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#and the way his entire narrative was shown to be hinged on

leqclerc · 23 days

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that is precisely why vasseur is just another binotto to me. i have yet to see the guy actually let charles fight for what he wants. and to think it will be even more difficult next year with them wanting to give lewis another title... sighs.

Imo it's still better than it was under Binotto, especially in that post-Monaco and particularly post-Silverstone stretch in 2022 where they were forced to do the whole performative "we met for lunch in Monaco so it's all good now" PR thing to paint over the increasingly apparent cracks. Binotto blatantly favoured Carlos, both on and off the track, even going as far as publicly throwing Charles under the bus by shifting the blame for a poorly executed strategy to the car having no pace when Charles explicitly called out the whack tyre strat, for example in Hungary. I don't think we've had a situation like that happen with Fred, that I can recall.

Charles has generally said positive things about Fred and reiterated that he has trust in him, that he's seen positive developments under his leadership. The SF24 is definitely an improvement over last year's car. There have been several employee changes, which people generally see as a good thing. So, all in all I think it is an improvement but it could be better, especially with stuff like team orders.

Here's how Fred addressed the situation post-race:

Stuff like that is frustrating when you remember how many times Charles has been used as a roadblock or made to create an artificial gap (their entire Singapore strategy hinged on Charles's cooperation.) Sure, this wasn't for the win, and Charles himself said qualy is bigger issue, but it's the principle of the thing. Charles drove an incredible race with that insane one stop strategy and was ahead on position (if that's what they want to use as the determining factor.) Even if he shoulders the blame for his qualy results on the weekends where he's outqualified by Carlos and accepts that CS will be the one given the preferential strategy/treatment based on that, there's been plenty of instances where Charles qualified higher but then Carlos made up the difference in the race and was hailed as a genius.

Idk it feels like part of it might be them not exactly trusting Carlos will cooperate? He's shown many times before that he's primarily in it for himself and even when he was explicitly told to do something he didn't if he felt it wasn't beneficial for him—and that was when he still had a contract with Ferrari, now that he knows he's on the way out and has the sympathy narrative on his side he has nothing to lose. But it shouldn't be solely on Charles to be the cooperative one, to put the team result first. I know he wants to feel that he's earned the podium (which, like, he has in this race) and he won't be satisfied until he's in front in qualy and the race, but yeah, frustrating to see the pattern continue into this year.

To counter the negativity somewhat, I will say I know it's still early days, there's still plenty of races to go, and if they manage to solve the qualy tyre warm-up issue (which Charles already vowed to work on on his side, and we know he always comes through) and the upgrade packages that are in the pipeline (hopefully) help close the gap to Red Bull in race pace, then we could still be in for an interesting and potentially competitive back half of the season. I just hope that situations like this don't come back to bite them when Charles is potentially in a position to fight for P2 with Checo, or maybe even P1 if Max encounters more issues down the line, but it's those points that make the difference in the end.

#replies #anonymous #discussions and predictions #long post

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hauscrashburn · 2 years

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ok, see, but I love what they are doing in the new interview with the vampire. They've taken the concept of the Other and made it more explicit in Louis's Blackness and queerness; they've shown where it does not work, how it is a cudgel over his head. They've taken his self-loathing and rooted it in the ways in which the world told him he was less than human, and because of that, because of his grief, because of the ways in which he was denied his grief over Paul being valid (you did it; what did you say to him, Louis), the ways in which his anger is stymied, that the power of vampirism makes sense. and presented in a loving package, in the adoration, of one person. And Lestat validates Louis's anger (not that he needs it, but in this moment, in his crisis, he needs to be told he is not alone, that it all has meaning, that is all correct, that his life, and Paul's life, have meaning outside of whatever tiny box they've been squished into--that coffin comment was more than just a joke on Lestat's sleeping place).

it is a gorgeous, dark place, full of anger and vengeance. Lestat continues to get his on God via the priests and he offers Louis a path of his own. And he offers Louis himself. The adoration. The headiness of his gaze. A proximity to power (that Whiteness offers; Louis had his own form in Storyville). An affirmation.

And here I wonder if this is what Louis needs from Daniel. A recognition that the decisions weren't all wrong, that he was in the right, that his vengeance was just, that his love wasn't misplaced.

"Where did all of his love go"

also, I really love how they are playing with his unreliability. What is his truth and what is truth and do they meet somewhere in the middle? And I love how Daniel calls out the inconsistencies with the prior narrative but we also know Daniel is fallible. He told us himself.

It really is a brilliant show. It may be filling a hole in my heart that Hannibal left. And the podcast has a lot of interesting context, both in how they provide backstory, but the metatextual people they bring on, such as the Black horror expert and the queer horror expert. It's an intentionalty of it for me.

(also this entire show hinges on Jacob Andersen and he is killing it. just absolutely carrying every damn moment with perfection)

#ramblings #early morning thoughts #interview with the vampire #iwtw amc

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smalldez · 2 years

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the one thing i'll get off my chest about the wilds because i thought it (generally.) did a good job of being both morally complicated show and also batshit wild enough to give its more questionable sociological takes the benefit of the doubt and idiotic "experimental" conditions but. like who decided to make ivan like that. overall i felt the boys of color were underserved in terms of complicating their narratives while still providing a sympathetic lens, but ivan truly was the worst of it.

it was weird to hinge so much of his personality and backstory on defensive and outsized reactions wrt his black and queer identity without ever justifying it. sure the acknowledgement that black queer people suffer enormous tragedies might be enough of a known reality to explain his actions, but relying on that outside information is a lazy writing choice. the difficulties (both external and internalized) of the queer experience is given real nuance in this show, but the black experience and especially the black queer experience is deeply... vague. the reids' were only really connected to their black identity through interpretive subtext that could have been unintentional, and the only real development is arguably through ivan and scotty's two interactions, which i also felt rang hallow to thinking about issues of masculinity and homophobia within the black community.

ivan's experience is most directly connected to his economic privilege, and any of his radical takes were based off a type of performative activism and a type of "cancel culture" that is so much more reflective of a specific brand of white liberalism that to make it the central characteristic of this black queer boy is so......... the word isn't even out of touch, it's just racist and belittling to black experiences.

like. WHY have him demean kirin like that. why make him so consistently annoying and unsympathetic. why have his attempts at mediation or helping be shown so clearly as missteps. why have his boyfriend, clearly meant to be the "good" and more fully realized black queer boy, only exist to show how shallow ivan is and to ultimately provide an opportunity to show kirin in all his nuance and complications in an entirely sympathetic moment. luc's entire purpose felt like a way to rebuke ivan, and he's given no characterization beyond that.

sorry this became more of a mindless rant and i'll try to post something more concise and to the point later but it's like. this isn't about me "not liking" ivan, though i'll admit i'm more sensitive and critical of how black and queer stories are handles, but his character character was so fully trashed from the beginning that it's just..... it's so disheartening and insulting, and i felt that its different narrative parallels to the boys' conflict ended up undermining their storyline.

#also different ways i was disappointed by scotty but not as much... ik its a majority white writer's room but come on #erghhh had so many dif thoughts about this season most of them positive or at least silly and goofy #but this one had me like. there's not even any interesting moral quandaries you can get into here it's just bad writing #the wilds #ivan taylor #hopefully they'll do him better next season bc i can so easily get behind his annoying lil punk ass if he just had a bit more DEPTH #the wilds spoilers

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fakeikemen · 4 years

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The Roku/Sozin ancestry plot twist for Zuko

Like I’m sure this has been said before but the twist about Zuko being a descendant of both Roku and Sozin is actually a disservice to his character and his narrative as well? The way the narrative frames this reveal along with Iroh's dialogue, it backtracks on a lot of the story we are shown in Book 1&2 (and sometimes it even clashes with some dialogues in Book 3).

Iroh: “Because understanding the struggle between your two great-grandfathers can help you better understand the battle within yourself. Evil and good are always at war inside you, Zuko. It is your nature, your legacy. But, there is a bright side. What happened generations ago can be resolved now, by you. Because of your legacy, you alone can cleanse the sins of our family and the Fire Nation. Born in you, along with all the strife, is the power to restore balance to the world.”

1. This implies that there are equal amounts of good and evil in Zuko and his internal struggle is about choosing one of them.

The core qualities of Zuko as a character are empathy, compassion and kindness. A person who always gets upset when he sees or even thinks about other people in pain, a person who spoke out against powerful people to save lives that were being sacrificed needlessly, a person who shows mercy to people who don’t deserve it, a person who is willing to reach out a hand to save the life of the man who tried to kill him, a person who avoids fights when possible, a person who is willing to fight on behalf of a family he has known for only one night, a person who reaches out to sympathise after being yelled at— a person like this is definitely not struggling with equal parts of good and evil within them.

Zuko does have two selves, but they can be categorised as pre-scar and post-scar.

His pre-scar version is the version who was unabashedly kind and compassionate, who spoke his mind without thinking of consequences. But his post-scar version was a cover up of the pre-scar version. It was a lie that Zuko lived everyday. He convinced himself that this was how he had to be; because this was what Ozai wanted him to be and that there was no other way.

And yet, when the situation is dire and he is depending on his instincts or when he is given a free choice, we see the pre-scar Zuko spring into action. Because that’s who he really is. It’s not a struggle between good and evil within him, it is his supressed self making an appearance when he slips up and fails to maintain his facade.

Perhaps the line that describes his internal struggle the best is this:

Zuko, imitating Iroh: Zuko, you have to look within yourself to save yourself from your other self. Only then will your true self, reveal itself.

And while this dialogue was played for laughs, it is the most accurate description of how Zuko had to reach for his suppressed self, his real self, to save himself from becoming what Ozai wanted him to be.

2. It also implies that Ozai and Ursa had equal influence on Zuko's upbringing and that he struggled to chose between what was taught to him by Ursa (good) and Ozai (evil).

The idea that Zuko has equal amounts of good and evil inside himself goes hand in hand with idea that the good and evil traits in him have been passed onto him by Ursa and Ozai's upbringings respectively which are legacies of Roku and Sozin.

I don’t need to look any further than “Zuko Alone” to know that Ozai's impact on Zuko's upbringing was slim to none. The flashbacks that we see, are dominated by Ursa's presence. Ozai hardly gets any time onscreen. And when he does, he is shown as a silhouette and when he isn’t a silhouette, we only see him smile at Azula's display of skills and frown at Zuko's attempt.

Ozai was Zuko's father alright, but never in the ways that mattered. We know that Ozai abused Zuko. He constantly belittled him and compared him to Azula. Partially because Zuko lacked the natural talent that Azula had and partially because he lacked the ruthlessness and cruelty that Azula displayed even at her age.

Which made Zuko copy Azula's behaviour to get his father’s acceptance. But whenever Ursa noticed this, she immediately corrected Zuko and clearly told him that it was wrong.

Ozai is never shown to tell Zuko that whatever Ursa told him was wrong. Ozai personally never taught him anything (except that one time). He appreciated Azula's behaviour and encouraged her to keep it up but he just kept on expressing his disappointment in Zuko.

Ursa: Remember this, Zuko. No matter how things may seem to change, never forget who you are.

Zuko's innate kindness and compassion were protected by Ursa in the formative years when he was at his most pliable. And this is why no matter what happens, he never loses these qualities and is able to retain his real self even after he tried hard to suppress it.

3. It diminishes the extent of psychological damage and trauma caused by the scarring incident.

The one time Ozai did take it upon himself to teach something to Zuko:

Ozai: You will learn respect, and suffering will be your teacher.

(Notice that here too Ozai's form is silhouetted against the light behind him.)

The scar is so much more than just a scar to Zuko. It is the one lesson that Ozai taught him. The scar exists because of Zuko's innate compassion. It was put on his face in an attempt to burn out his compassion. It was put there to be a constant reminder of what would happen if he dared to do something that went against what Ozai wanted from him. The scar was Ozai’s brand on his face. It took away Zuko's autonomy to make decisions for himself. It was a constant reminder that Zuko’s opinions didn’t matter.

