou Tao. In the early days, it was a tabloid newspaper, which was sold to Chen Fan in 1898 because of excessive debts. Chen transformed it into a clear discussion newspaper, which criticized the Qing court. Later, Chen became close to Cai Yuanpei and joined the China Education Association. In 1903, Zhang Shizhao became the main writer of Su Bao, and there were even more anti-Manchu revolutionary remarks.

On June 22, this year, Su Bao published an article "Homicide", openly advocating violent revolution. The article said, "This enemy, with five million evil clowns, occupied our land, paid for food and clothing, paid taxes, killed my ancestors, annihilated my compatriots, ravaged my culture, and bound my freedom … Today’s homicidal, that is, revanchism."

On June 20th, two days earlier, Wei Guangtao, the governor of Liangjiang, had reported to Cixi the recent remarks of Su Bao, saying that Su Bao "published cloth fallacies" and ordered that Mi Na be banned. On June 29th, a police detective went to the newspaper office to arrest people, including Chen Fan, Cheng Jifu, Zhang Taiyan, Zou Rong, Qian Baoren and Long Jizhi. After that, the newspaper continued to publish newspapers and criticized the authorities for their crimes. Finally, the newspaper office was closed on July 7.

The Qing government entrusted lawyers to accuse Zhang Taiyan and others of "slandering the world and slandering the government" in mixed court. In the face of the trial, Zhang Taiyan said generously that the word’ Zai Tian Clown’ in the book violated the sacred words. I only know that the Qing emperor was Manchu and didn’t know the so-called sacred words. "

On May 21, 1904, the concession authorities and the Shanghai magistrate jointly tried the case and announced that Zhang Taiyan was sentenced to three years’ imprisonment and Zou Rong was sentenced to two years’ imprisonment. When Zhang Shizhao later recalled Su’s report, he said, "There is no taboo between his words. He denounced Zai Tian as a clown, which is more expensive than a relative and a thief. Only the publications in Tokyo, Hong Kong can do it, but in the mainland, he dared not or refused." This shows how strict the censorship of speech was in the Mainland at that time.

Since leaving the circle, the traffic of Xiaomi Automobile, as a new force in building cars, has been rising, and it has also broken 20,000 units with bicycles for two consecutive months. It is precisely because of the traffic blessing of the first explosion model that the rumored first Xiaomi SUV model has been receiving much attention. On the day of the announcement by the Ministry of Industry and Information Technology in December, Xiaomi’s second new car was officially announced, and all kinds of "Farami" imaginary maps on the Internet were overturned at the moment when they saw the official map.

Perhaps, because of the first young man’s "Bao Shi Mi", everyone thinks that it is not impossible for Xiaomi’s first SUV to pay tribute to Ferrari, and it is precisely because of the high expectations buried in the early days that many netizens saw Xiaomi YU7 at first sight, and there was a little bit of loss in their hearts.

Indeed, Xiaomi YU7 is not as amazing as Xiaomi SU7 when it was first launched. The main reason is that the appearance of Xiaomi YU7 is basically a copy and paste of the design language of Xiaomi SU7, and it is still a drop-shaped headlight group, with full muscle lines on the hood, which can identify the lever. Not surprisingly, the front enclosure of Xiaomi YU7 is still equipped with an active air intake grille.

On the side of the car body, Xiaomi YU7 adopts a slip-back posture. The biggest difference from Xiaomi SU7 is that Xiaomi YU7 uses a hidden door handle. Is it difficult to reduce wind resistance? It is worth mentioning that although Xiaomi Yuqi is an SUV model, its body is equipped with aerodynamic design in many places. It can be seen that Xiaomi Yuqi has made a lot of efforts in appearance details in order to reduce energy consumption. Perhaps this is the aerodynamic bridge design between Xiaomi Yuqi and Ferrari. "Heart and soul". From the existing application information, we can see that Xiaomi YU7 provides a variety of wheel hub styles, and offers 19, 20 and 21 inches to choose from, and bright yellow Brembo brake calipers are indispensable. In addition, Xiaomi YU7 is also equipped with lidar, and the high-order intelligent driving has not fallen.

In the rear part, Xiaomi YU7 continues to use the same circular taillight as Xiaomi SU7, with the spoiler above the rear windshield, the electric lifting tail and the rear surrounding diffuser. The sense of movement is rendered in place, which is really more distinctive than most SUV models on the market. If Xiaomi YU7 can be equipped with a circular exhaust layout, it will be even more fried.

