The Queen
Title ID:
Alt name(s):
  • Generation After the Spirit
  • Generation's Queen Ling
  • The Empress
  • The Queen of the Generation
  • Yidai linghou
  • Императрица
  • 一代灵后
  • 8.74
  • 8.90
  • 344
Pub. status:
  • 135,772
  • 5,283
  • 135
What is the price to pay for supreme power? Being misunderstood by the world? Carrying the stigma of being a "demon girl"? Killing one's most beloved people? Watch as an orphaned girl of the Spirit people with the ability to predict the future learns to plot in the Imperial Palace, is reborn from her ashes and becomes the Peoples' Empress of the Generation.

TUTU and her amazing team have made this webcomic free for all to read. Which means they are remunerated depending on the number of views "The Queen" gets. If you like the webcomic, please be kind enough as to click on this link and give each chapter you've read a scroll as to boost the views. Let us support TUTU and her team together!

Reading progress:
  • Volume 0/?
  • Chapter 0/?

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I just love how you underlined this idea of an immature industry. I so hope you are right. I admit I do not trust Chinese capitalism and their industrialism. Sometimes China reminds me of Industrial England. A Valley of Tears. And we must not forget that this type of predatory capitalism, bordering on libertarianism, not only transcends the world of art, the world of entertainment, but seeps into everyday life. And eventually causes revolutions. All revolutions had one thing in common, exploited and hungry people marching at the forefront to feed themselves.

While we are waiting for the Chinese middle class youngsters to develop a taste in a job well-done, thousands of talented artists are being eaten up alive by this frightening profit monster.

But I wonder whether the Japanese manga is not a show that the death knell has been rang for the Chinese webcomic. When I was a child, I used to watch "Attack No. 1" and "Rose of Versailles". Both were shojo. In fact, "Rose of Versailles" is in the top 20 of most influential manga of all times. "Attack No. 1" was about a young girl who wanted to become the best Volleyball player of the world. And all her hardships. Made in 1969. It was neither soft, neither cute. I don't even think there was a romance story in it. It was quite realistic. At some point, I think the main lead went through depression, even. Then, at age 5, living in refugee camps and being of the wrong religion and ethnicity (or rather, being a mixed child, of parents with different ethnicities and religions) while an ethnic war was raging in my country, I discovered "Rose of Versailles", the story of the French Revolution lived through a young aristocratic woman who was raised as a man and was stuck always questioning her own gender and whether she was to live as a man or a woman. Whether she was to be a royalist soldier, oppressing the hungry people but protecting the royal ideal, or to become a revolutionary. I was watching that on this tiny TV and then, I discovered Maximilien Robespierre, the French Revolutionary. In that anime, he was an important character and some of his discourses were faithfully reproduced. It is a freakin' shojo manga that convinced me that I was worthy when the world was telling me I should die, erase me as an incongruity that proved the lies about ethnic oppression were less viable than what they implied. One would think that a 5-year old doesn't understand. You would be surprised. Maximilien Robespierre still today is a guiding light for me, in a way. Had it not been for "Rose of Versailles", I might never have discovered such a powerful historical figure.

But what are contemporary shojo manga about?! A sort of high school life that has nothing to do with reality, based on bland characters with no actual interests, actual abilities (EVERYONE has an ability that is special to him as an individual) or ideals. And these plotlines are repeated ad nauseam. To the point we are unable to even enjoy anything besides them. I am trying to think of a shojo manga that does not revolve around relationships between men and women in whatever setting they choose and where the male and female characters have actual dreams that transcend couple life.

To me, "The Queen" was the last show of life of a dying concept. I admit that the only reason I translated it was Aluoye Saya. Aluoye Saya was to me a great criticism of political hypocrisy. To the Humans, the fact she fought against imperialism and ethnical cleansing with the tools she had at hand was an aberration. She was the copy paste of an actual extended ancestor family member of mine who is infamous for what the Western world calls a terrorist attack that precipitated one of the greatest wars in history (think back in the 1900s, not in contemporary history). But to us, he is a hero who took it upon himself to do the unforgivable for us to finally liberate ourselves from hundreds of years under various empires (Western empires, thank you - and it is not like we didn't warn the world this would happen if they didn't give us our autonomy). From the Human perspective, Aluoye Saya was a murderer. From the Mirage perspective, Aluoye Saya was a hero and a martyr. TUTU pulled that contradiction off masterfully. In fact, "The Queen" pulled me right back into the comic world after I had been quite absent for a few years. It made me relive those same emotions I had when I was 5 and watching "Rose of Versailles".