Post-scar Zuko is Zuko's attempt at supressing his real persona to become the person Ozai wanted him to be, because he learned the hard way that he didn’t have the choice to be anyone else.

In fact, the first time Zuko makes a deliberate choice to go against what was expected of him, (letting Appa go) he succumbed to a fever. His emotional turmoil of coming to terms with the fact that he didn’t need to listen to Ozai and abide by him; a notion that he had been force feeding himself, everyday, for the last three years, manifested itself physically in the form of a fever. That was how deep the psychological damage caused by the scar was. (I hate it when people call it an angst coma.)

Saying that Zuko was struggling with equal amounts of good and evil within him, oversimplifies the complex emotional trajectory he had about coming to terms with the abuse he went through and reclaiming his autonomy and his personal opinions and beliefs, into just a choice between two aspects of his personality.

Zuko: I wanted to speak out against this horrifying plan, but I'm ashamed to say I didn't. My whole life, I struggled to gain my father's love and acceptance, but once I had it, I realized I'd lost myself getting there. I'd forgotten who I was.

4. This implies that Zuko's destiny was pre-determined.

Iroh said in the dialogue that Zuko was born with the power to restore balance in the world and that only he could do it.

Zuko, the character who has always had to struggle to gain what he wanted is suddenly told of an advantage that he had just by the virtue of birth? Kinda defeats the purpose of: "Azula was born lucky; I was lucky to be born", if you ask me.

And even more importantly, he let go of the destiny that Ozai forced on him, only to take on another predetermined destiny; a destiny that was his to fulfil by the virtue of birth, and took steps to fulfil this other destiny, instead of making a destiny of his own and paving his own path to it by making the choices that he had been denied for so long because of Ozai. Which seems weird because all the other times Iroh talks to Zuko about this topic, he always emphasises on how it’s Zuko's choice to make his own destiny:

Lake Laogai:

Zuko: I want my destiny.

Iroh: What that means is up to you.

Lake Laogai:

Zuko: I know my own destiny, Uncle!

Iroh: Is it your own destiny, or is it a destiny someone else has tried to force on you?

Zuko: Stop it, Uncle! I have to do this!

Iroh: I'm begging you, Prince Zuko! It's time for you to look inward and begin asking yourself the big questions. Who are you, and what do you want?

Crossroads of Destiny:

Iroh: Zuko, I am begging you. Look into your heart and see what it is that you truly want.

Western Air Temple:

Iroh: You know Prince Zuko, destiny is a funny thing. You never know how things are going to work out. But if you keep an open mind, and an open heart, I promise you will find your own destiny someday.

5. It indirectly implies that the good™ in Ursa and Zuko exists because they are a part of the Avatar's legacy.

Making Ursa a daughter of a nobleman (as intended originally)* would’ve served a much better purpose for the message that the episode was trying to get across: “the Fire Nation isn’t inherently evil”.

Katara: You mean, after all Roku and Sozin went through together, even after Roku showed him mercy, Sozin betrayed him like that?

Toph: It's like these people are born bad.

Aang: Roku was just as much Fire Nation as Sozin was, right? If anything, their story proves anyone's capable of great good and great evil. Everyone, even the Fire Lord and the Fire Nation have to be treated like they're worth giving a chance.

Had Ursa not been Roku’s descendant, then there would've been people other than just Roku and his descendants, who were Fire Nation and good™. (Iroh is literally the only exception.)

Moreover, Azula is just as much a part of “Roku’s legacy” as Zuko is, and yet is completely overlooked when it comes to it. She isn’t shown to be struggling with equal amounts of good and evil. She isn’t gifted at birth with the capacity to bring balance back to the world. It appears as if she had inherited only “Sozin's legacy”.

So, not only does this Roku/Sozin twist go against Zuko's fundamental characterisation, but it also partially deconstructs the narrative that had been carefully set up for him over the course of 2 seasons.

*(I have been looking relentlessly for the post where I saw two screen caps of the two different characterisations of Ursa: 1. Ursa as we see her in "Zuko Alone"; 2. Ursa as Roku's descendant. And I can't find it now otherwise I would've linked it.)

#i saw a vid on atla's official yt abt zuko #and the way his entire narrative was shown to be hinged on #being roku and sozin's descendant #it pissed me off; so here's the rant #zuko #zuko meta #prince zuko #atla zuko #atla #atla meta #ozai #lady ursa #azula #roku #sozin #avatar #avatar the last airbender #ira's posts

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pumpkinpaix · 4 years

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Hi! Loving your meta on suibian :)) Just wondering what were your frustrations with cql, especially considered you've watched this in multiple mediums? (I've only watched cql)

Hi anon! thank you so much!

Oh boy, you’ve unlocked a boatload of hidden dialogue, are you ready?? :D (buckle up it’s oof. Extremely Long)

@hunxi-guilai please consider this my official pitch for why I think the novel is worth reading, if only so you can enjoy the audio drama more fully. ;)

a few things before I get into it:

I don’t want to make this a 100% negative post because I really do love CQL so much! So I’m going to make it two parts: the changes that frustrated me the most and the changes I loved the most re: CQL vs novel. (again, don’t really know anything about donghua or manhua sorry!!) Sound good? :D

this will contain spoilers for the entirety of CQL and the novel. just like. All of it.

talking about the value of changes in CQL is difficult because I personally don’t know what changes were made for creative reasons and what changes were made for censorship reasons. I don’t think it’s entirely fair to evaluate the narrative worth of certain changes when I don’t know what their limitations were. It’s not just a matter of “gay content was censored”; China also has certain censorship restrictions on the portrayal of the undead, among other things. I, unfortunately, am not familiar enough with the ins and outs of Chinese censorship to be able to tell anyone with certainty what was and wasn’t changed for what reason. So I guess just, take whatever my opinions are with a grain of salt! I will largely avoid addressing issues related to how explicitly romantic wangxian is, for obvious reasons.

OKAY. In order to impose some kind of control on how much time I spend on this, I’m going to limit myself to four explicated points in each category, best/worst. Please remember that I change my opinions constantly, so these are just like. the top contenders at this specific point in my life. Starting with the worst so we can end on a positive note!

Henceforth, the novel is MDZS, CQL is CQL.

CQL’s worst crimes, according to cyan:

1. Polarizing Wei Wuxian and Jin Guangyao on the moral spectrum

I’ve heard rumors that this was a censorship issue, but I have never been able to confirm or deny it, so. Again, grain of salt.

The way that CQL reframed Wei Wuxian and Jin Guangyao’s character arcs drives me up the wall because I think it does a huge disservice to both of them and the overarching themes of the story. Jin Guangyao is shown to be responsible for pretty much all the tragedy post-Sunshot, which absolves Wei Wuxian of all possible wrongdoing and flattens Jin Guangyao into a much less interesting villain.

What I find so interesting about MDZS is how much it emphasizes the role of external forces and situations in determining a person’s fate: that being “good” or “righteous” at heart is simply not enough. You can do everything with all the best intentions and still do harm, still fail, still lose everything. Even “right” choices can have terrible consequences. Everyone starts out innocent. “In this world, everyone starts without grievances, but there is always someone who takes the first blow.”

It matters that Wei Wuxian is the one who loses control and kills Jin Zixuan, that his choices (no matter how impossible and terrible the situation) had consequences because the whole point is that even good people can be forced into corners where they do terrible things. Being good isn’t enough. You can do everything right, make every impossible choice, and fail. You can do the right thing and be punished for it. Maybe you did the right thing, but others suffer for your actions. Is that still the right thing? Is it your fault? Is it? By absolving Wei Wuxian of any conceivable blame, it really changes the narrative conclusion. In MDZS, even the best people can do incomprehensible harm when backed into corners, and the audience is asked to evaluate those actions with nuance. Is a criminal fully culpable for the harm they do when their external circumstances forced them into situations where they felt like they had no good choices left?

Personally, I feel like the novel asks you to forgive Wei Wuxian his wrongs, and, in paralleling him with Jin Guangyao, shows how easily they could have been one another. Both of them are extraordinarily talented sons of commoners; the difference lies in what opportunities they were given as they were growing up and how they choose to react to grievances. Wei Wuxian is adopted early on into the head family of a prominent sect and treated (more or less—not going to get into it) like a son. Jin Guangyao begs, borrows, steals, kills for every scrap of prestige and honor he gets and understands that his position in life is, at all points, extraordinarily unstable. Wei Wuxian doesn’t take his grievances to heart, but Jin Guangyao does.

To be clear, I don’t think the novel places a moral value on holding grudges, if that makes sense. I think MDZS only indicates that acts of vengeance always lead to more bloodshed—that the only escape is to lay down your arms, no matter how bitter the taste. Wei Wuxian was horribly wronged in many ways, and I don’t think I would fault him for wanting revenge or holding onto his anger—but I do think it’s clear that if he did, it would destroy him. It destroys Jin Guangyao, after all.

(It also destroys Xue Yang, and I think the parallel actually also extends to him. Yi City, to me, is a very interesting microcosm of a lot of broader themes in MDZS, and I have a lot of Thoughts on Xue Yang and equivalent justice, etc. etc. but. Thoughts for another time.)

Wei Wuxian is granted a happy ending not because he is Good, but because public opinion has changed, because there’s a new scapegoat, because he is protected by someone in power, because he lets go of the past, and because the children see him for who he is. I really do think that the reason MDZS and CQL have a hopeful ending as opposed to a bleak one hinges on the juniors. We are shown very clearly throughout the story how easily and quickly the tide of public opinion turns. The reason we don’t fear that it’s going to happen to Wei Wuxian again (or any other surviving character we love) is, I think, because the juniors, who don’t lose their childhoods to war, have the capacity to see past their parents’ prejudices and evaluate the actions of the people in front of them without having their opinions clouded by intense trauma and fear. They are forged out of love, not fire.

In CQL however, it emphasizes that Wei Wuxian is Fundamentally Good and did No Wrong Ever, so he deserves his happy ending, while Jin Guangyao is Fundamentally Bad and Responsible For Everything, so he got what was coming to him (even if we feel bad for him maybe). That’s not nearly as interesting or meaningful.  

(One specific change to Jin Guangyao’s timeline of evil that I find particularly vexing, not including the one I will discuss in point 2, is changing when Jin Rusong was conceived. In the novel, Qin Su is supposedly already pregnant by the time they get married, and that matters a WHOLE LOT when evaluating Jin Guangyao’s actions, I think.)

2. Wen POWs used as target obstacles at Baifeng Mountain

I know the first point was “here’s an overarching plot change that I think deeply impacts the narrative themes” and this second one is “I despise this one specific scene detail so much”, but HEAR ME OUT. It’s related to the first point! (tbh, most things are related to the first point)

Personally, I think this one detail character assassinates like. almost everyone in attendance, but most egregiously in no particular order: Jin Guangyao, Jin Zixuan (and by extension, Jiang Yanli), Wei Wuxian, Lan Wangji and Lan Xichen.

First, I think it’s a cheap plot device that’s obviously meant to enhance Jin Guangyao’s ~villainy while emphasizing Wei Wuxian’s growing righteous anger, but it fails so spectacularly, god, I literally hate this detail so much lmao. I’ll go by character.

Jin Guangyao: I get that CQL is invested in him being a ~bad person~ or whatever, but this is such a transparently like, cartoon villain move that lacks subtlety and elegance. Jin Guangyao is very dedicated to being highly diplomatic, appeasing, and non-threatening in his bid for power. He manipulates behind the scenes, does his father’s dirty work, etc. but he always shows a gentle, smiling face. This display tips his hand pretty obviously, and even if it were at the behest of his father, there’s literally no reason for him to be so “ohohoho I’m so evil~” about it—if anything, this would only serve to drive his sympathizers away. It’s a stupid move for him politically, and really undercuts his supposed intelligence and cleverness, in my personal opinion.