Body size, length, width and height of Xiaomi YU7 are 4999/1996/1600mm respectively, and the wheelbase is 3000 mm.. Compared with millet SU7 (length, width and height are 4997/1963/1455mm and wheelbase is 3000mm), millet YU7 only has a large variation in width and height. The interior has not been announced yet, but its layout is not much different from that of Xiaomi SU7. However, judging from the positioning of Xiaomi YU7, the riding experience of Xiaomi YU7 should be better than that of Xiaomi SU7, which pays attention to the sense of control. Maybe you can see the zero-gravity seat. Let’s look forward to it!

In terms of power, Xiaomi YU7 will be equipped with a dual-motor system. The maximum power of the front motor is 220kW, the maximum power of the rear motor is 288kW, and the maximum speed is 253 km/h. The battery will be equipped, and the specific cruising range has not been announced yet. As for the most popular driving force at the moment, it is expected that it will not appear for the time being.

Love comment

With the growing sales of Xiaomi SU7, it shows that Xiaomi has gradually gained market recognition, while the first SUV model has chosen a conservative route, and it is also expected that such operations will occur. Although there is not much bright spot in the appearance of Xiaomi YU7, the "expanded" Xiaomi YU7 is not simply copied and pasted, but focuses on reducing energy consumption. Moreover, according to the previous control and adjustment of Xiaomi Automobile and the performance of the highest speed of 253km/h, I believe that Xiaomi YU7, which pays attention to comfort, will not disappoint people. Looking back at the positioning of Xiaomi YU7, it is obvious that Xiaomi YU7 is running. According to the consistent routine of Xiaomi Automobile, the pricing of Xiaomi YU7 should be lower than that of Model Y, which starts at 249,900 yuan. In this regard, do you think Xiaomi Yuqi is still the next explosion? Welcome to leave a message in the comment area.

In April, 2023, the domestic cartoon Fabulous Beasts, which was produced by Molecular Interactive for three years, finally appeared in the form of instant noodles and animation for two seasons after repeated ticket skipping. Because of the high content of Furui, and all kinds of Furui are covered in the comics, this work has become a "New Year animation" for Furui-controlled audiences.

Since the birth of domestic animation, there has been no shortage of works featuring anthropomorphic animals, ranging from Sheriff Black Cat, Jingjing Panda, Adventures of Little Carp to Cats in Peking Opera, Biography of the Great Wall of Giant Soldiers and Battle of Luo Xiaohei. Since the establishment of Shanghai Film Studio, at least two Furui animated films have been produced almost every year. Entering the period of TV popularization, the cat-type Furui has become the absolute mainstream. Under the Umbrella species effect of the cat-shaped Furui, other Furui images have also been developed. Sanchen Cartoon (Blue Cat Naughty Series) and Hongmeng Cartoon (Rainbow Cat Lan Tu Series) have completed the recognition of the anthropomorphic animal images of the audience by the super-long sets of their respective IP.

Up to now, the animation that firmly occupies the audience of young people is still two anthropomorphic animal IP: Bear Haunted (movie group), Pleasant Goat and Big Big Wolf (TV group). However, only "There are Beasts" claimed to be Furui’s works on his own initiative, and the comic propaganda page directly printed the propaganda text "God beast descended to earth, accompanied by Furui".

Whether anthropomorphic animation can be directly equated with Furui’s works, whether furry is Furui’s core trait, how to develop Furui’s aesthetics, how to balance Furui’s social and natural attributes … How does A Beast Solve these mysteries in his works? This paper will start with a question about Disney animation, and explore the various difficulties surrounding the phenomenal text "There are Beasts" and the Furui group.

Starting with Mickey Mouse: Tracing Furui’s History and Aesthetics

"Mickey is a mouse, Donald is a duck and Pluto is a dog. What about Goofy?" The question of Pluto or Goofy not only comes from Gordie in the movie Stand by Me (1986), but also puzzles many audiences and Disney. When Gao Fei introduces himself, he uses names instead of attributes. The official FAQ can only show that Goofy is a dog as a human character.

However, when the Orc/Furry was created, this problem was solved.

Furui, that is, under the influence of the secondary culture, is the general name of anthropomorphic animal images around human characteristics. If we start from the Categorical Ambiguity Theory (CAT for short) proposed by Ernst Jentsch, Furui’s concept becomes very broad: from landing on all fours to walking upright, from being naked to dressing up, from simply screaming to talking, these fuzzy areas between human and animal classification can all be included in Furui’s category, including of course the different characteristics between Bruto and Goofy. Under the influence of different regions, Furui has formed many overlapping concepts, such as ケモナー (cartoon personification of wild animals) and ケモミスト (animal-ear role lovers) in Japan and Furry and Toto in Europe and America.