So the idea that something so beautiful, something so transcending, something that TUTU definitely meant to be deeper (the way she had to twist her own plot or just simply disregard much she wrote about in Season 1 and contradict it openly and totally proves it - she goes as far as making the characters say things when we know they said the complete opposite in Season 1) would be wrecked hurt. Hurt bad. And I am sure it hurt TUTU millions of times more than it would ever hurt me. One week ago, she wrote a post trying to explain what art meant to artists and how it shouldn't be viewed with disrespect. She called it her lover, her child, hundreds of sleepless nights and deep pain. I don't know whether she wanted to send out a message of help to the world (if that is the case, her readers didn't get it) to make us understand that she was forced to do what she was doing because she was coerced by someone who disrespected her art.
That you for elaborating on all this Mims. Reading your comments is like... reading a fascinating anthropological report of a very distant but exotic tribe. One comes in knowing nothing, and leaves laden with a wagon train of lore, people, places, and weird cultural intrigue.

The issue of the vapid and banal readership seems to just be a marking of a yet immature industry. It is the mark of a rapid influx of newcomers into the subculture when it becomes homogeneous and the bar for quality is lowered as the publishers chase after them. Then as the newcomers grow accustomed to their new environment, they start to explore their distinct tastes and preferences, and slowly become fragmented into niches again. You are much more of an expert on this than I am, but the rapid growth of Chinese middle class who weren't previously on the internet seems like the obvious explanation for the issues you've presented. And with the sheer demographics involved, who knows what the time frame involved will be.

Whichever way this cart veers off, I hope to see more of your rants in some place or other to know how this continues.
I see people reproach my being harsh towards TUTU. I rather consider myself harsh towards the story. But yes, I think TUTU is in a very tough position right now. And that position might get worse and worse. This might be a downward spiral for her.

The question is: is this KuaiKan's abuse? Or did TUTU try to boost her readership by giving the readers the romance they requested massively in Season 1 and thus destroyed her plot and finally decided to just get out of this as quick as possible, the plot be damned? Zhang Jing was very clear. The reason she dropped out was because her last work did not get any reader support and did not place high in rankings. Her publisher was supportive for the most part, they were making paper-prints of it and selling them and were willing to continue financing her, no questions asked. However, she couldn't take pressure of producing color with her art that does not bear color and having fans requesting BL fanservicing over and over again. So she preferred to drop an absolute gem and break her contract. I do not reproach her.

If TUTU made the decision by her own self, then, as we say in my country, you fell alone, you killed yourself alone. If TUTU made the decision under KuaiKan's pressure, then she cannot speak about it out of fear of never again having a contract in her life. You are your publisher's slave, a slave cannot bite the hand that is choking it to death. And her readership will assume she has caved in to reader pressure if she does not tell them clearly what happened. But in my eyes, this is the fault of the readership. Her fans were not vocal. Those who were vocal were the KuaiKan users. KuaiKan, just like virtually every other massive internet platform, is the home of 99% mediocre work and 1% gems (the only 2 gems I found on KuaiKan were Xia Da's work and TUTU's - but Xia Da also posts on BiliBili and her follows are exactly about 100 times the follows TUTU has).

We should not be naïve about this. All the great Chinese artists faded, crushed by the machinery that is industrialized mass production of low-quality webcomics. Low quality in plot and low quality in art. The fact TUTU has gone from more than 300 000 likes per chapter in Season 1 to below 10 000 in Season 2 is the worst thing that could have happened to her in this time and era of the Chinese webcomic. She might never again get a contract (doubful - her art is too eye-catching). Or she is going to get a real slave-contract. She is going to be under complete control from her next publisher. From plot to art, everything is going to be scrutinized and distorted to fit the ever-changing, undefined and honestly, ridiculous tastes of the Chinese readership. The goal of keeping your readership hooked is exactly to get some leverage when you sign your next contract.