Jin Zixuan: yes, he is arrogant and vain and likes to show off! But putting his ego above the safety of innocent people? Like, not necessarily OOC, but it sure makes him much less sympathetic in my eyes. I find it hard to believe that Jiang Yanli would find this laudable or acceptable, but she’s given a few shots where she smiles with some kind of pride and it’s like. No! Do not do my queen dirty like this. She wouldn’t!

Wei Wuxian: where do I start! WHERE DO I START. Wei Wuxian is shown to be “righteously angry” about this, but steps down mutinously when Jiang Cheng motions him back. He looks shocked and outraged at Jin Zixuan for showing off with no concern for the safety of the Wen POWs, only to like, two seconds later, do the exact same thing, but worse! And at the provocation of Jin Zixun, no less! *screams into hands* The tonal shift is bizarre! We’re in this really tense ~moral quandary~, but then he flirts with Lan Wangji for a second (tense music still kinda playing?? it’s awful. I hate it), and then does his trickshot. You know! Putting all these people he’s supposedly so concerned about at risk! To one-up Jin Zixuan! It’s nonsensical. It’s such a conflict of priorities. This is supposed to make him seem honorable and cool, I guess? But it mostly just makes him look like a performative hypocrite. :///

Lan Wangji: I cannot believe that Lan Wangji saw this and did not immediately walk out in protest.

Lan Xichen: this is just one part of a larger problem with Lan Xichen’s arc in CQL vs MDZS, where his character development was an unwitting casualty of both wangxian censorship and CQL’s quest to demonize Jin Guangyao. One of the prevailing criticisms I see of Lan Xichen’s character is that he is a “centrist”, that he “allows bad things to happen through his inaction and desire to avoid conflict”, and that he is “stupid and willfully blind to Jin Guangyao’s faults”, when I don’t think any of this is supported by evidence in the novel whatsoever. Jin Guangyao is a subtle villain! He is a talented manipulator and liar! Even Wei Wuxian says it in the novel!

(forgive my rough translations /o\)

Chapter 49, as Wei Wuxian (through Empathy with Nie Mingjue’s head) listens to Lan Xichen defend Meng Yao immediately following Wen Ruohan’s assassination:

魏无羡心中摇头：“泽芜君这个人还是……太纯善了。”可再一想，他是因为已知金光瑶的种种嫌疑才能如此防备，可在蓝曦臣面前的孟瑶，却是一个忍辱负重，身不由己，孤身犯险的卧底，二人视角不同，感受又如何能相提并论？

Wei Wuxian shook his head to himself: “This Zewu-jun is still…… too pure and kind.” But then he thought again—he could only be so guarded because he already knew of all of Jin Guangyao’s suspicious behavior, but the Meng Yao before Lan Xichen was someone who had had no choice but to suffer in silence for his mission, who placed himself in grave danger, alone, undercover. The two of them had different perspectives, so how could their feelings be compared?

Chapter 63, after Wei Wuxian wakes up in the Cloud Recesses, having been brought there by Lan Wangji:

他不是不能理解蓝曦臣。他从聂明玦的视角看金光瑶，将其奸诈狡猾与野心勃勃尽收眼底，然而，如果金光瑶多年来在蓝曦臣面前一直以伪装相示，没理由要他不去相信自己的结义兄弟，却去相信一个臭名昭著腥风血雨之人。

It wasn’t that he couldn’t understand Lan Xichen. He had seen Jin Guangyao from Nie Mingjue’s perspective, and so had seen all of his treacherous and cunning obsession with ambition. However, if Jin Guangyao had for all these years only shown Lan Xichen a disguise, there was no reason for [Lan Xichen] to believe a famously violent person [Wei Wuxian] over his own sworn brother.

Lan Xichen, throughout the story, is being actively lied to and manipulated by Jin Guangyao. His only “mistake” was being kind and trying to give Meng Yao, someone who came from a place of great disadvantage, the benefit of the doubt instead of immediately dismissing him as worthless due to his birth or his station in life. Lan Xichen sees Meng Yao as someone who was forced to make impossible choices in impossible situations—you know, the way that we, the audience, are led to perceive Wei Wuxian. The only difference is that the story that we’re given about Wei Wuxian is true, while the story that Lan Xichen is given about Meng Yao is… not. But how would have have known?

The instant he is presented with a shred of evidence to the contrary, he revokes Jin Guangyao’s access to the Cloud Recesses, pursues that evidence to the last, and is horrified to discover that his trust was misplaced.

Lan Xichen’s willingness to consider different points of view is integral to Wei Wuxian’s survival and eventual happiness. Without Lan Xichen’s kindness, there is no way that Wei Wuxian would have ever been able to clear his name. Everyone else was calling for his blood, but Lan Wangji took him home, and Lan Xichen not only allowed it, he listened to and helped them. To the characters of the book who are not granted omniscient knowledge of Wei Wuxian’s actions and circumstances, there is literally no difference between Wei Wuxian and Jin Guangyao. Lan Xichen is being incredibly fair when he asks in chapter 63:

蓝曦臣笑了，道：“忘机，你又是如何判定，一个人究竟可信不可信？”

他看着魏无羡，道：“你相信魏公子，可我，相信金光瑶。大哥的头在他手上，这件事我们都没有亲眼目睹，都是凭着我们自己对另一个人的了解，相信那个人的说辞。

“你认为自己了解魏无羡，所以信任他；而我也认为自己了解金光瑶，所以我也信任他。你相信自己的判断，那么难道我就不能相信自己的判断吗？”

Lan Xichen laughed and said, “Wangji, how can you determine exactly who should and should not be believed?”

He looked at Wei Wuxian and said, “You believe Wei-gongzi, but I believe Jin Guangyao. Neither of us saw with our own eyes whether Da-ge’s head was in his possession. We base our opinions on our own understandings of someone else, our belief in their testimony.

“You think you understand Wei Wuxian, and so you trust him; I also think I understand Jin Guangyao, so I trust him. You trust your own judgment, so can’t I trust my own judgment as well?”

But he hears them out, examines the proof, and acts immediately.

I really do feel like this aspect of Lan Xichen kind of… became collateral damage in CQL. Because Jin Guangyao is so much more publicly malicious, Lan Xichen’s alleged “lack of action” feels much less understandable or acceptable.

It is wild to me that in this scene, Lan Xichen reacts with discomfort to the proceedings, but has nothing to say to Jin Guangyao about it afterwards and also applauds Wei Wuxian’s archery. (I could talk about Nie Mingjue here as well, but I would say Nie Mingjue and Lan Xichen have very different perspectives on morality, so this moment isn’t necessarily OOC for NMJ, but I do think is very OOC for LXC.) This scene (among a few others that have Jin Guangyao being more openly “evil”) makes Lan Xichen look like a willfully blind bystander by the end of the story, but having him react with any action would have been inconvenient for the plot. Thus, he behaves exactly as he did in the book, but under very different circumstances. It reads inconsistently with the rest of his character (since a lot of the beats in the novel still happen in the show), and weakens the narrative surrounding his person.

None of these overt displays of cruelty or immorality happen in the book, so it makes perfect sense that he doesn’t do or suspect anything! Jin Guangyao is, as stated, perfectly disguised towards Lan Xichen. You can’t blame him for “failing to act” when someone was purposefully keeping him in the dark and, from his perspective, there was nothing to act upon.

This scene specifically is almost purely lighthearted in the novel! If you take out the Wen POWs, this just becomes a fun scene where Wei Wuxian shows off, flirts with Lan Wangji, gets into a pissing match with Jin Zixuan, and is overall kind of a brat! It’s great! I love this scene! The blindfolded shot is ridiculous and over-the-top and very cute!

I know this is a lot of extrapolation, but the whole scene is soured for me due to you know. *gestures upwards* Which is really a shame because it’s one of my favorite silly scenes in the book! Alas! @ CQL why! ;A;

3. Lan Xichen already being an adult and sect leader at the start of the show

This is rapidly becoming a, “Lan Xichen was Wronged and I Have the Receipts” essay (oh no), but you know what, that’s fine I guess! I never said I was impartial!

CQL makes Lan Xichen seem much older and more experienced than he is in the novel, though we’re not given his specific age. In the novel, he is not sect leader yet when Wei Wuxian and co. arrive at the Cloud Recesses for lectures. His father, Qingheng-jun, is in seclusion, and his uncle is the de facto leader of the sect. Lan Xichen does not become sect leader until his father dies at the burning of the Cloud Recesses. Moreover, my understanding of the text is that he is at most 19 years old when this happens. Wen Ruohan remarks that Lan Xichen is still a junior at the beginning of the Sunshot Campaign in chapter 61. (If someone has a different interpretation of the term 小辈, please correct me.) In any case! Lan Xichen is young.

Lan Xichen ascends to power under horrific circumstances: he is not an adult, his father has just been murdered, his uncle seriously injured, his brother kidnapped, and his home burnt to the ground. He is on the run, alone! Carrying the sacred texts of his family and trying to stay alive so his sect is not completely wiped out on the eve of war! He is terrified, inexperienced, and unprepared!

You know, just like Jiang Cheng, a few months later!

I see a lot of people lambasting Lan Xichen for not stepping up to protect the Wen remnants post-Sunshot, but I’m always flummoxed by the accusations because I don’t see criticisms of Jiang Cheng with remotely the same vitriol, even though their political positions are nearly identical:

they are both extraordinarily young sect leaders who came to power before they expected to through incredible violence done to their families

because of this, they are in very weak political positions: they have very little experience to offer as evidence of their competence and right to respect. if they are considered adults, they have only very recently come of age.

Jin Guangshan, who is rapidly and greedily taking the place of the Wen clan in the vacuum of power, is shown to be more than willing to mow people down to get what he wants—and he has the power to do so.

both Yunmeng Jiang and Gusu Lan were crippled by the Wen clan prior to Sunshot. And they just fought a war that lasted two and a half years. they are hugely weakened and in desperate need of time to rebuild, mourn, etc. both Jiang Cheng and Lan Xichen are responsible for the well-being of all of these people who are now relying upon them.

I think it’s very obvious that Jiang Cheng is in an impossible situation because he wears his fears and insecurities on his face and people in power (cough Jin Guangshan) prey upon that, while we, as the audience, have a front row seat for that whole tragedy. We understand his choices, even if they hurt us.

Why shouldn’t Lan Xichen be afforded the same consideration?

I really do think that because he’s presented as someone who’s much more composed and confident in his own abilities than Jiang Cheng is, we tend to forget exactly what pressures he was facing at the same time. We just assume, oh yes, of course Lan Xichen has the power to do something! He’s Lan Xichen! The First Jade! Isn’t he supposed to be Perfectly Good? Why isn’t he doing The Right Thing?

I think this is exacerbated by CQL’s decision to make him an established sect leader at the start of the show with several years of experience under his belt. We don’t know his age, but he is assumed to be an Adult. This gives him more power and stability, and so it seems more unacceptable that he does not make moves to protect the Wen remnants, even if in essence, he and Jiang Cheng’s political positions are still quite similar. He doesn’t really have any more power to save the Wen remnants without placing his whole clan in danger of being wiped out again, but CQL implies that he does, even if it isn’t the intention of the change.

It does make me really sad that this change also drives a further thematic divide between Lan Xichen and the rest of his generation. Almost everyone in that generation came of age through a war, which I think informs the way their tragedies play out, and how those tragedies exist in contrast to the juniors’ behavior and futures. Making Lan Xichen an experienced adult aligns him with the generation prior to him, which, as we’re shown consistently, is the generation whose adherence to absolutism and fear ruined the lives of their children. But Lan Xichen is just as much a victim of this as his peers.