From the birth of the concept of Furui, it has a dual category of science fiction and animation. Furry, as a brand-new ethnic concept "orc", can be traced back to the science fiction conference in 1980.[1]; But in animation, furry appeared earlier. No matter Humorous Phase of a Funny Face (1906) or Gertie the Dinosaur,1914), there are animals exchanging identities or talking with people. The image of Furui has long been carried forward in the animal anthropomorphic history of animation, including the variations and innovations of various elements of Disney (such as Mickey, Zootopia and Avatar), and the far-reaching influence of My Little Pony series, which has been on the screen for ten years since the Millennium, and the horse fans have also become another independent classification group.

With the layered development of secondary groups in recent years, Furui culture has become an indispensable sub-cultural force, and bilibili has even formed a UPmain community in Furui District with frequent linkage. Overseas Furui exhibitions such as TFF(Texas Furry Fiesta) and JmoF(Japan Meeting of Furries) are in full swing, and domestic related exhibitions such as Super Furry Fusion and Winter Furry Fusion are also held regularly. It is reported that around 2017, the animal exhibition was independent from the comic exhibition, forming a thematic circle exhibition.[2]. Since June 2023, there are even more than 10 exhibitions in the process of ticket sales or preparation this year.[3]It has attracted a large number of offline interconnection of Furui control groups.

In daily use, Furui is not only the name of the ethnic group, but also the meaning of the actor and the lover, that is, Fursona and Furry-phile. This leads to the separation of the three subjects and objects, because they are all under the same body (la chair) because of the relationship of mutual identification. As a result, Furui obtained the embodiment of self-body visualization and touchability, and the self-reflexivity extended by visual touch. This reflexivity points to chiasm of vision and touch: it gives Furui exclusive mineness. Especially when making animal designs, Furui controllers will deliberately avoid other similar patterns, thus creating an egoic-dwelling with a unique body-image. But at the same time, this kind of body image is a psychological object that Sartre said is connected by fantasy. If the viewer does not realize Furui’s image through intercorporeality imagination, the community identity formed by fantasy race, fantasy body and fantasy object will disappear.

Where does this intersexual imagination come from? It comes from Furui’s original etymology "furry feeling". Before furry became an orc/Furry, it was not a subjective name, but an adjective attribute (Furry, fur-covered, furry to the touch) that evolved from the noun attribute (fur) of the body attribute. Fur is visual, while furry is tactile, that is, Furui is inherently connected with vision and touch.

Is it an aesthetic experience around the visual-tactile linkage caused by furry? For a long time, this phenomenon has not been paid attention to in aesthetic research, and its mainstream view is that aesthetics should be disinterested. It was not until Schustermann, a researcher of body aesthetics, mentioned this "important exception" from Edmund Burke’s "philosophical discussion of sublimity and beauty" that he entered the researcher’s field of vision.[4].

The fundamental problem of Furui’s aesthetic experience lies in whether the core of aesthetics is contemplation or intervention. The representative figure of contemplative aesthetics is Kant, who regards the pure formal object formed by rational contemplation as the real judgment of aesthetic feeling, which means that the subject’s desire needs to be deprived in the dichotomy of "the subject is watching and the object is being watched", and it becomes a purposeful existence without interest, so Furui can only exist as the watched aesthetic object.

In Gao Jianping’s view, intervention is the essence of Marxist aesthetics, which requires that aesthetics should not only be viewed, but form an attitude of actively transforming life. Through practice, production and desire satisfaction, the aesthetic process is discussed, and the theory of contemplation is surpassed. The idea of Marxist intervention in aesthetics is closer to the transformation of life, while Burke’s intervention in aesthetics is physical experience.

Burke has a very pioneering thinking on the body dimension in aesthetic research: he incarnates aesthetics, and then discusses the body senses and the perception caused by it. He believes that body aesthetics should explore the diversity of pleasure, and need more desires such as nerve reaction, experience perception and emotional flow. When discussing beauty, Burke specifically talked about specific objects that can make people feel beauty, namely small things (small animals and beasts), smoothness (fur surface), gradual change (lack of edges and corners, complete lines), delicacy (flowery species), color (clear and bright luster) and eyes (clear rotation). Although Furui was not directly mentioned, all descriptions pointed to fullness. Burke’s interpretation of beauty is to "relax the whole body system to operate." The relaxed eloquence in the natural state is the reason for all the actual pleasant feelings. "[5].

Burke’s interpretation of beauty mainly focuses on the intuitive perception of vision and touch. Schustermann also believes that vision and touch should be integrated rather than separated, and the optomotor nervous system will mobilize the comprehensive experience of seeing and feeling as a whole. Especially after the appearance of image media, although the image has brought spiritual isolation, on the other hand, it has strengthened the audience’s imagination of flowing pictures. Husserl also emphasized the importance of touch and vision to the experience of body perception in his body discourse:

"Everything we see is tangible; In this way, they point to a direct relationship with the body, although not through its visibility. If the subject’s only sense is vision, it can’t have a revealing body at all … The body itself can be constructed at the beginning, but only in the sense of touch. "[6]

In this context, Furui really got the direct perceptual relationship with the physical body, so people saw the furry image and touched the furry object, and then gave birth to the lovely experience, which really formed the Wahrnemung return of the body in visual contact.