We can care about the fact that TUTU is tired and overworked now. But what about her next work? What is going to happen then? What when she will be obliged to draw something that she does not want to draw? What is going to be her next work? The Chinese readership demands BL light romance. TUTU was known for being as light as a rock. Is she going to twist her brand further and become just another faceless webcomic artist who is going to mass-produce according to how the industry swings? I won't judge her if she does. However, she will never be able to make a living out of this, in such a situation. There are millions and millions such artists. She will be going from one work to another without any rest.

There is something else I am very interested in. TUTU worked with one producer for years. It is with that producer that she made "Records of Various Thoughts", her award-winning manhua (3rd place for Best Story at the Golden Dragon Awards - when one thinks Xia Da only ever ranked fourth, that makes you realize just how talented TUTU can be). Before she had finished "Records of Various Thoughts", she was already producing "The Queen". Without the producer she worked with for years. Now "Records of Various Thoughts" is something. Think s*x, torture, blood, heart-wrenching tragedy. Season 1 of "The Queen" won't even make you blink if you've read "Records of Various Thoughts". Her producer let her do as she wished and supported her in the background. Did KuaiKan promise her fame? A greater readership? Did they pay her more? Good producers in China are the rarest things. Ask Xia Da. If her previous producer is willing to take her back after "The Queen", then I really have hope. He took her in when she was a nobody. She is not a nobody now. All the readers, the ones happy with her story and the ones that dropped "The Queen", will be curious to see what she will do next. Heck, I am more than willing to continue being obsessed with her if her next work goes back to her sources. And I hope FOR HER, that it does. She is unique and she needs to bank on that uniqueness.

My fear is that Zhang Jing was unique too. A whizz kid extraordinaire. She produced her first manhua at 17, she had 10 times TUTU's readership. And she became obsolete (then again, she does black and white - and magnificent, all-conquering, soul-stirring black and white). TUTU converted to color early on (from the start she was a colorist, she did black and white for a shorter period than color, I think) and that is where her strength lies. In the end, everyone cares more about the art than the story (besides me - ugly art amazing story over great art horrible story any time).

I will however regret having brought "The Queen" to the readership if this was KuaiKuan abuse. I know people who invested money to get subscriptions just for "The Queen", potentially feeding the machinery of abuse. And yeah, no, I do still regret having translated this and the pain and hard work I had to invest into it for it to turn out like this (so I can just imagine how TUTU herself feels, geez - won't help with what might be occupational exhaustion).
Last edited 8 days ago by Mims.
It is difficult to believe that you are honest in your regrets. No matter how affected by real life drama the ending of The Queen is, it does not erase your enjoyment of the first season, which if I remember you qualified as the best manhua to come out of China. I for one fully enjoyed the first season, and to a lesser extent the season the following chapters translated so far, but based on what I've read in these comment sections I will probably not read on further. I will still remember this work very fondly for what it was, even if I cannot rate it against other Chinese works due to my lack of knowledge on the subject.

And if the Chinese sphere is as draining and troubling to work in as you outlined, then I cannot blame Tutu for wanting to move on from the quagmire she found herself in. In fact, what you wrote actually made me respect her some for not being a drone. So assuming she won't call in quits here and manages to find a better environment for her work I will look forward to her next work with anticipation. (Or rather for someone to translate it.) As for the loss of trust, is the main question here not the abilities of the writer? If she has proven to be a brilliant writer and was forced to sabotage her story due to outside factors, should we not expect the next story not come out better than this one?

All in all, and especially jarring considering all the context is coming directly from you, it felt just a little that you value the integrity of the written work above the state of the author. I assume it was simply something that I misread in between the lines, it is just that I find it difficult to care about the ending to the work when some big drama has obviously been going behind the scenes. I just hope that both Tutu and FaJiTe come out of this on top in the end.
Last edited 8 days ago by Thearpox.
Today, Saturday May 29th, The Queen has finally been completed.

I am happy to announce that in the 26 years I have been watching anime and reading manga (I started young, yes), I have never seen a WORSE thing than The Queen. What makes it so jarring is the fact that the author does not only completely abandon the plot. She actually PURPOSEFULLY goes in to wreck the story. She made SURE that we pick up all the plot inconsistencies. And out of deep rage and hatred she forced those inconsistencies onto us.