(the exception being maybe Nie Mingjue, but it’s complicated. I think Nie Mingjue occupies a very interesting position in the narrative, but like. That’s. For another time! this is. already so far out of hand. oh my god this is point three out of eight oh nO)

(yet another aside because I can’t help myself: can you believe we were robbed of paralleling scenes of Jiang Cheng and Lan Xichen’s coronations? the visual drama of that. the poetic cinema. it’s not in the book, but can you IMAGINE. thank u @paledreamsblackmoths for putting this image into my head so that I can suffer forever knowing that I’ll never get it.)

I said I wasn’t going to talk at length about any changes surrounding Wangxian’s explicit romance for obvious reasons, but I will at least lament here that because a large percentage of Lan Xichen’s actions and character beats are directly in relation to Lan Wangji’s love for Wei Wuxian, he loses a lot of both minor and major moments to the censors as well. Many of the instances when he encourages Lan Wangji to talk to Wei Wuxian, when he indulges in their relationship etc. are understandably gone. But the most significant moment that was cut for censorship reasons I think is when he loses his temper with Wei Wuxian at the Guanyin temple and lays into him with all the fury and terror he felt for his brother’s broken heart for the last thirteen years.

Lan Xichen is only shown to express true anger twice in the whole story, both times at the Guanyin temple: first against Wei Wuxian for what he perceives as gross disregard for his little brother’s convictions, and second against Jin Guangyao for his massive betrayal of trust. And you know, murdering his best friend. Among other things.

I’m genuinely so sad that we don’t get to see Lan Xichen tear Wei Wuxian to shreds for what he did to Lan Wangji because I think one of the most important aspects to Lan Xichen’s character is how much he loves, cares for and fears for his little brother. The reveal about Lan Wangji’s punishment in episode 43 is a sad and sober conversation, but it’s not nearly as impactful, especially because Wei Wuxian asks about it of his own volition. I understand that this isn’t CQL’s fault! But. I can still mourn it right? ahahaha. :’)

I’ll stop before I descend further into nothing but Lan Xichen meta because that’s. Dangerous. (I have a lot of Feelings about how there are three characters who are held up as paragons of virtue in MDZS, how they all suffered in spite of their goodness, and how that all ties directly into the whole, “it is not enough to be good, but kindness is never wrong” theme. Anyways, they’re Xiao Xingchen, Jiang Yanli, and Lan Xichen, but NOT NOW. NOT TODAY.)

So yes, I’m a Lan Xichen apologist on main, and yes, I understand my feelings are incredibly personally motivated and influenced by my subjective emotions, but no I do not take concrit on this point, thank you very much.

4. all of the Wen remnants turning themselves in alongside Wen Qing and Wen Ning

Okay, back to plot changes. This change I would be willing to bet money was at least partially due to censorship, but it hurts me so deeply hahaha. It makes literally no sense for any of the characters and it completely janks the timeline of events post Qiongqi Dao 2.0 through Wei Wuxian’s death.

It’s not ALL bad—this change makes it easier for the Peak Wangxian moment at the Bloodbath at Nightless City (You know. Hands. Cliff. etc.) to happen, which I did very much enjoy. It’s pretty on-brand for CQL to sacrifice plot for character beats that they want to emphasize, so like. I get it! This moment is a huge gift! I Understand This. CQL collapses the Bloodbath at Nightless City and the First Siege of the Mass Graves into one event for I think a few reasons. One, Wangxian moment without being explicitly Wangxian, which is excellent. Two, it circumvents the Blood Corpse scene, which I do not think would have made it past censorship.

I’ll get to the Blood Corpse scene in a minute, but despite being able to understand why so much might have been sacrificed for the impact of the cliff scene, I still wish it had been done differently (and I feel like it could have been!), if only for my peace of mind because the plot holes it creates are pretty gaping.

The entire point of Wen Qing and Wen Ning turning themselves in is specifically to save their family members and Wei Wuxian from coming to further harm. That’s explicit, even in the show. Jin Guangshan demands that the Wen brother and sister stand for their crimes and claims that the blood debt will be paid. The Wen remnants understand that Wei Wuxian has given up so much for their sakes, that he has lost his family, his home, his respectability, his health, all in the name of sheltering them. To throw all of that away would be the greatest disrespect to his sacrifices. Wen Qing and Wen Ning decide that if their lives can pay for the safety of their loved ones and ensure that Wei Wuxian’s sacrifices matter, they are willing to go together and give themselves up.

So. Why did they. All go?? For… moral support???? D: Wen Qing says that Wei Wuxian will wake up in three days and that she’s given Fourth Uncle and the others instructions for his care–but then Fourth Uncle and the others all go with them!! To die!! There’s also very clearly a shot of Granny Wen taking A’Yuan with them, which like. Obviously didn’t really happen.

Wen Qing, who loves her family more than anything in the world, agrees that they should all go to Lanling and sacrifice themselves to…. protect Wei Wuxian? Wen Qing, pragmatic queen of my heart, agrees to this absurdly bad exchange?? Leaves Wei Wuxian to wake up, alone, with the knowledge that he had not only killed his brother-in-law but also effectively gotten everyone he had left killed also??

I can’t imagine Wen Qing doing that to Wei Wuxian. Save his life? For what? This takes away everything he has left to live for. You think Wen Qing doesn’t intimately understand how cruel that would be?

(Yes, I’m complaining about all of this, but I’m still about to cry because I rewatched the scene to make sure I didn’t say anything untrue, and g o d it manages to hit hard despite all of that, so who’s the real clown here!!)

Anyways. So that’s all just like. Frustratingly incoherent. It’s one of several wrongs I think CQL committed against Wen Qing’s character, but my feelings about Wen Qing in CQL are pretty complicated (I love her so much, and I love that we got more Wen Qing content, but that content sure is a mixed bag of stuff I really enjoyed and stuff I desperately wish didn’t exist) and I decided I wasn’t going to get into it in this post. (is anyone even still reading god)

This change also muddles Lan Wangji’s choices and punishment in ways that I think diminishes the severity of the situation to the detriment of both his characterization and his family’s characterization. The punishment scene is extremely moving and you should read this post about the language used in it but. sldfjsljslkf.

okay well, several things. In the context of CQL, which really pushes the “righteousness” angle of Wei Wuxian (see point 1), I think this scene makes a lot of sense in isolation: both Lan Wangji and Wei Wuxian are painted as martyrs for doing the right thing. “Who’s right and who’s wrong?” The audience is asked to see the punishment as “unjust”. That’s perfectly fine and coherent in the context of CQL, but I don’t think it’s nearly as interesting as what happens in MDZS.

Because CQL collapses both the First Siege and the Bloodbath into one event, Lan Wangji’s crimes are sort of unclearly defined. In episode 43, when Lan Xichen is explaining the situation, we see a flashback to when Su She says something along the lines of, “We could set aside the fact that you defended Wei Ying at Nightless City, but now you won’t even let us search his den?” (of course, this gives us the really excellent “you are not qualified to talk to me” line which. delicious. extremely vindicating and satisfying. petty king lan wangji.) Lan Xichen goes on to say something like, “Wangji alone caused several disturbances at the Mass Graves. Uncle was greatly angered, and [decreed his punishment]”. (Sorry, I’m too lazy to type out the full lines with translations, just. trust me on this one.)

Lan Wangji’s actions are shown to be motivated by a righteous love. Wei Wuxian is portrayed as someone innocent who stood up for the right thing against popular opinion and was scapegoated and destroyed for it, having done no wrong. (See, point 1 again.)

In MDZS, Lan Wangji’s crimes are very specific. It isn’t just that he caused some “disturbances” (this is just Lan XIchen’s vague phrasing in CQL—we don’t really know what he did). He steals Wei Wuxian away from the Bloodbath at Nightless City, after Wei Wuxian killed thousands of people, and hides him away in a cave, feeding him spiritual energy to save his life. When Lan Wangji’s family comes to find him, demand that he hand over Wei Wuxian (who is, remember, a mass murderer at this point! we can argue about how culpable he is for those actions all day—that’s the whole point, but the people are still dead), Lan Wangji not only refuses, but raises his hands against his family. He seriously injures thirty-three Lan elders to protect Wei Wuxian.

I don’t know how to emphasize how serious that crime is? Culturally, this is like. Unthinkable. To raise your hand against members of your own family, your elders who loved and raised you, in defense of an outsider, a man who, by all accounts, is horrifically evil and just murdered thousands of people, including other members of your own family, is like. That’s a serious betrayal. Oh my god. Lan Wangji, what have you done?

Lan Xichen explains in chapter 99:

我去看他的时候对他说，魏公子已铸成大错，你何苦错上加错了。他却说……他无法断言你所作所为对错如何，但无论对错，他愿意与你一起承担所有后果。

When I went to see him, I said, “Wei-gongzi’s great wrongs are already set in stone, why take the pains to add wrongs upon wrongs?” But he said…… he had no way to ascertain the rights and wrongs of your actions, but regardless of right or wrong, he was willing to bear all the consequences with you.

I think this is very different than what’s going on in CQL, though the differences appear subtle on the surface. In CQL, Lan Wangji demands of his uncle, “Dare I ask Uncle, who is righteous and who is wicked, who is wrong and who is right?” but the very act of asking in this way implies that Lan Wangji has an opinion on the matter (though perhaps not a simple one).

Lan Wangji in MDZS specifically says that he doesn’t know how to evaluate the morality of Wei Wuxian’s actions, but that regardless, he is willing to bear the consequences of his choices and his actions. He understands that his actions while sheltering Wei Wuxian are not clearly morally defensible. He did it anyways because he loved Wei Wuxian, because he thought that Wei Wuxian was worth saving, that there was still something good in him, despite the things he had done under mitigating circumstances. Lan Wangji did not save Wei Wuxian because he thought it was the right thing to do. He saved him because he loved him.

He is given thirty-three lashes with the discipline whip, one for each elder he maimed, and this leaves him bedridden for three years. Is this punishment horrifyingly severe? Yes! But is it unjustly given? I think that’s a much harder question to answer in the context of the story.

Personally, I think that question underscores the broader questions of morality contained within MDZS. I think it’s a much more interesting take on Wei Wuxian and Lan Wangji as individuals. This asks, what can be pardoned? The righteous martyr angle is uncomplicated because moral certainty is easy. I think the situation in MDZS is far more uncomfortable if you examine its implications. And personally, I think that’s more meaningful!

(Not even going to touch on the whole, 300 strokes with a giant rod, but he has whip scars? And they were also sentenced to 300 strokes as kids for drinking alcohol…? CQL is not. consistent. on that front. ahaha.)

God, every point so far in this meta is just like “here’s one change that has cascading effects upon the rest of the show” dear god, okay, I’m getting to the Blood Corpse scene.

So in MDZS, the Wen remnants (besides Wen Ning and Wen Qing) do not go to Lanling. After the Bloodbath at Nightless City, Lan Wangji returns Wei Wuxian to the Mass Graves. Wei Wuxian lives with the Wen remnants for another three months before the First Siege, where he dies and the rest of the Wens are killed (except A’Yuan).

(Sidenote that I won’t get into: I love the dead spaces of time that MDZS creates. There’s very clear gaps in the narrative that we just never get the details on, most notably: Wei Wuxian’s three months in the Mass Graves post core transfer, and Wei Wuxian’s three months in the Mass Graves post Jiang Yanli’s death. They’re both extremely terrible times, but the audence is asked to imagine it instead of ever learning what really happened, what it was like. There’s something really cool about that narratively, I think.)

The Wen remnants are not cremated along with the rest of the dead. Their bodies are thrown into the blood pool.