"Inhumanity" and "Halloween Street": When the God beast decides to come to modern life,

Furui is an imaginary ethnic group in the context of science fiction, but what if these ethnic groups themselves have a thick supernatural culture as a blueprint?

Fairy stories that have formed collective cultural memories are always "telling fate on the road of eternal return". They are often only reserved as "iconic scenes", which once again reveal the intertextuality proposition of tragedy pointed out by Gérard Genette with various details of changes: these are all events that have happened, and these characters are all images that the audience has heard of the complete story, and they have also become certain attributes in the context of fatalism.[7].

Therefore, in order to adapt the myth, readers should not only dialyze the past memories, but also build a discourse expression that is in line with the present era. The ultériorité dramas of these works are intended to expand brand-new themes continuously, and connect the relationship between classicism and modernity in the way of généalogie.

Therefore, when rewriting the myth, the creators will face a difficult problem, that is, how to put the monsters in different planes under the same world view of modernity. Molecular interaction adopts four distinct ideas in its four pillars.

"Inhumanity" puts it in the rapid development of modern life (the main character will go to work in an nonhuman company); Halloween Street uses the collage of living space to mix the species attributes and professional attributes of each character. "What to do! I crossed into the weakest wild monster (the comic book has been finished) adopts a more ingenious way to unify all the different mythical characters through the game mechanism of Azure World.

"Inhumanity" and "Halloween Street" were created in advance, and formed a complementary world view. They adopted two completely different ideas in the conflict and mediation between Furui’s social attribute and natural attribute.

When Yao Yunfan discussed the stylistic symptoms of Sheriff Black Cat, he put forward the conflict between two orders, one is physical nature, and the other is biological nature. The former relies on the integrity of words that are directly visible in vision and understandable in daily language, and forms an order/attribute closer to society (that is, people) in the change of volume (such as big guys bullying small animals); The latter is the "legitimate basis" for resorting to biology, which is unacceptable to society but regarded as reasonable by nature (such as the female mantis eating the male mantis)[8]This is a more natural attribute of Shan Ye.

Social attributes and natural attributes are just at the left and right ends of the Furui Degree Scale.[9]This will be attributed to standing, dressing and talking like a human being, and more importantly, integrating into modern life; The natural attribute is to land on all fours like an animal, wear no clothes, and not intervene in modern life. Inhumanity is closer to the social attribute, Halloween Street is in the middle, and There is a beast standing at the end of the natural attribute.

Some characters in Inhumanity are based on Shan Hai Jing, such as Jingwei, Xingtian, Nine-tailed Fox, Bai Ze, etc. But more of them are taken from the list of gods, which leads to a high sense of social belonging of these characters. "Unhuman" narrates that the protagonist is the nine-tailed fox in September, and the real protagonist is Bai Ze from the omniscient perspective. It is a daily work that lives in modern society through these ancient monsters. As a standard daily work, there is almost no main plot to promote the role, and the database settings are basically maintained. In this series, most of the monsters try to keep the appearance of modern human beings. Except for a few characters (such as Guanyin, Maitreya, Xingtian and Nezha), keeping the human form is based on transfiguration, and some of them are fine-tuned with their settings and abilities as animals.

"Inhumanity" gives priority to social attributes, and makes social attributes physical, while natural attributes are reduced to visual settings in most daily articles. Sometimes characters can understand each other’s natural attributes and turn a blind eye to their practices (Jingwei always does actions similar to reclamation); Sometimes, the natural attributes are completely unknown, resulting in a comedy effect of cognitive gap (the natural attributes of the stars in September and the Pleiades are restrained).

The source of the characters in Halloween Street is the genie in foreign culture, with three main roles: Nick (goat) in hell, Lynn and Lily in heaven, and Ailer (bat), Werewolf Hairy, Mummy Abu, Zombie Xiaolu, Cat and Peach. The natural attributes of the characters in All Saints Street are changed into abilities, and then corresponding occupations are developed on the basis of ability adaptation. And repeatedly jump between professional attributes and natural attributes, thus forming a sense of comedy.

Readers can see when reading two cartoons that the corresponding occupation of each character in All Saints Street has professional characteristics, while it is almost impossible to find a corresponding occupation in Inhumanity.