TUTU is a genius. No one can question that. What happened for her to develop such a hatred towards The Queen is quite obvious. One month ago, the great, the all-conquering Zhang Jing, also known as FaJiTe, has, after 20 years of career, announced her inability to continue producing her webcomic. She has been crushed by its lack of popularity (I was planning on translating it after finishing Peony Elegy - that is how good it was, a masterpiece if ever I saw one), by the pressure to put it into color (Zhang Jing 's art cannot be put in color, as simple as that), by the demands of the readers to make it a BL. After three years of producing it, she called quits. And removed ALL REFERENCES to it from her Weibo. Not one image she drew remains, not one of her posts. At the age of 37, after having been considered a genius of Chinese manhua, she has called quits.

TUTU does not say what happened. TUTU did not even write an end message as she usually does for her work. She just uploaded. And radio silence. I haven't checked her KuaiKan account, but I know that nothing happened on her Weibo besides blind fans thanking her for the perfection that was The Queen.

There is nothing I regret more than ever having translated this thing. I should have concentrated on Peony Elegy as I wanted.
Instead of studying for my final in 2 days, I am making dumb wannabe-memes with The Queen images … I need a life.

This being said, immigrant children will understand. All the things I did and said and put them all on my culture. And all the thrashings I suffered because of it. It was worth it, though. It really was.

PS.: Just to make sure we all understand that I am NOT promoting thrashing one's children. This was meant for comedy, not to be taken seriously at all.
Last edited 13 days ago by Mims.

Can I ask you, what happened to U17, There used to be many good manhua on that site. Last time I visit, there aren't that many anymore what happen? Anyway yibenmanhua, also good alternative outside bilibili. It's fairly new and it's made by studio behind Nezha. Wolfsmoke studio or Niceboat studio also can release their own webcomic if they want (both two animation studio are really good)

Anyway, if TUTU want her work get recognized, she should do promotion and active on social media. Her fans should promote her work so the tragedy don't happen again. TUTU fans should take note from villain initialization fans, basically promoting author work aggresively and express more why they like her work.

Well, I just give you example that promotion is important. I don't read that series and don't think that series is interesting. For example, this series is beautiful but unpopular due to no promotion, This series is really interesting but unpopular due to no promotion too, So far, bilibili only promote brainless witch,

Also, villain initialization beat demon slayer on bilibili ranking (demon slayer rank 3, villain initialization rank 2), so there is some hope. Many bilibili usser also aggresively promote villain and because of that, the quality of the author artwork getting better. This is the comic btw,
Last edited 17 days ago by Supasoldia.

Oh, yeah! You are 1000% right when you say that Bilibili will offer a better ecosystem for webcomics to thrive. As you've argued, rightly so, Bilibili started as a platform for gamers and animation aficionados. Its main branding revolves around the fact that it is a welcoming environment for everything the slightly bit geeky in China.

What I think happened is that The Queen is a KuaiKan homebrand, in a way. So for what I remember, TUTU started making The Queen back in Spring of 2018. And somewhere, I believe around beginning of 2019, all the artists I was following just migrated massively to Bilibili (concurrently, that is also when TUTU's work started slowly to go down - so I wonder whether KuaiKan didn't feel threatened; KuaiKan competing with Bilibili is wishful thinking for all the reasons you have stated yourself: the freakin' ecosystem). Now TUTU didn't, which is interesting, since she is somewhat of a gamer herself. She does a lot of fanart for video games and is vocal about the games she likes. The one thing however that might cool off Chinese artists with Bilibili is how aggressively Bilibili is buying foreign licences to popular Japanese and Korean webcomics and manga. I saw KuaiKan picking up pace with that too in the last two months or so. So, if Bilibili drowns the Chinese artists in Japanese and Korean products, which are unfortunately more popular, however you look at it, the Chinese artists might migrate yet again. (it is crazy just how many webcomic hosting sites there are in freakin' China)

I remember she used to make videos of how she works, tutorials of sorts to show her coloring skills (which is funny since coloring is not TUTU's forte, that and backgrounds) but she is also a bit of a discreet person. She goes to conventions and all, but her social media accounts are pretty empty besides for the rare social commentaries she posts (she has opinions, our girl TUTs). Anyways, let us bet that as soon as The Queen is over (I am giving it another 3 chapters MAX, unless KuaiKan decides to torture her, and us, for another 10 chapters out of monetary considerations), we will see TUTU's next work on Bilibili. Her previous hosting site. DaJiaoChongManhua locked all the chapters to her ridiculously popular previous manhua (she is still living off of the paper publishing proceeds of it and she loves that work so much - she never even posts about The Queen on her social media, really) and put them under paywall. So TUTU went ahead and told her readers to read them off of illegal aggregator sites. In other words, DaJiaoChongManhua is making money off of her work without giving her a penny and there is nothing she can do.