At the Second Siege, when Wei Wuxian draws a Yin Summoning Flag on his clothes to turn himself into bait for the corpses in order to allow everyone else to escape to safety while he and Lan Wangji fight them off, there’s a moment when it gets really, truly dangerous—even with the help of the juniors and a few of the adults, they probably would have been killed. But then a wave of blood-soaked corpses come crawling out of the blood pool of their own accord and tear their attackers apart.

At the end of it, the blood corpses, the Wen remnants, gather before Lan Wangji and Wei Wuxian and Wen Ning. Wei Wuxian thanks them, they exchange bows, and the blood corpses collapse into dust. Wen Ning scrambles to gather their ashes, but runs out of space in his clothing. Several juniors, seeing this, offer up their bags to him and try to help.

It’s just. This scene is so important to me. Obviously, it couldn’t be included in CQL because of the whole undead thing, but it’s such a shame because I maintain that the Blood Corpse scene is one of the most powerful scenes in the whole goddamn book. It ties together so many things that I care about! It’s the moment when the narrative says, “kindness is not a waste”. Wei Wuxian failed to save them, but that doesn’t mean that his actions were done in vain. What he did matters. The year of life he bought them matters. The time they spent together matters.

This is also the moment when the juniors finally see Wen Ning for who he is—not the terrifying Ghost General, but a gentle man who has just lost his family for a second time. This is the moment when they reach out with kindness to the monster that their parents told them about at night. It matters that the juniors are able to do that! That they see this man suffering and are moved to compassion instead of righteous satisfaction.

(Except Jin Ling, for very understandable reasons, but Jin Ling’s moment comes later.)

It’s also the moment that we’re starkly reminded that many of the adults in attendance were present at the First Siege and directly responsible for the murders of the Wen remnants, including Ouyang Zizhen’s father. We’re reminded that he’s not just a comically annoying man with bad takes—he also participated in the murder of innocent people and then disrespected their corpses. But what retribution should be taken against him and the others? What retribution could be taken that wouldn’t lead to more tragedy?

There’s someone in the crowd in this scene named Fang Mengchen who refuses to be swayed by Wei Wuxian’s actions. “He killed my parents,” he says. “What about them? How can I let that go?”

“What more do you want from me?” Wei Wuxian asks. “I have already died once. You do not have to forgive me, but what more should I do?”

That is the ultimate question, isn’t it? What is the only way out of tragedy? You don’t have to forgive, but you cannot continue to take your retribution. It is not fair, but it’s all you have.

okay. so. those were my four Big Points of Contention with CQL, as I am currently experiencing them.

Honorable mentions go to: Wen Qing’s arc (both excellent and awful in different ways), making 13/16 years of Inquiry canon (I think this is untrue to Lan Wangji’s character, though I can understand why it was done), Mianmian’s departure from the Lanling Jin sect being shortened and having the sexism cut out (there’s something really visceral about the accusations against Mianmian being explicitly about her womanhood that I desperately wish had been retained in the show), cutting the scene where Jin Ling cries in mourning for Jin Guangyao and is scolded for it by Sect Leader Yao (my heart for that scene because it also matters so much)

but now!! onto the fun part, where I talk effusively about how much I love CQL!! this will probably be shorter (*prays*) because a lot of my frustrations with CQL are related to spiraling thematic consequences while the things I love are like. Simpler to pinpoint? If that makes sense? we’ll see.

CQL’s greatest virtues, also according to cyan:

1. this:

[ID: Wei Wuxian, trembling in fear, screaming “shijie!” as Jiang Cheng threatens him with Fairy in episode 34 of The Untamed drama. /end ID]

I understand that this is like, a very minor, specific detail change, but oh my GOD, it is like. Unparalleled. Every time I think about this change, I get so emotional and disappointed that it’s not in the novel, because I think it strengthens this scene tenfold. In the novel, Wei Wuxian calls out for Lan Zhan, which like, I get it. The story at this point is focused on the development of his romantic feelings for Lan Wangji, so the point of the scene is that the first person he thinks of in a moment of extreme fear is Lan Zhan, which surprises him. That’s fine. Like, it’s fine! But I think it doesn’t have nearly the same weight as Wei Wuxian calling for his sister to save him from his brother.

Having Wei Wuxian call out for his sister drives home the loss that the two of them have suffered, and highlights the relationship they all once had. Jiang Yanli is much more relevant to shuangjie’s narrative than Lan Wangji ever was, and this highlights exactly how deeply the fracturing of their familial relationship cuts. Wangxian gets so much time and focus throughout the rest of the novel. I love that this moment in the show is just about the Yunmeng siblings because that relationship is no less important, you know?

Calling out for Jiang Yanli in the show draws a much cleaner line through the dialogue. “You dare bring her up before me?” to “Don’t you remember what you said to Jin Ling?” It unifies the scene and twists the knife. It also gives us more insight into how fiercely Wei Wuxian was once beloved and protected by his siblings. Jiang Cheng promised to chase all the dogs away from Wei Wuxian when they were children. It’s clear that Jiang Yanli did as well.

Once upon a time, Wei Wuxian’s siblings defended him from his fears, and now one of them is dead and the other is using that fear to hurt him where he’s weakest. The reversal is so painfully juxtaposed, and it’s done with just that one flashback of Wei Wuxian as a child leaping into Jiang Yanli’s arms and calling out her name. Extremely good, economical storytelling. The conversation between shuangjie is much more focused on their own stories independent from Lan Wangji, which I very much appreciate. Wangxian, you’re wonderful, but this ain’t about you, and I don’t think it should be.

2. Extended Jiang Yanli content (and by extension, Jin Zixuan and Mianmian content)

Speaking of absolute goddess Jiang Yanli, I really loved what CQL did with her (unlike my more mixed feelings about Wen Qing). Having her in so many more scenes makes her importance to Jiang Cheng and Wei Wuxian a lot clearer, and we get to experience her as a person rather than an ideal.

On a purely aesthetic level, Jiang Yanli’s styling and character design is so stellar in CQL. The more prevalent design for her is kind of childish in the styling, which I don’t love (I think it’s the donghua influence?). And even I, someone who’s audio drama on main 24/7, personally prefer her CQL voice actor. There’s only a few characters in CQL that I look at and go “ah yes, that’s [character] 100%” and Jiang Yanli is one of them. I was blessed. I would lay down my life for her.

I’m really glad that CQL showed her illness more explicitly and gave her a sword, even if she never uses it! Her weak constitution is only mentioned once in the novel in chapter 69 in like two lines that I blew past initially because I was reading at breakneck speed and was only reminded of when my therapist who I conned into reading mdzs after 8 months of never shutting up oof brought it to my attention like two weeks ago. /o\

We never read about Jiang Yanli carrying a sword in the novel, though we are told that her cultivation is “mediocre”, so we know that she at least does cultivate, even if not very well. Highlighting her poor health in CQL makes her situation more clear, I think, and explains a little more about the way she’s perceived throughout the cultivation world as someone “not worthy of Jin Zixuan”. The novel tells us that Jiang Yanli is not an extraordinary beauty, not very good at cultivation, sort of bland in her expressions, and, very briefly, that she’s in poor health. I really love that description of Jiang Yanli, because it emphasizes that her worth has nothing at all to do with her talents, her health, her cultivation, her physical strength, or her beauty. She is the best person in the whole world, her brothers adore her, and the audience loves and respects her for reasons wholly unrelated to those value judgments. We love her because she is kind, because she is loyal, because she loves so deeply. Tbh, her only imperfection is falling for someone so tragically undeserving of her. (JK, I love you Jin Zixuan, and you do deserve her because you are an excellent boy who grows and changes and learns!! I can’t even be mean to characters as a joke god.)

Anyways, I just think the detail about her health is compelling and informs her character’s position in the world in a very specific way. I’m happy that CQL brought it to the forefront when it was kind of an easily-missed throwaway in the novel. It does mean something to me that Jiang Yanli, despite her poor physical health, is never once seen or treated as a burden by her brothers.

Something partially related that really hit hard was this:

[ID: two gifs. Jiang Yanli peeling lotus pods, looking up uncomfortably as her mother loses her temper about the Wen indoctrination at the table from episode 11 of The Untamed drama. /end ID]

D8 AAAAHHH this was VISCERAL. The novel is quite sparse in a lot of its descriptions and lets the audience fill in the missing details, so Jiang Yanli’s expression and reactions are not described when, after Jiang Cheng quickly volunteers to go to Qishan, Madam Yu accuses her of continuing to “happily peel lotus seeds” in such a dire situation.

“Of course you’ll go,” she snaps to Jiang Cheng. “Or else do you think we should let your sister go?”

This scene triggered me so bad lmfao, so I guess it’s kind of weird that I love it so much, but I felt Seen. Something about the way her nail slips in the second gif as she breaks open the pod is like. Oh, that’s a sense memory! Of me, as a child, witnessing uncomfortable conflict between people I cared about. I know this is an extremely personal bias, but hey, so is this whole meta. Because Jiang Yanli is often silent and quiet, it’s more her behavior and expressions that convey her character. It’s why the moment she lets loose on Jin Zixun is so powerful. We don’t get to see a lot of it in the novel, but because CQL is a visual medium, her character is a lot easier to pin down as a human as opposed to an abstract concept.

Anyways, in this moment, which I also think is a tangential reference to her weak constitution (it doesn’t feel like, “your sister can’t go because she’s a girl”; it feels like, “your sister can’t go because she couldn’t handle it”), we get to see Jiang Yanli’s own reaction to her perceived inadequacy. We see it in other places too—like how upset she is when Jin Zixuan dismisses her in several scenes, but this is the one that hits me the hardest because it’s about how her weakness is going to put her little brother in grave danger.

Last Yunmeng siblings with focus on Jiang Yanli scene that isn’t in the novel that I’m just absolutely wrecked over: the dream sequence in episode 28, when Jiang Yanli dreams about Wei Wuxian sailing away from her, but no matter how she shouts, or how she begs Jiang Cheng to help her, she can’t bring him back home.

I’m not going to gif it because I literally just like, fast-forwarded through it and started sobbing uncontrollably in front of my laptop, dear god.

I don’t know where the CQL writers found the backdoor directly into my brain’s nightmare center, but?? they sure did! IDK, I can see how this might be kind of heavy-handed, but it just. The sensation of being in a dream where something is going terribly wrong, but you’re the only one who seems to see it happening? But there’s nothing you can do? I feel like it’s a very fitting nightmare to give Jiang Yanli, who is acutely aware and constantly reminded of how little power she has in the world: not good enough for the boy she likes, not healthy enough to cultivate well, not strong enough to keep her family together.

The whole, elder siblings trying and failing to protect their younger siblings pattern is A Lot in the story, but there’s something particularly painful about seeing it happen to Jiang Yanli because of that awareness. All the other elder siblings are exceptionally talented or powerful in obvious ways. All Jiang Yanli has is the force of her will and the force of her love, and she knows it isn’t enough.

I care a lot about the Yunmeng siblings, okay! And I think CQL did right by them!

I’m only going to spend two seconds talking about Jin Zixuan and Mianmian, but I DO want to mention them.

Anyways, because we get more Jiang Yanli content, we ALSO get more soft xuanli, which is Very Good. Literally my kingdom for disaster het Jin Zixuan treating my girl right!! CQL said het rights, and I’m not even mad about it! I’m really happy that we get to see a little more of how their relationship plays out, and how hard Jin Zixuan works to change his behavior and apologize to her for his mistakes. The novel is from Wei Wuxian’s POV, so we miss the details, alas. Jin Zixuan covered in mud, planting lotuses? Blessed.

I think part of making Mianmian a larger speaking role is for convenience’s sake, but oh boy do I love that choice. Especially the Jin Zixuan & Mianmian relationship. Like, they’re so clearly platonic, and Mianmian is never once portrayed as a threat to Jiang Yanli. They just care about and respect each other a lot? Jin Zixuan’s distress when she defects from the Jin sect gets me in the heart, because it’s just like. God. I think there’s a lot of interesting potential there for her own thoughts re: Wei Wuxian. After all, she leaves her sect in defense of him, but he later kills a friend that she respects and loves. The moments shared between her and Jin Zixuan are minor, but they hint at a deeper relationship that I’m really glad was in the show.