"There are beasts" simply cancels the setting corresponding to the social attribute of occupation, and its roles are all from the beasts depicted in Shan Hai Jing. The story is in Shan Ye, which is far away from the modern society (the author collected the scenery in Yunnan). Around the core scene of Deer Shop, the story looks for the main line of lost memories with seemingly endless daily cover-up.

The essence of the Deer Shop is the House of Everything (よろずや), which comes from an organization mode of Japanese society and exists as a pre-modern workplace without business scope. Due to its special properties, Wanwanwu can almost accept all kinds of problems in daily life and residents’ service, and its problem-solving methods are also closely related to private detectives.

The development of Deer Man Shop in Shan Ye also lacks the discipline of modern grand narrative. As a narrative hub, it connects all kinds of Furui in Shan Hai Jing, which were originally unrelated, in physical space.

Although in the movie Our Winter Olympics, it is said that the non-human company where she works is also a wanwu house in September, the movie presents scenes such as PPT modification, constant meetings, and work in the cubicle, which are only available in urban and online life. This means that the everything room in Inhumanity is essentially an internet company, and these roles must also be deeply involved in modern human life, especially in clerical work.

Although Deer Shop has not become a structural component of modern society like a non-human company, it is still in the process of modernization, and the key point is dress and the eye of jade bird monitoring, which has also become a direct visual presentation of the tragedy of A Beast (officially dubbed "hair knife").

There are Animals: Furui’s Three Body Forms

In "There are Beasts", all Furui can be roughly divided into three body forms, standing, landing on all fours and fierce beasts. Each body shape corresponds to the alternation of different aesthetic experiences, the transformation according to the time series plot, and the endogenous survival crisis of Furui.

The first body form is the two-legged standing and human dress mentioned above, which represents the discipline itself.

Standing on two feet is close to human beings from the visual outline, while human dress is a unique shame that arouses human beings from ethics. Animals don’t realize that they are naked, which is an original scene from nature. Even if they look at each other, they won’t send out social judgments with ethical reflection from the eyes of the viewers.

However, as Jacques Derrida said, as a human self, being naked in front of Furui will still feel "a shame of looking at oneself, a shame of being ashamed of oneself, an unreasonable and unspeakable shame".[10], because animals use the line of sight that they don’t know, forming a picture to be watched.

In order to block the transmission of "naked (animal)-watching-naked (human)", dressing becomes necessary. As a unique characteristic of human beings, clothing absorbs all other characteristics of human beings and forms a "conceptual concept" and completes the most important functions: shielding the eyes that are seen and integrating into the modern structure. That is to say, no matter whether the body is Furui’s appearance or not, when it is dressed, it changes from a beast [feminine] to a sovereign [masculine ](la bête et le souverain).

In The Beast, there are four characters who have stood on two feet and dressed as human beings for a long time, namely, the deer owner, the four elephants, the barber shop manager, the rabbit and the representative of the hell, and the doctor, the stamen bird, who will appear later. They all have their own clear professional identities in modern society.

The physical relationship between the protagonists in this play also shows more internal difficulties of Furui. The most important thing is the attribute conflict between the store name "Deer Man" (social attribute) and the animated name "Beast" (natural attribute), which has reflected a kind of entity presence and identity absence. The core of deer people is "people". In "There are beasts", as long as the characters who appear as people are only external outlines, they cannot be clearly distinguished. However, all the people who went to Deer People’s Store for help were "animals", and the Furui people did not have a clear understanding of this identity violation, and they were in a vague "ambiguous" state. However, the ambiguity of the sense of boundary echoes the extensiveness and self-reference of the Furui group in reality.

The existence of the "four unlike" reflects Derrida’s "hiding state with a mask". Although he can also be transformed into a four-legged body, as a deer (animal), after inadvertently peeping into the secret, he was instructed by a god (person) and made a standing Furui with a mask of the remains of four different animals, that is, a masked man (I ‘homme Ouloup).

The name of Sibuxiang appeals to its own exclusion. He is "unlike" any living thing and does not belong to any animal, Furui, human and himself. This title also replaces the ancient beast Sibuxiang, who has long died (the first Furui who died at the beginning of the work). His existence refers to a kind of absence. When being called by the brave, his literal presence and the lack of ontology finally appear as a persona.[11]. In the last episode of the first season of the animation, the body of the four elephants was in severe pain, and the unintentional remark "How can a god beast get sick" also revealed that the four elephants, as homo politicus, were always struggling with heterogeneity.

Accompanied by human dress, it is the robot bird bluebird in the form of a god beast. Jade bird is the symbol of the information transmitter in the story of the god beast, but it loses its signifier in "There is a beast" and completely becomes the symbol of monitoring. Jade bird has lovely big eyes that are completely out of proportion to its body, which activates furry’s another adjective "creepy" and also makes Furry’s visual image fall into the Uncanny Valley.