A last word about danmei, like that 不小心救了江湖公敌 in the link you posted above. Danmei is the new fad. Once again, like everything popular in China, it became the thing overnight a few months ago. Danmei/BL was sparse-ish in Chinese novels and webcomics, and all of a sudden it has overturned the Chinese webcomic and light novel world. I noticed that however bad a danmei webcomic may be, it will still garner more support than its non-danmei equivalent. It most probably has to do with the fact that the best art I have seen for now can almost exclusively be found in danmei, or rather that the proportion of good to bad art is higher in danmei than non-danmei. But even bad art, bad plot danmei work will get more support than amazing art, amazing plot non-danmei work (the example being that dumb danmei that stole Aluoye Saya - of all the characters to steal, you need to pick the most typically TUTUesque one and the one with the most distinctive looks and style).

Well, maybe TUTU can do video promotion, etc to promote her work . For example, villain inilization got popular on bilibili because guoman (domestic animation and comic) influencer recommended the series on her weibo, later the series got insanely popular (rank 2 everyweek). There is also new series that got popular because the author make video promotion on her weibo This is the series btw (

Speaking of platform, maybe bilibili can because L.DART has suffer more than xia da in copyright issue. His first and second series got copyright problem with magazine (i forgot the name). His third series got copyright problem with tencent. Later, he almost give up and when bilibili start manhua service, he sign for it and he says he is fine right know (basically he say he can do whathever to do to direct his story as long as he is not making trouble, L.DART also pretty influental guy on bilibili so if they mess him, they will have trouble)
Well, the advantage of bilibili is environment. The environment in bilibili is relatively friendly so new artist can make comic there. Let's take a look on another entertainment industry, animation. Animation that release on bilibili is more unique and the artstyle more varied because small animation studio can uploaded their work there. Scissor seven, spirit wind elegance, chivalrous hero shen jianxin the upcoming fog hill of five elements came from small studio with only handful of people and popular there. Series that backed by bilibili isn't that good (i'm still optimistic though, the studio that make cooperation with bilibili don't have good trackrecord, so they picked the wrong studio, the upcoming animation shadow diver is backed by bilibili and made by different studio and looks very good ). And Cliche series on bilibili also different from another chinese website. While in another chinese website the cliche is president ceo and cultivation, the cliche series on bilibili is slice of life and isekai (basically resemble japanese cliche rather than chinese cliche). Anyway, bilibili comic is fairly new so in order to find good manhua there it's a little bit tricky (based on my observation ( There is bilibili logo at the beginning of each chapter). I can give you recommendation if you like it. And yeah, bilibili already start finance comic (bilibili exclusive). Villain initialization start with unknown author but the story is interesting (it's shounen though you may not like it), Brainless witch also start with unknown author but it's great. Both series are bilibili exclusive. Like I said, ranking on bilibili is unreliable, and bilibili is not confident to promote their own series
Last edited 17 days ago by Supasoldia.

TUTU is an interesting case. And so is Bilibili. For one, I see a lot of webcomics I used to follow on other platforms. One case is that one particular webcomic that I worship and want to eventually translate. Since it is a webcomic I worship, you can imagine that it does not exactly fit mainstream aesthetics (I mean, The Queen had been aggressively promoted for a whole year by KuaiKan before I picked it up for English translation, after two other scanlation groups dropped it in the early chapters). This webcomic I speak of ranks very high in Bilibili whereas it ranks in the 700s on the other hosting website for its category. My take is that for now, Bilibili, still being a younger player (I mean, it was launched 2010 and it just lately started hosting webcomics and manhua), is better for webcomics that are less mainstream in plotline and art.

Now, about TUTU. Xia Da is a 40-year old artist who has 20 years of craft behind her and her own studio. She has started working in the 2000s when the manhua environment in China was much more welcoming than it was today. Beside a handful of manhua that were made popular back in the 90s (more for the exoticism of Chinese manga-inspired comics than for their quality), the concept of Chinese comics was still new from an international point of view. Xia Da also, in the beginnings of her career, got some support and promotion from Japanese big names in the manga industry. And everything went perfectly fine with her career, while the ecosystem was changing quick on the outside. It became more and more capitalized. Future investors saw a great opportunity to make a profit. The publishing companies or studios or whatever became hungrier and hungrier. And that led to the 2016 "Summer Island Studio" gate. At that time, Xia Da had about 13 years of experience as an artist behind her, her legendary work ethic and some industry support.