3. To curb the strong, defend the weak: lantern scene (gusu) + rain scene (qiongqi dao 1.0)

I think I basically already explained why I love this so much in this post (just consider that post and this point to be the same haha), but just. Okay. A short addendum.

As much as I love novel wangxian, I really think that including this scene early on emphasizes why Lan Wangji loves Wei Wuxian so deeply. Of course he thinks Wei Wuxian is attractive, but this is the moment when he realizes, oh, this is who I love. Having that moment to reflect upon throughout Wei Wuxian’s descent is so excellent. I have enumerated all of my issues with the “perfectly righteous Wei Wuxian” arc that CQL crafted, but having this narrative throughline in conjunction with the novel arc would be like. My favored supercanon ahaha. (It would need some tweaking, but I think it would work.) It shows us exactly who it is that Lan Wangji sees and is trying to save, who he thinks is still there, underneath all the carnage and despair and violence and grief. This is the Wei Wuxian Lan Wangji loves and is unwilling to let go. This is the Wei Wuxian that Lan Wangji would kill for, that Lan Wangji would stand beside, that Lan Wangji would live for.

4. Meeting Songxiao

As much as I love the unnameable ache of Wei Wuxian never meeting Xiao Xingchen and learning only about his story through secondhand sources in the novel (and the really cool parallel to that where Xiao Xingchen tells A’Qing the story of Baoshan-sanren’s ill-fated disciples: both Xiao Xingchen and Wei Wuxian learn of each other only through the eyes of others, and that is Very Neat), I think the reversal that this meeting in episode 10 sets up wins out just slightly.

I said once in the tags on one of my posts that “songxiao is the tragic parallel of wangxian” and like. Yeah. Basically! If we take songxiao as romantic, the arc of their relationship happens inversely to wangxian, and that parallel is so much clearer and stronger when we have wangxian meeting songxiao in their youth.

The scene of their meeting really does have that Mood™ of uncertain youth seeing happy and secure adults living out the dreams that they’re afraid to name. Wei Wuxian’s eager little, “oh! just like me and Lan Zhan!! Right, Lan Zhan??” when songxiao talk about cultivating together through shared ideals and not blood is. Well, it’s Something.

When they meet again at Yi City, there’s a greater heaviness to it. So this is what happened to the people you once dreamed of becoming! Wangxian have already come to a point where they have an unspoken understanding of their relationship, but Songxiao have lost everything they once had. When Song Lan looks at wangxian, it’s like looking at a mirror of his past, and everyone in attendance knows it.

To me, that unspoken parallel is really emotionally and thematically valuable. All that good, and here is the tragedy that came of it.

okay, look! I managed to keep it shorter!! here are my honorable mentions: that scene where Jin Guangyao tries to hold Jin Ling and Jin Guangshan refuses to let him (it’s hating Jin Guangshan hours all day every day in this household), the grass butterfly leitmotif for Sizhui (im literally crying right now about it shut up), the Jiang Cheng/Wen Qing sideplot (look I know it’s wild that I actually liked that given that I headcanon JC as aspec, but I actually really like how it played out, specifically because Wen Qing and Wei Wuxian are NOT romantic—it sets up an unexpected and interesting comparison)

um. Anyways. I uh. really care about this story. And have a lot of thoughts, which I’m sure will continue to evolve. Maybe in 8 months I’ll return to this and go well, literally none of this applies anymore, but who knows! It’s how I feel right now. I cried literally three times while writing this because MDZS/CQL reached into my chest and yanked my heart right out of my body, but I had fun! *finger guns*

and like, I know I had a LOT to say about what frustrated me about CQL, but I really really hope it’s clear that I adore the show despite all of that. I talk a lot because I care a lot, and my brain only has one setting.

anon, this was like 1000% more than you bargained for, I’m SURE, (and I’m still exercising some restraint, if you can. believe that.) but I hope that you or someone out there got something out of it! if you made it all the way to the end of this meta, wow!! consider me surprised and grateful!!

time to crawl back into my hovel so I can write Lan Xichen fic and cry

(ko-fi? ;A;)

#the untamed #the untamed meta #mdzs #mdzs meme #mo dao zu shi #mine #mymeta #asks and replies #Anonymous #HOOOOOO BOY GUYS #we are just shy of 10k on this #*buries face in hands*#cyan writes #cyan gets too deep in the weeds #i will be shocked if more than like ten people read this #by the end it was just like well i guess this is just for me now lmfao #anyways. i will now. leave the internet for a while. thanks

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zutarawasrobbed · 4 years

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So Zutara happens. Then what? War over, everyone else returns to their homes and loved ones while Aang wanders the world alone burying what's left of his culture before dying of depression next to Monk Gyatso's skeleton? Kataang's narrative purpose is to show that Aang can have belonging, bring back his people, have a life beyond being the Avatar. Without it, there's no happy ending. This could be avoided if they set up another romance for Aang after letting Katara go but they didnt.

Okay, so there is a lot to address here, and honestly, I had a hard time knowing where to begin because wow...

First of all, all I see here is how Aang feels. Why is it that whenever anyone discusses Kataang, it's all about Aang and his feelings? Even in the show, it's only ever really shown from his side and what he wants, not Katara. Does Katara have a say? Is Katara’s only purpose in life to be an airbending baby maker? Does Katara's very existence hinge on her being Aang's girlfriend? What about how she feels? What about what she wants? What about her happiness? Or is Aang's happiness all that matters, and Katara should just deal with it?

Now for the culture argument. I want to point out that no genocide is ever really successful in wiping out an entire group of people. Air nomads are literally nomads meaning they move around a lot. It's in the name. This means that there are most definitely other airbenders out there hiding too afraid to come out until after the war is over. But, let's say we go with all the airbenders are dead narrative, then it makes even less sense for Kataang to happen because that means the entirety of the future of one nation depends on how many airbending babies Katara pops out. So this plan is stupid. But Aang is 12, so this plan might make sense in his brain. However, as he grows up, he would come to the obvious realization that if he wants to bring back the airbenders he needs to make a lot of babies with a lot of different women, so monogamy makes no sense and Katara would likely not be down for her boyfriend/husband "planting his seed" in every willing woman given that she's from the water tribes where family units are central to her culture.

Another thing Aang is 12, he'll survive not getting his first crush to date him. We all have at some point or another experienced heartbreak over someone who didn't like us back. We get sad for a bit and then move on. That's life. I also speak from experience as someone who was in a relatioship at 12 that no one should date at that age, and it is extremely unlikely you will end up together in the end. My relationship lasted a grand total of three months, and it is by far the dumbest decision I ever made. I was an idiot, he was an idiot, we were both idiots not ready for a relationship like all 12-year-olds are. So the idea that Aang and Katara would even last beyond a few months is ridiculous and unrealistic. In fact, the idea of me still being with that same person makes me visibly cringe because it was very unhealthy for a multitude of reasons I am still recovering from emotionally. If I was still with him, I would not be in the amazing relationship I am in now. Every relationship contains lessons that help us grow, and we keep with us when entering another relatioship. Sometimes we grow in relationships, and we realize we aren't right for each other, and that's okay. That's life. It goes on. That said, I know some people do get together at that young age and end up happily married. I know two people from my high school personally who got together at 14, got married a year after high school, and just had their first baby. But, the likelihood of that happening is extremely slim. On that note, relationships are hard work and require a certain amount of maturity. The maturity gap between Katara and Aang is vast, with Katara having the mental age of at least 25 and Aang still having the mental age of 12. It's unbalanced.

Furthermore, the idea that Aang's happiness depends on Katara being with him means that his other relationships pale in comparison to his crush. It also makes him kind of pathetic if he's gonna end up "dying of depression next to Monk Gyatso's skeleton" as you so eloquently put it if he doesn't get with Katara. Also, it makes the connections he has with the others in the gaang worthless, especially his friendship with Katara. Because that means Aang doesn't really care about being in Katara's life if it isn't in the way, he wants it. It makes their friendship conditional, with no value because there was always an ulterior motive, and in his mind, it was always just a means to an end. That just makes him a selfish dick.

The argument that Aang is alone without Katara is dumb. He has Toph, Sokka, Suki, Katara, and Zuko. Plus, I don't know if you know this, but you can make more friends than the ones you made in your teens. You don't just stop making friends after a certain age. You continue to meet people and form connections. And given how charismatic Aang is, he's gonna make a ton of more friends and have the opportunity to form new bonds, including romantic ones as well. Furthermore, as a 12-year-old, Aang should be allowed to expand his circle around the world because he is the Avatar, and he is going to need to make new friends because his main ones aren't always gonna be available. Moreover, the idea of Aang being alone without Katara implies that Aang will only ever have katara at his side and cut ties with everyone else and expect her to do the same.

The idea that to have a happy ending Aang must get into a romantic relationship makes no sense. What about Toph? She didn't have a romantic relationship in the end, and she was perfectly happy. Because she's 12 and knows life doesn't depend on being in a romantic relationship all of the time. Furthermore, on the topic of Toph, I would like to bring up another argument you made about Aang not developing other potential love interests because he does. Toph is one of them. In season 2, we are introduced to Toph by way of a vision that is pretty romantic and used as a common trope in both modern and ancient literature. We also see their compatibility in the way they are naturally with each other. Aang wants to be a kid and have fun. With Toph, he can do that. But, he also has someone who won't let him shirk his responsibilities when they matter most. They match and balance each other in their personalities, and we see some possible romantic development in both seasons 2 and 3. Another potential love interest we are introduced to is On Ji in season 3, episode 2, "The Headband," where we see her have an obvious crush on "Kuzon" (Aang.) But what's appealing about this pairing is that she doesn't know he's the Avatar, meaning she genuinely likes him for who he is without the glitz and glamour. Which I personally find adorable. Side note, I am aware that "the headband" is supposed to be a hallmark "kataang" episode. However, I would be remiss if I did not point out that this episode actually proves the "Katara doesn't treat/see Aang as a son" argument wrong. Because in that same episode, before the dance scene, Katara literally pretends to be Aang's pregnant mother.

Moreover, Aang is not without purpose outside of being the Avatar. The very notion is ridiculous. Yes, he has to rebuild his nation, he's a symbol of peace, but he is also a person who wants friends and a family, which he has found in the gaang. He also has the purpose of being a kid, which now he can be contingent on him meeting his obligations as the Avatar.

Lastly, I would like to reiterate that not only is Aang 12 and a child, the rest of the gaang are too. Granted, Aang is by far the least mature as he grew up in a time without war and has not had to a childhood with the effects of war the other members of the gaang have throughout their lives. But, in regards to Zutara, I personally do not see them getting together immediately after the war, they both have responsibilities to their respective nations. Katara, in rebuilding her tribe and Zuko in redefining the Fire Nation. Therefore, it would take years just to find some stability. But that doesn't mean they don't keep in touch. We know out of everyone in the gang, Zuko and Katara are closest to each other. They both share a bond with each other no one can match. You might be tempted to argue that Aang is closest to Katara and her best friend, but that is pretty debatable because both Aang and Katara have more positive interactions with other gaang members than they do with each other. For instance, if I had to choose out of everyone in the Gaang who Katara's best friend was, aside from Zuko, I would be tied between Toph and Suki. But, given Suki is not part of the gaang long enough to really expand on her relationships with the others beside Sokka, Toph would be my answer. That said, after the war, everyone would keep in touch with each other. They are all friends for life regardless of romantic relationships. Therefore, the gaang would most definitely be keeping in touch with each other, not just Zuko and Katara. But over the years as they grow, I can see Zuko and Katara growing closer and building on that strong foundation to form a strong and healthy romantic relationship.

