
Lately I have watched a lot of AI-made content online. Some of it is garbage, but some is good enough that I forward it to friends on WhatsApp so they will watch it too.
More and more people accept content made with AI, which is also a fact.
But think one step further, AI content can go in several directions. If the only aim is money, YouTube has a ready formula: chase the news, or stir up the audience’s emotions (joy, anger, sorrow, or delight).
The trouble is that current news subjects are gone in a flash, and their long-term value is very low. Five or ten years from now, if someone wants to look back on the full story of an event, they will most likely only read a summary and will not watch the whole video again.
So I asked myself: if I want certain concepts, certain ideas to last and reach people in the future, what method is there? The most obvious answer at first was to write a book, because writing lasts longest. But writing reaches relatively few readers, especially in today’s world. The same concept has to be transmitted through different channels: music, entertainment, games, stories.
That is precisely why I am struggling with the writing of Hong Kong Chronicles (香港紀事本末).
I have always wanted to convey through Hong Kong Chronicles: “Circumstances make the hero; the hero does not make the circumstances.” So we need to understand the situation, and how the environment shapes people’s decisions. However, stating this kind of concept directly from the book is just preaching; I admit that I preach too. Preaching reaches very few people and is very inefficient. So I thought: why not make a music video?
Characters & Story
To conceive a story, the first step is finding the lead; a story must have characters. A good story needs a protagonist, and it also needs an antagonist for the protagonist.
For the protagonist, I thought first of Sir Henry Pottinger (砵甸乍), because Hong Kong’s history is always told starting from its opening as a port. Who contrasts most with the first governor Pottinger? I thought of Sir Murray MacLehose (麥理浩). Pottinger took Hong Kong over from the Qing; MacLehose went up to Beijing himself and said to Deng Xiaoping (鄧小平) at the time, “Why don’t we talk about Hong Kong’s future?” The story’s greatest conflict lies here, and the stage in between is Hong Kong.
If it were purely a conflict between protagonist and opponent, it would fall into the pattern of AI content flooding the internet: the domineering-CEO style with a crowd of villains, where only the protagonist is upright and ultimately defeats the enemies. I don’t like this model; it’s too easy to replicate, and anyone can think of it.
I wanted a deeper character construction; for example, why did MacLehose go to Beijing? What was really going on in Hong Kong, China, Britain, and even the whole world at that time? How did these environmental factors affect decision-makers? And how did they affect how both sides understood each other’s messages?
Pottinger: A Den of Thieves and Three Rules
Back to Pottinger. I didn’t want to follow the textbook framing that Hong Kong was just a barren island when it opened as a port, with nothing on it. As early as the sixteenth century, the Portuguese in Macau already said the Lantau area was full of pirates (boat people), even describing it as a pirates’ lair, a den of thieves (賊竇). Britain choosing Hong Kong as a trading transshipment station was no accident. There is reason to believe that merchants shipping opium from India to China and merchants coming to China to buy tea already knew this place was a smuggling hub. Pottinger joined the East India Company’s army in his early years, so sending him to deal with Hong Kong was only natural.
Although Pottinger was a soldier of the British East India Company, what I think is most worth posterity knowing about him, and what I also put into the song, is his three rules with Hong Kong.
There were indeed only three rules:
First, no customs duties on any goods imported or exported. Why? Because this place was originally where the British unloaded goods and traded with the boat people. If you levy customs duties, people will smuggle; if people smuggle, business leaves, and it brings public security issues, because the boat people and pirates were actually the same group.
Second, a free port: anyone could do business here, even if that merchant (then called a foreign firm) was backed by capital from a nation hostile to the British Empire. As long as you were not the government, you could engage in trade in Hong Kong, which is the definition of a free port. The underlying logic was: if some people can do business here and others cannot, once this place becomes a prized target, someone will want to seize it and demand a transfer of sovereignty. London would not deploy capital here and did not want to station a large army; the best way was to let anyone come and do business, so no one would need to conquer this city.
Third, respect the customs and culture that the Chinese have always followed. Your existing ancestral halls and clan rules, I will not interfere with; Chinese affairs are managed by the Chinese themselves. The colonial government only looked at trade relationships and contract fulfillment. The line “I’m not your judge, I’m not your king” in the lyrics carries exactly this meaning: I came here only to do business, to open a port. So I defined him as the Founder (開埠者). In a way, Hong Kong was like a start up.
There was another principle running through Hong Kong’s first hundred-plus years: so-called non-intervention meant the sovereign country must not spend money on anything. In London’s eyes, the primary condition for governing Hong Kong was never to ask London to transfer money over; if the Hong Kong government had no money, London would not be responsible. This point is extremely important; Hong Kong has always been a small government and had fiscal discipline for this reason. Because of this, for many governors before MacLehose, unless there were streets, buildings, institutions, or charities named after them, most people could not name what they had done.
MacLehose: From Space to Direction
What use is having space alone? So when MacLehose enters, the first section wants to ask: “You carved out a space, but who built those ‘roads’?”
My former office was near Pottinger Street. Pottinger Street is very short, between Central and Sheung Wan, just a few short flights of stone steps. So I visualized it: what is MacLehose’s most famous road in Hong Kong? The MacLehose Trail, a hundred kilometers long. In the song, MacLehose mocks Pottinger: you only have a short street and no one remembers your name; my hundred-kilometer trail is still walked by Hong Kong people on holidays to this day. In addition, many people remember MacLehose’s Ten-Year Housing Programme, so the story’s character identities are Founder vs. Architect (開埠者 vs. 築城者).
The Hong Kong that many people reminisce about should be the Hong Kong after MacLehose: public housing, schools, the ICAC, country trails. The most thorough change MacLehose brought was turning non-intervention into what Sir Philip Haddon-Cave called “positive non-intervention.”
Why did the Hong Kong British government suddenly start major construction and become so willing to spend money? This was related to the economic environment at the time, but not to say Keynesian counter-cyclical measures were needed; as everyone remembers, it was stagflation back then. What was very special about Hong Kong was: “the Hong Kong government had a surplus almost every year.” From post-war to the 1970s, surpluses accumulated for years, and someone was bound to eye this sum of money.
Why MacLehose Visited Beijing in 1979
There are many urban legends circulating, and I don’t want to perpetuate them. For instance, saying banks and developers said by 1977 that it couldn’t work: under the legal framework for 1997, could a thirty-year mortgage still be done when only twenty years were left?
What I want to…
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