TUTU for her part produced her first work in 2012. She made her debut in an already poisoned environment. But what made TUTU so frighteningly compelling was that she fed off of that poison and made work that simply flipped all stereotypes upside down. Who said romance needed to have a happy ending? Who said that men and women of power loved genuinely?! Her work was like grabbing onto humanity, opening its guts and spilling all of the filth, the urine and excrements out. Which also implies that she was more niche. She needed to secure her cult following because the odds that it would grow were very low. But we forget that she is also a human being. She needs to eat. TUTU works a lot, in fact she is overworked, but she also needs someone to finance her work. That was KuaiKan, an obscene money-making machine (not that Bilibili is any better, don't get me wrong, just that I have yet to find a webcomic financed by Bilibili), that has been controlling and wrecking her plot horribly. They did not understand that TUTU took her following from U17 moved it to DaJiaoChongManhua to KuaiKuan along her works and that people who read TUTU won't read anything else on KuaiKan. So what happened now is that KuaiKan invested in something that did bring them the viewings they wanted, they wanted to increase those based on the vocal comments from your average KuaiKan reader who is NOT part of TUTU's cult following, they pressured TUTU which made TUTU lose 75% of her readership. And it is the readership's fault. They had to be more vocal. They had to defend TUTU, which they did not.

KuaiKan and The Queen Season 2 potentially ruined TUTU's career. I might be dramatic, but I really want to see what TUTU is going to do next. She has two choices, go back to her origins, hoping that her lost readers will give her next work a tentative look and understand what happened with The Queen. Or do mainstream, which would be an even greater gamble, taking into account that mainstream is oversaturated.

So the main question. Would TUTU fare well on Bilibili? A lot of unknown artists with pretty mainstream works fair well on Bilibili. A lot of well known artists with pretty original works fair well on Bilibili. Those, however, imported their own following. TUTU needs to concentrate on reconquering her readership before even thinking of reaching the level of popularity she had with The Queen Season 1, let alone that of her previous work. Understand that 180 million people read the work she made before The Queen. That is why KuaiKan snapped her up in the first place.
Well, the advantage of bilibili is environment. The environment in bilibili is relatively friendly so new artist can make comic there. Let's take a look on another entertainment industry, animation. Animation that release on bilibili is more unique and the artstyle more varied because small animation studio can uploaded their work there. Scissor seven, spirit wind elegance, chivalrous hero shen jianxin the upcoming fog hill of five elements came from small studio with only handful of people and popular there. Series that backed by bilibili isn't that good (i'm still optimistic though, the studio that make cooperation with bilibili don't have good trackrecord, so they picked the wrong studio, the upcoming animation shadow diver is backed by bilibili and made by different studio and looks very good ). And Cliche series on bilibili also different from another chinese website. While in another chinese website the cliche is president ceo and cultivation, the cliche series on bilibili is slice of life and isekai (basically resemble japanese cliche rather than chinese cliche). Anyway, bilibili comic is fairly new so in order to find good manhua there it's a little bit tricky (based on my observation ( There is bilibili logo at the beginning of each chapter). I can give you recommendation if you like it.
Last edited 17 days ago by Supasoldia.
@Scintilla29 I recommended bilibili comic, audience there know good comic, just don't trust bilibili ranking, It's unreliable, I think if the author uploaded it on bilibili comic and bilibili promote it it can be famous on bilibili. Bilibili audience know good comic. The problem with bilibili comic is lack of promotion of their comic because it's fairly new. Heck, Bilibili audience wonder why people like cliche story and confused by it. Legendary author L.Dart starts his new series on bilibili and it's really good and pretty famous. The most amazing thing that comic is free even though is so good. Journey of Dali Temple also good comic but it's not famous on kuaikuan but famous on bilibili. But yeah, The queen is josei series so i don't know if it can become famous because most bilibili series are shounen. There is also reason why ( fog hill of five element) (animation with very unique artstyle) will be only available on bilibili because in another platform it cannot survive (heck on weibo many people criticize the animation because they think it's like naruto even though it's really different from naruto, the artstyle is ink style different from anime style while on bilibili it's highly praised. Journey of Dali Temple animation also really good and only availble on bilibili because i don't think the series will be famous on another platform. Basically, artist will be discouraged by it. I recommended bilibili because its community relative friendly compare to any major cn website so artist get encouragement from it.
Last edited 18 days ago by Supasoldia.
@Mims Thanks for replying and explaining. You're so right. It indeed would've lowered her morale to get so low response for such an art piece. This story looks like every chapter has been created with sheer concentration and hardwork. I truly wish she would atleast get what she deserved. I was just going through Kuaikan website and found out that the Queen is really about to end. I also think that the Chinese have plagiarised the true beauty webtoon. I'm not sure though, I don't know Chinese at all but the cover of the manhua looked like so. I also saw that "Silent lover" you told us about has got a very high rank these days. It really boiled my blood to see that people don't even appreciate the real maestro. No offense but sometimes I feel that people really don't have the sense of real understanding real gems and they always want to read same old cliche storyline with some president and weak girls (it's not like all are cliché, Ive read many unique and good manhuas too but cliché plots are more famous everywhere). Boom manga also used to translate one of the best manhuas along with the queen but they have suddenly stopped updating, seems like lack of response their reason to give up too. Anyway thanks again for providing us the translations. And I'll wait as long as it takes to read this story.