#kataang salt #anti kataang #Anon #Anonymous Ask #anon ask #Zutara #I legit need a nap

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thewillowbends · 3 years

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I completely agree with you regarding S&B. Alina’s character was wasted and I still have no idea why she was a main character when she ended up doing nothing important or really changing things in any meaningful way. I don’t know if you’ve already read it but I highly recommend reading Demon in the Woods. It’s the only story where we really see from Aleksander’s POV(until the trash duology)and it’s really heartbreaking what he does through as a child. If I’m not wrong the show planned to also adapt it but they didn’t for budget reasons but imagine if they had shown his traumatic childhood+creation of the Fold...

My whole thing is that I'm fine with Aleksander being a villain because how one wields is definitely important, regardless of what kind of trauma they've got going on in their history, but I am just absolutely baffled by the thematic intent of this series. It's entirely fair for Alina to be furious and upset about her enslavement, but for her to have absolutely no empathy for what drove him to where he is now or what's happened to the other Grisha and to stay that way over the course of her entire journey is just...well, it begs the question why is she the heroine? There's nothing really heroic or moral about her journey if she's going to wind up right back where she started, running away from power and responsibility. That can be a protagonist's journey, sure, but it's not a heroic one.

Saying "power makes monsters" is fine as a theme if the characters in question are people who have always wielded power in a society. It becomes a lot more complicated when you're dealing with an oppressed minority, and especially when you show repeatedly that they're still suffering state violence at both the hands of enemy countries and their own people. Having a fancy palace with nice clothes and food and military training is not a privilege that replaces your ability to move about a society safely or wield real political power, which they explicitly do not.

If she wanted to write a story warning women about falling for men with tragic backstories who have no intention of doing the work of improving what their trauma did to them, that's fine, but then you actually have to make her empathetic. The point of connection has to be her feelings of sympathy for what he's been through. Alina isn't empathetic. Her attraction to Aleksander in the book is based on power and mystery, and in the show it's based on emerging confidence and a boldness that he inspires in her. It's not wholly based on the tragedy of his heritage or a sympathetic connection nor do we see him actively playing on that much beyond the first scene where he claims to be the descendant. Moreover, after he's revealed to be the Black Heretic, he doesn't weaponize the pain and grief associated with that history, either, even though that would mirror a common abuse tactic and be an underhanded way to undermine her confidence and make her second-guess her own ethical intent. It doesn't work here because the writing is so focused on making her tough and independent, it doesn't let her be weak or make mistakes in a meaningful way that resonates with the reader.

(Want to see a villain who does this well to a woman? See Billy Russo in Season 1 of The Punisher. Also played by Ben Barnes, ironically enough!)

If she wanted to do a story about radicalization of victims of state violence, then she needed to go more ethically complicated in the narrative. Her protagonists needed to have real conversations with themselves and others about what the resolution of this problem with the Grisha is and how the current situation created a monster in the first place. There needed to be a real dialogue back and forth examining both sides of it, whether violence against the state is ever acceptable if the state persistently insists on actively attacking a minority or outright neglecting them. In this case, it's unsurprising an Israeli-American author doesn't want to ask the serious question, "Does every participant in a society hold responsibility for the atrocities of the powerful if they aren't actively fighting it?" Disappointing, but I'm not surprised, since that's a more direct moral interrogation than most people prefer for themselves.

Which leads into the other part that a story like that also requires a serious moral evolution on the part of the protagonist. They have to be changed by the villain, empathize with them, grow to have a sense of responsibility to changing what created the conditions that bred this evil in the first place. She can still have Alina struggle with the power high she gets from the amplifiers, but make it more complicated than hurr hurr lady bad for wanting power. Ask us to empathize with how Alina has felt in her past as a helpless victim of prejudice. Show us how power gave her the ability to change things she couldn't before.

In other words, it can't leave things at status quo. It acknowledges that status quo is what created the problem in the first place. The problem is that Alina's fate in the books doesn't do that. It actually reflects a moral cowardice to some extent if you want to be brutally honest about it.

(Want to see where this is done well? See Kilmonger in Black Panther. The Star Wars prequels, while less elegantly accomplished, are a good example of how to create a story where the moral decay of a society creates evil.)

Lastly...she could have done a story about the nature of heroism, about whether it's fair to ask one person to carry the burden of saving the world. That could have also been a thoughtful back and forth on the nature of power and whether it breeds responsibility along with it in terms of how its wielded. Does Alina have a right to walk away? Does she have the right to say, "I don't want this destiny?"

(Want to see this done well? See Peter Parker in the Spiderman films featuring Toby Maguire. Yes, even the last one, which is trash, but is still thematically and morally consistent with the other two films.)

Etc, etc. These are all three different moral journeys her protagonists could have on, but it feels like she tried to do variations on all three and just kind of hit a wall because they're all inconsistent with each other. "Power = bad" isn't really a meaningful theme, not when your story hinges on people needing power to create change and when your villain is somebody who had to claw his way to the top to get it after years of suffering genocide and prejudice.

#shadow and bone #shadow and bone spoilers #grisha trilogy #grisha trilogy spoilers #critical analysis #long post

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violethowler · 3 years

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False Analogy - A(nother) Meta on the Galra Empire

A common theme I see in discussion of Voltron: Legendary Defender is people comparing the Galra Empire to the Fire Nation from Avatar: The Last Airbender, to the point where every ATLA AU I’ve ever found has cast the Galra and part-Galra characters as Firebenders.

It’s not as if the comparison is completely unexpected, given the potential for the production staff to take influence from their previous work. And there actually are one or two similarities. Both civilizations have spent a long period of time conquering the setting of their respective franchises and have all but taken over everywhere by the time their stories properly begin. The current rulers during each show are power-hungry tyrants who abuse their only sons.

But those are pretty much where the similarities end. And fans would do well to remember that the production staff having worked on ATLA does not obligate them to recreate Avatar Season 3’s look at civilian life in the Fire Nation in an outer space setting.

And the biggest things that separate the Galra from the Fire Nation are the motivation for their respective wars and the stability of their civilizations.

“The Avatar and the Fire Lord” established that Fire Lord Sozin began the war during a period of wealth and prosperity, with Sozin’s specific goal being to expand the Fire Nation’s power under the guise of “sharing their prosperity with the world.” The Fire Nation at the start of the war is experiencing a period of plenty, and none of the resources and materials seized in their conquest are shown to be used to benefit their civilian population back home in any way.

That’s why it’s easy for the Fire Nation to instantly stop the war after Aang defeats Ozai and Zuko becomes Fire Lord. While the situation with the colonies in the Earth Kingdom takes a while to resolve (see: the comics), stopping hostilities and military engagements abroad causes very little change to the lives of civilians in the homeland.

The Galra Empire, on the other hand, is an entirely different beast.

Season 1 of Voltron: Legendary Defender shows us through multiple examples that the Galra Empire uses Quintessence as the primary energy source of the empire. In the present day, quintessence is mined from planets and taken to processing facilities like the one seen in “Collection and Extraction”, where the Druids use what I assume to be a bastardized variation of Honerva’s alchemy to process the Quintessence into usable fuel.

Before the war began, the Galra’s main source of Quintessence was the Rift on Daibazaal, giving them access to an unlimited energy source. The rift staying open on Daibazaal was damaging the planet over time, and after Alfor destroyed the planet to close the rift, the Galra were abruptly cut off from their primary energy source, and a significant chunk (if not the entirety) of their population was now homeless.

The Galra people were scared and uncertain, and Zarkon gave them a convenient target to blame for their displacement when he declared war against Altea and the other planets of their solar system.

But once the system was securely under the empire’s control, the Galra still had to contend with the loss of their biggest stable energy source. The medic tending to Honerva during Lotor’s birth outright tells Zarkon in “Shadows” that their civilization cannot survive without a way to obtain more Quintessence.

This is what Ulaz was referring to when he says in “Shiro’s Escape” that “we thought expanding the Galra Empire would bring stability.” By conquering more planets, the empire gained access to new sources of Quintessence that would prevent the complete collapse of their civilization.

But as we see with the Balmera in Season 1, the planets the empire conquers are not unlimited sources of Quintessence. Eventually, the planets they harvest from will run dry, and they’ll need another source. Not only that, but the more planets they conquer, the larger their infrastructure becomes. This means that they now need even higher quantities of Quintessence to account for the increase in scale. Which leads to more planets being conquered, and the whole process repeating itself over and over again in an endless cycle.

Where the Fire Nation was stable enough that their government and infrastructure could keep going after a regime change, the Galra Empire for millennia has perpetually been one succession crisis away from collapsing into anarchy.

We see that happen in Season 7 because after Zarkon’s death and Lotor being left in the Rift, Haggar stopped giving a shit about the day to day running of the empire. Once she dismissed the Druids and they started going after the Blade of Marmora, the rest of the Empire was suddenly faced with having no way to process all the harvested quintessence into usable fuel, putting them right back where they started 10,000 years ago.

With no central leader, no stable energy source, and dwindling resources, the empire fell apart as warring factions fought each other for the Quintessence they had left, and innocent people on both free and conquered worlds were caught in the crossfire. This is what Lotor was talking about when he told Lance in “Omega Shield” that transitioning the empire toward peace wasn’t as easy as freeing planets until he could offer an alternative to the empire’s current methods of operation.

While stopping further invasions and working to transition conquered planets back to independent government after however many years under Galra rule so that the inhabitants could work with the empire on equal footing were things that could be accomplished relatively easily, the empire immediately shutting down their Quintessence mining and pulling out completely like the Fire Nation did with most of their younger colonies in the ATLA comics was not possible from a logistics standpoint.

Because that would leave the Galra with a dwindling stockpile of processed fuel and no way to refine the unprocessed Quintessence that’s already been harvested, putting them right back where they started 10,000 years ago.

Now course, actually going out and subjugating quintessence to fuel the Galra Empire’s need for quintessence was entirely unnecessary and peaceful means of obtaining Quintessence would have likely been worked out had Zarkon and Haggar stayed dead after the Rift (assuming the next emperor was someone who genuinely had the best interests of their people at heart and wasn’t a power hungry tyrant looking to take advantage of the chaos for their own gain).

But Lotor’s line “the universe can no longer doubt our strength” during his speech at the start of Season 3 shows how easily the Galra’s “victory or death” mentality can be twisted by survival-of-the-fittest rhetoric into a belief that the Galra have to earn their right to security and survival. This is something Lahn reinforces in “The Prisoner’s Dilemma”, when he says that Allura “never had to earn power.” With a convenient scapegoat and a narrative of betrayal, it makes sense that Galra civilization would so readily accept a philosophy that their survival hinged on taking from others to prevent the same thing from happening to them.

And unlike the Fire Nation, most of the Galra Empire’s population is involved in the war to one degree or another. Where civilians in the Fire Nation were comfortably isolated from the reality of the war by both distance and propaganda, Galra civilians did not have that luxury. With their entire home planet destroyed, non-military Galra would have been on the same ships as everyone else. Combine that with the fact that they were already demonstrably a warrior culture in the vein of the Mandalorians in Star Wars, and it’s no surprise that we don’t see very many Galra in non-military positions within the Empire.

Which isn’t to say that there aren’t any civilian Galra within the empire. “Space Mall” introduces notable examples in Varkon and Vrepit Sal, plus we see a few civilian Galra in Omega Shield. But from what we see the majority of the Galra population is connected to the empire’s military in some capacity.

If anything, most of the civilians we’ve seen within the empire’s territory have been non-Galra. The first flashback to Shiro’s time in the arena during “Return of The Gladiator” clearly shows a diverse array of sentient species sitting in the audience for the gladiator matches. Varkon is even the only indication that the otherwise mundane Space Mall is located in the empire’s territory. Even a glimpse of the so-called “labor planet” where the Omega Shield is based shows both Galra and non-Galra carrying supplies during Lotor’s speech.