Thus, Jade Bird and Four Elephants form a group of monitors with or without self-will. There are not many scenes of Jade Bird in comics, but it appears in every episode in animation, and even appears in the quiz at the end of the film. There are gods (people) who ask the Jade Bird questions and let it answer them accordingly. This is a supplement of knowledge instead of physical experience, which borrows a lot of classical Chinese content in Shan Hai Jing to make Jade Bird adapt quickly and integrate into the environment of monitoring the whole beast universe.

The second body form is a furry beast that lands on all fours.

This is the most common image of Furui in the works. Almost 80% of Furui is on all fours, which is different from other previous Furui animations. At the beginning of this paper, I have described the famous Furui animation works at home and abroad, but as can be seen from the image, most of Furui’s images before "There are Beasts" focused on "personification of animals", and the key is to fully approach human’s social attributes with animal images, forming a large number of works standing on two feet and dressed by human beings, among which Zootopia is a typical one. Once Furui is drawn on all fours, he will be deprived of his ability of dialogue and communication and become an unspeakable Bruto. From this perspective, the benchmark work of "There are Beasts" is "Little Pony", while the benchmark work of other Furui animations is "Equestria Girls".

The cartoon style almost completely satisfies Furui’s hair texture, with "a texture similar to crayon material for character lines", while the animation "extracts lines and colors separately and attaches materials in the later process, and finally paints the lower part of the character with the same granular material as the art background".[12]Get a line effect similar to that of comics.

In order to strengthen the affinity between Furui and nature, quite a few Furui in the comics have other names for plants, such as the Meng family (walnut, oleander). In the sales information of mushrooms/tree pins at the end of each episode of comics, the corresponding plants are also connected with Furui.[13].

At the same time, in order to better realize the life resonance like Gaia hypothesis, the scene art production team collected a lot of scenery in Yunnan, where the animation was taken, and formed a detailed plant taxonomy.

However, Furui, who landed on all fours, don’t have human attributes directly. They are more like "monster beasts with mythical or linguistic nature"[14]There is a natural estrangement from nature, and its physical perception will be incomplete, as if it were hurt by a dizzy and strange illusion. Although the Furui textures in real life are different, they can always see the most similar outline. They have similar basic body radians, and add or delete them on this basis, and cover people’s bodies by adding fur (that is, animal clothes). With a seemingly naked fur, they cover the really naked flesh with a prothétique structure, but at the same time, they also form restrictions on normal movements and are too hot to breathe.

At the same time, the animation group personifies the ancient memory loss and pain that must be recovered in comics, which is not nostalgic, as a "knife", and hides it in the high-definition pixel (500% magnification according to the creator) of the last frame of each episode of OP, which leads to the psychological and physical sense of traumacore.

The same is true of a large number of Furui in "There are Beasts". Almost all the characters who appeared in the first season of animation have physical disabilities: Jinjiao with missing horns, Yinjiao (mouse), gluttonous (peach and peach) with only brains left, highly emaciated mouse who spits treasures, chinchillas and cats with failed body grafting, and Pippi who has lost his memory. Even though the external images of the Furui people are cute, it is precisely because of this sense of offensive lack of vision that they cover up the difficult survival dilemma of complete self-identity (l’ipséité de l’ipse).

The cuter you are, the closer you are to the grotesque. In "On Cuteness", Yasuhiko Sifang said that きもかわ (both disgusting and cute) and かはゆし (too dazzling to look straight at) have strong affinity. He believes that nausea and loveliness are formed by "overlapping, mutual traction and interdependence." When we think something is cute, grotesque also becomes a condiment. " Therefore, Sifangtian developed Freud’s theory of terror psychology and proposed that "when the origin is suppressed or hidden", intimacy will be transformed into terror. This sense of terror originally comes from the "physical defects of newborn objects: huge eyes different from ordinary people, short legs disproportionately compared with the head, hairless, thin and slender bodies" [15]Together, they form an intuitive visual experience for the lovely Furui.

So Derrida thinks that the imaginative capture formed by Furui is incomplete, not only physically, but also aesthetically. Between the double pull of animals and people, Furui has congenital pain and trauma:

"The ego (moi) acquired by animals must be short of’ me ‘(Je), and this’ me ‘(Je) itself can only rely on a definite signifier of arrival: the ego (of animals) lacks this’ missing’ … animals exist on the conscious ego side, while the human nature of human subjects is on the unconscious (social camouflage) side … forming a kind of self-deception (sertomer).[16]

The third body form is the fierce beast form that is really close to Shan Hai Jing.

Furui’s body standard, from the perspective of de-loveliness, is actually "a natural deformity that deviates from human standard body"[17]Although these spare parts are not cute to watch alone, they lose their aggressiveness when combined and will not pose a threat to mankind. However, if the lovely aesthetics no longer acts on these objects, it will make people feel a strong sense of fear and be full of danger and destruction.