PS – I don't know about Chinese but your translations were excellent too. I really loved it and I like new translator's work too :)
Last edited 19 days ago by Scintilla29.

For one, Solace Translations are still updating it, though it takes some time, and are as always doing an impressive job (day and night compared to my solo work in S1 and beginning of S2). They do have one of the best Chinese translators out there helping them out. I personally do not know Sushi, the translator of S2C30 and S2C31. However, for what I have been told by die-hard "The Queen" fans who have almost torn my head off when I decided to give up on translating back in January, Sushi's translations are far and beyond superior to mine. Her Chinese is perfect and her writing style is very pleasing.

TUTU would indeed be flattered to know just how attached you are to her work. But you know, that is where the problems started. The 75% of readers who loved her work in Season 1 were not vocal. Only the 25% of readers who expected something much lighter commented. And that led to commercial pressure being applied on TUTU, her completely changing the tone of her work under what we believe to be Kuaikan's lead and losing her readership. It is our fault that we were too silent. That's tough on any artist's moral. It is even tougher when your publisher is not supporting you. Happened to the best of manhua artists. I am thinking of Xia Da who just middle-fingered the industry (after she had been driven to being hospitalized and then had the rights to her works virtually stolen from her) and started her own publishing company. But TUTU doesn't have Xia Da's standing.

I've seen pictures of TUTU. She looks gaunt and tired. She has been taking more and more off weeks, not being able to keep up with her updating schedule (which never happened in Season 1), obviously having lost her spark. Plus she has this plagiarism case that really shook her. I've actually read her last few chapters which are under paywall. I think we are about to have the ending to the story in the upcoming few weeks. And her last few chapters have given me a sort of closure. I prefer to know that she truly gave up on her own plot and is rushing to get out of this nightmare than to think that she never was the outstanding artist I believed her to be.

But at the moment, I am auto-healing from "The Queen" working on some solo-scanlation of a Korean webcomic from its Chinese translation and feel that "The Queen" is in very good hands with Sushi (at least, Solace and Sushi know what they are doing, unlike me).
@Mims I've been reading manhuas, manhwas webcomics and webtoons from almost every possible platform but trust I've never loved anything as much as I love the Queen. This is seriously the best, the masterpiece. I can't even express how thankful I'm that you translated it. I can clearly see how devoted you have been as you have provided every single minute details possible. And I know how disappointed you would be feeling right now but please please please no matter how bad the plot goes at last please at keep on translating it for our sake. I've been so devastated when I didn't find any update for the last three months. I've reading and searching any story that can be as good as this one but I didn't got any. I even planned to learn Chinese once so that one day I can read it's raw. But learning Chinese is really hard. So please I request you to keep translating it even if you take months to do so. Just please don't stop posting it as long as Tutu keeps on with this story. I joined mangadex just for this and I'll be thankful to you forever if you will accept my request