This is also the reason why many horror movies put seemingly cute children in them, such as Rhoda (the first child villain in the horror movie) in Bad Seeds, the sisters holding hands in The Shining, the tricycle girl in Nightmare Street, and the only surviving child at the beginning of The Great Escape. At the same time, children also have natural curiosity to ignore taboos, and driven by strong illogical sensibility, they can easily break the barrier of rational discipline set by adult society to protect themselves.

As a comic title, There is a beast, which seems to follow the cute cute cute beast. After the word "There is a beast" appears in Shan Hai Jing, there are strange and treacherous beasts of all colors, which show lost face, which is the lofty embodiment of nature that has not been recognized and conquered by human beings. When they turned into fierce beasts, their petite, smooth and round bodies were all torn and stretched, and they became monsters with fierce bodies, interactive teeth and huge shapes.

They are "like tigers and oxtails, and they sound like barking dogs." Its name is Bi, and it is cannibalism "; They "are shaped like sheep and have a ponytail, so they are called sheep, and their fat can be waxed"; They are "like cows and hedgehogs, called Qiong Qi, and sound like dogs, and they are cannibals".

Most of these fierce beasts are recombined with parts of other established animals, that is, they are not specific creatures, but mixed creatures. The word used in The Beast and the Sovereign is Kentauros (half man, half horse), and its adjective kantons means rough beast. In Shan Hai Jing, these mixed creatures are extremely aggressive because of the existence of self-multiplicity, which leads to the lack of independent will. Their relationship with human beings is mutual predators, and there are both "cannibalism" and "eating" in the book.

As mentioned earlier, the mutilations of Furui’s bodies in "There are Beasts" are not the accidental work of the animation production team, but the natural gap left by the collage of mixed creatures described in ancient books, which is the connection between "such as … such as …" something in the book. At the same time, it is also a phantom limb that has been superficially completed after the transformation from Furui to fierce beast. Therefore, from the perspective of body perception, the destructive power of fierce beasts is not only outward, but also inward, cutting themselves.

Cutting not only the body, but also time and space. This is the most essential tragic theme that runs through the whole story of "There are Beasts", and it is also the pain of all Furuikong when he enters and bids farewell to this group.

It is not recorded in Shan Hai Jing, but scattered in other ancient books. It was first published in The Book of Rites Quli, where there is a loyal beast before, it contains a saying. The etymology of brave and brave is originally a fierce beast that is summarized as a class. At the earliest, it also lacked a clear entity, and it appeared together with other beasts (bears and tigers). In the lyrics of "There are Beasts" OP, it is literally the budding imagination of readers (people) living in modern times about the ancient world’s beasts, but it is also the imagination of the "non-existent" creature who is outside the universe of Shanhaijing to coexist with other beasts. Similarly, the four elephants, the rabbit and the sincere listening mentioned above are not included in the records of Shan Hai Jing.

This endows the existence of fierce beasts with the heaviness of ancient memories. It seems that there are no them in the Shanhaijing universe that can become common descent. They originally looked at this ancient world in a non-participation way (ohne mitzumachen), but they met in series with fierce beasts distributed on the mountains in all directions.

It is precisely because Pippi forgot the "missing itself" that he met and got to know other beasts in Deer Man Store, and then he had a new story. When he recalls the past history, the present memory consciousness will be reset and covered, and finally he has to choose between the environment (UmWelt) and the past world (welt). The tearing pain of this choice is no less than the horizontal tearing of natural attributes and social attributes mentioned above, but it must be torn vertically between the ancient world memory and identity recognition that cannot be repeated and the modern world with relaxed and humorous daily life. After all, Deerman Store is both a supervision and a shelter, and it is a paradise for Furui to get along with based on "false memories".

Therefore, the story must be carried out in a circular way and forgotten again. Whenever faced with a choice, it will be thrown back to the starting point in the form of Mobius ring. This is the story of the stranded animal island, which is the third suspended parallel space independent of the present world and the ancient world, and is unfolding in constant rescue and escape.

The story of "There are Beasts" is full of bittersweet, just like stories of different worlds are nested in comics, so that it is necessary to rely on the previous reminder of "See the XX words" to connect the polyphony between the Furui lines. This intense dimorphous response repeatedly jumps between cuteness and injury, and finally becomes the contradictory symbiosis of cute aggression.

The same is true of Furuikong’s living space. As the second cuteness product of kindenschema, Furuikong points to the past (childhood) and fantasy at the same time with the furry image of the present. Babies always grow up, become teenagers and get old. Furui doesn’t. Like a cat, he is covered with a furry body. This parallax illusion seems to have the magic of fixed time. It has always existed in the form of Peter Pan syndrome, and one day it will have to break the dream of pumpkin carriage, just like the brave and four elephants.

But what about this?

Even if you have to forget the present and have to go back to the past, the traces of their present life will always be seen by the bluebird. Although the Jade Bird is a kind of non-human gaze (Wondering at the Inhuman Gaze) and a Foucault-style supervision, it still faithfully records all vision.[18]. Behind the bluebird is not only a shining god (person) from heaven, but also a reader who has been watching the story.

Furui’s consolations with each other in "There are Beasts", whether it is listening-Bai Ze, pig-bobcat, cat’s tears-Panhu, and Qiong Qi, are Cute－love built beyond the normal emotional relationship in the world. This love is also true in Furui control: through the reunion of furry people, the fictive kin relationship formed between them shows strong tolerance and belonging recognition. "The sense of belonging to the social circle is a major feature of Furui group, even in 2023, when decentralized society is highly developed."[19]. This sense of identity drives them/us to maintain a deer shop that seems to be in danger but can always help the beasts.

Notes:

[1] Patten, Fred. "Retrospective: An Illustrated Chronology of Furry Fandom, 1966–1996". Flayrah. Archived from the original on 2016-04-05.

[2] Play with people from generation to generation. A suit of "fur" is worth a small sachet. What are the young people in the "animal circle" consuming? [OL]. 36Kr， https://www.36kr.com/p/1708166923523845

[3] Exhibition information was compiled and collected by UPP owner Lopei sama in Furui District [ol] https://www.bilibili.com/video/BV1Lo4y177Gq.

[4] Chen Xinru. Renewal and reconstruction of aesthetic categories in the era of social media [J]. Southern Literature .2021 (6): P33

[5] Edmund Burke. A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful，Oxford University Press，1998.p39、136.

[6] Dermot Moran. Subjectivity and initiative [J]. Translated by Luo Zhida. Shenzhen Social Sciences, 2019(05):p41.

[7] [France] Tiphaine Samowayo. Intertextuality Research [D]. Translated by Shao Wei. Tianjin People’s Publishing House, 2002: P107-108.

[8] Yao Yunfan. The difficulty of catching mice: The Black Cat Sheriff and the representation of the new order [J]. Contemporary Culture and Literary Theory. 2019 (1): P207, 211, 213

[9] There was a popular piece on the Internet called "ケモのぼろぅ! ! The stem map of "Furui" is divided into five levels, namely, from left to right, human, ear and tail, increased hair, naked body, unlike human bones, and human-anthropoid-anthropo-feral-animal, which can shuttle through Shan Ye (pure animals). [OL] 2010-06-16. https://www.pixiv.net/artworks/11313122

[10] [France] Derrida. Deconstruction and the future of thought [D]. Translated by Du Xiaozhen, etc. Changchun: Jilin People’s Publishing House, 2010.11：p114

[11] [France]. Derrida. Beast and Sovereign. Volume I [D]. Translated by Wang Qin. Xi ‘an: Northwest University Press, 2021.12：p20

[12] The other side. Furui animation made in China, which I didn’t expect [OL]. Animation Academic Party. https://mp.weixin.qq.com/s/L-_cjhqFfb847DehkACH9w., 2023-06-24.

[13] For details, please refer to the sales information of "There are Beasts" after the 745th sentence in the comic book: Listen to the sky-blue mushrooms, such as Qiong Qi Blood Tooth Mushroom, Rabbit Ye Xia Oak, Zhuang Zhuang Lemon Tree, Balingjun Du Ying, etc.

[14] [France]. Derrida. Beast and Sovereign. Volume I [D]. Translated by Wang Qin. Xi ‘an: Northwest University Press, 2021.12：p49

[15] [Japan] Yasuhiko Yasuda. On Cuteness [D]. Translated by Sun Mengmeng. Jinan: Shandong People’s Publishing House, 2011.2：p71

[16] [France]. Derrida. Beast and Sovereign. Volume I [D]. Translated by Wang Qin. Xi ‘an: Northwest University Press, 2021.12: P205-206

[17] [Japan] Yasuhiko Yasuda. On Cuteness [D]. Translated by Sun Mengmeng. Jinan: Shandong People’s Publishing House, 2011.2：p77

[18] Sean D. Kelly . Wondering at the Inhuman Gaze[J]. in Anya Daly, et. al. (eds.) Perception and the Inhuman Gaze (New York: Routledge, 2020): p239-253.

[19] Bao Xiang, Dr.B B. Furui, but gay-a cross-ecological discussion between animal fans and gay men in mainland China [OL]. Zhihu. https://zhuanlan.zhihu.com/p/595827268