This all communicates that due to strategic value, lack of viability for quintessence mining, resisting invasion successfully enough to be offered a treaty that annexes them into the empire on their terms, or some combination of the above, there are a not-insignificant number of planets within the Galra empire where the native inhabitants are on something close to equal footing with the Galra, despite Zarkon’s views about the superiority of his species. Despite the suffering and subjugation being inflicted on other worlds, these planets are able to live relatively peaceful, mundane lives away from the front lines of the empire’s conquests.

Which of course is why the Paladins were performing their shows at places like the Space Mall in “The Voltron Show!”. The planets that had already endured slavery and oppression like the Balmera, Puig, and Olkarion didn’t require much convincing to join forces with Voltron. It was the planets where people had largely been able to live mundane, safe lives that needed to be persuaded to cut ties with the empire and join the Coalition.

I understand why people enjoy the look at civilian life in the Fire Nation that we get during the first half of Avatar Book 3. Not only does it further reinforce that the Fire Nationals (yes, that is the canon term for people from the Fire Nation.) aren’t all maniacal monsters that enjoy burning and killing, but that kind of information is just fascinating to know from a worldbuilding perspective. Knowing what life in this universe is like for the average grunt or the people far from the front lines is prime fanfic fuel.

But people wanted so badly for Voltron to copy it that they missed the larger purpose of those elements from a story perspective.

From the very beginning, a major focus of Avatar was showing us the very real, painful realities of war in as much detail as they felt their target audience could handle. The whole point of seeing how people in the Fire Nation lived was to show us how the Fire Nation’s war effort was affecting people on the home front. We see the factories used to power their war machine poison rivers and harm communities. We see just how much propaganda that Fire Nation children are fed in school to indoctrinate them into thinking the war is justified and good.

Even leaving aside the completely different scenarios, the reason we don’t see similar episodes from Voltron is because Voltron was telling a completely different story.

That story, much like the titular robot, is ultimately about people overcoming their differences and uniting around a common, mutual goal. We see this theme repeated throughout the series time and time again. The Paladins learn to work as a team in order to combine the Lions into Voltron. The different rebel groups and freedom fighters from countless liberated planets come together to fight back against the tyranny of Zarkon’s rule. And our heroes learn to work with people they initially thought were their enemy to bring about a peaceful end to the empire’s conquest and expansion.

Narratively speaking, Avatar needed to show civilian life in the Fire Nation and how isolated its people were from the reality of the war as a contrast with how much Zuko’s experiences have chipped away at the lies he used to believe about the world outside his home.

But an in-depth look at Galra civilian life was never necessary with Voltron because that was never the kind of story that Voltron was telling or the kind of civilization that the empire was.

The Fire Nation was a prosperous country that waged war on the rest of the world out of a belief that their neighbors needed to be saved from themselves, whose population lived in relative comfort and isolated from the reality of their nation’s actions.

The Galra Empire was a civilization on the brink of collapse whose leaders directed their fear and need for security at outside targets in a never-ending fight for resources out of a belief that they had to earn their right to survive despite never truly achieving the stability and safety that they longed for under said leadership, and few of whose population had the luxury of avoiding the reality of the empire’s actions.

TL;DR: Despite their similarities, the Galra Empire is not just The Fire Nation Recycled In Space, and it’s unfair to both Voltron and Avatar for fans to act as if one not copying the other is inherently a bad thing.

#voltron legendary defender #voltron meta #galra empire #fire nation

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scripttorture · 3 years

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I'm not sure if this question has been asked before, but what would be usually the reason why people would torture someone? Not to justify (torture is unjustifiable in any situation) but I really needed a driving force for a villain why they would w/o sounding ridiculous or implausible, and any reason I come up with falls kind of flat (... Which I suppose is expected, since that's how the reasonings behind tortures are in rl I guess)

I can help you out here. And I want you to know that from a writing stand point this does make perfect sense. Motivation, however shallow, is important for capturing a character.

Yes a lot of the motivations in reality are flat, shallow and outright stupid. And it can be a careful balancing act, showing those motivations making them understandable without straying into justifying them. It can also be hard to make an interesting character with flat motivations.

I think I’ll start off with talking about motivations/‘reasons’ in reality and then talk a little about when and whether we should break from reality when we write about torturers.

Remember that there isn’t a lot of research on torturers. So I’m working from the little bit of research I can access, interviews with torturers and anecdotal reports. It isn’t perfect, but this is (so far as I can tell) the best information we have at the time of writing.

Understanding why torture occurs means understanding that it is structural violence.

I do take questions on abuse, I personally don’t see much point in sticking to the strict legal definition of torture when I’m trying to help authors do a decent job portraying trauma survivors. But sometimes the definition matters. And torture is essentially defined as abuse by government employees*, by public servants in positions of authority.

Over and over again the reasons torturers give for their crimes come back to flaws in the organisations they were part of. Consistently, across cultures and time periods, they describe understaffed, high pressure environments with no training, little supervision and the instruction to produce results or else.

This combines with cultural messages that violence ‘works’ and existing sub-cultures of torturers within organisations to perpetuate abuse.

It’s also worth mentioning that for most torturers they’re coming into an organisation where there are already established sub-groups of torturers. The group dynamics do seem to play a role in all this. Though it’s difficult to say how much when we’re entirely going from what torturers say and they are… demonstrably inaccurate when it comes to talking about torture.

Having said that; torturers do seem to encourage each other to more and more acts of violence. They treat it almost competitively. They will also, sometimes, approach new recruits and bring them into the torturer sub-group, pressuring them to participate.

I’m unsure how much of a role the social factor plays in torturers starting to torture, but it definite seems to keep them torturing when they say they’d rather stop. There are a couple of reasons why.

First of all there’s a sort of implicit threat; refusing to torture is seen as a threat to the torturer sub-culture. And these are people who have already shown a capacity for violence. There have been cases of torturers attacking other members of the same organisation for their opposition to, or refusal to, torture.

There’s also a social aspect; once involved with the torturer sub-culture the individual tends to become more and more cut off from the rest of the organisation. The group of torturers becomes more or less their entire social circle.

We’re social animals. So leaving, rejecting the entire social group, is a big deal. It’s hard for us to do.

The toxic sub-culture torturers form encourages them to root part of their identity in their capacity for violence and how ‘good at it’ the other members of their group think they are. They tend to tie ideas of toughness, dependability, achievement and (often) masculinity to torture. They frame themselves as especially manly, strong and ‘willing to do the tough jobs no one else has the guts to’.

It’s complete nonsense but it’s what they do.

And it means that facing up to the fact torture is pointless feels like an attack on their self worth. A lot of them choose to double down rather then face that reality.

This isn’t a definitive list of relevant factors. It’s my assessment of the ones that always seem to show up. There are usually other factors that feed into particular situations. Rejali’s Three Systems is a worth a read on that front.

Ideas about social hierarchy and transgression are common features. So things like ‘anyone who does That Terrible Thing deserves to be tortured’ or ‘no one Like That would be in this part of town for an innocent reason’.

All of this means that motivation can be tricky to write, because the real motivations are often not the sort of thing we’re taught are ‘interesting’.

Real, honest motivations are often things like:

‘I think those people deserve it’

‘I was told to’

‘Everyone else was doing it’

‘I couldn’t think of anything else to do’

‘I got angry and took it out on someone else’

‘I thought it would work and no one ever taught me another way’

That’s not a definitive list but you get the idea. And probably get the point about these sorts of shallow motivations being narratively unsatisfying.

So let’s step back from the reality and tackle the writing problem at the heart of this: how do we make this interesting?

There are a couple of different approaches.

The first approach I see is to accept that the motivation and the villain are shallow and shift the interest away from the villain.

Villains don’t need to be interesting. And they don’t need to be the focus.

If your story is structured in a way which primarily makes the villain a looming threat and focuses on the heroes, their journey, their relationships then adding detail or depth to the villain is unnecessary.

The Lord of the Rings trilogy does this with several of its major villains. The Shape of Water does it for the main villain. Zelda: Breath of the Wild (yes I bought a switch during lock down, and it’s my first Zelda game I am not sorry) does it with Ganon.

Another approach is to accept the motivation is shallow and shift the focus away from the villain’s motivation.

Villains do not need to have a grand philosophy or deep motivation or underlying pain in order to be a good read. They don’t need to be an intellectual threat to the heroes in order to be a legitimate threat.

For instance Joker in Batman: The Animated Series, I’d argue one of the best takes on the character ever. But if you go back and watch the episodes he isn’t deep. His motivation almost always boils down to pettiness, greed and a vindictive streak a mile wide. It is incredibly shallow.

But he’s fun to watch, because he’s unpredictable and funny. He’s also a legitimate threat to the heroes because he’s so incredibly destructive. More then any other villain his crimes are aimed at effecting large numbers of people. That sets the stakes high without any motivation or philosophy coming into it.

The focus is on what he does each time he shows up, not why.

Persona 5 pulls off a similar trick. Every single one of its villains has a shallow motivation. But each of them also has power over one of the heroes or another innocent person. They don’t need a deeper or more interesting motivation in order to make life miserable for the heroes. And every caper hinges on the heroes trying to stop that worst outcome.

As much as Fullmetal Alchemist is a deep story which touches on many complex topics, neither version (the original manga or the 2003 anime with it’s very different plot) had a particularly complex villain at the end of the story. In both cases the ultimate leader of the ‘bad guys’ just wanted more power. And didn’t care how many lives they destroyed to get it.

Not all stories need a Killmonger.

It’s always worth taking the time to consider what your story needs, rather then what’s fashionable in fiction at the moment. On a personal note some of my favourite stories have been either entirely focused on the heroes or had explicitly shallow villains.

The reality is that most of the time motivations for large scale atrocities are shallow and unsatisfying. Giving fictional villains deeper or more complex motives can work, but it can also mean twisting the narrative up to make it look like the villain (and hence their actions) are more reasonable then they are.

Killmonger’s twisted vision of what would make Wakanda ‘better’ works in Black Panther, just as White Wolf’s similar motivation did in the comics a decade or so earlier. They work because they’re directly competing with the hero’s vision of what would make the world better. And because ultimately it’s about showing why T’Challa’s way is better then the villain he’s facing off against.

But I can think of other stories where giving the villain a ‘deeper’ reasoning just served to make them look reasonable. While they were arguing for torture and genocide.

And… I just think we’ve got enough of that in real life.

At the end of the day your villain should be serving a role within the story you’re creating. Motivation is one of many ways that we try to make sure they serve that function effectively and entertainingly.

But, despite what some people would have you believe, it ain’t the be all and end all of whether a villain or story is entertaining. Personality, plots, aesthetic and sometimes how satisfying it feels to see their day ruined, all feed in to how well a villain works.

The threat they represent in the story isn’t dependant on whether their motivation is deep or nuanced or rational. It’s about their ability to follow through and sometimes the horrific nature of the desire itself.

So I guess a lot of my advice here is to consider what your villain actually needs to do in the story. Then take a step back and consider whether deeper motivation adds anything to that.

Be aware that the more complex motivations and drives you add the further you’re getting from a realistic torturer. Which is not inherently apologia, or inherently a bad writing idea, but consider what any deviation from reality implies.

I hope that helps. :)

Available on Wordpress.

Disclaimer

*The international definition can include groups that control territory, ie an occupying force. In some countries the definition is slightly wider and encompasses some international criminal gangs.

#writing advice #tw torture #writing torturers #behaviour of torturers #motivations of torturers #threatening villains #motivation #writing villains #effects of torture on organisations #defining torture

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the-lightning-strikes-again · 3 years

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Hi, @pilotkinkade! No worries about a delay—real life and school are way more important than critical analysis of a cartoon, lol. I’m thankful you got back to me, though. I appreciate your response posted here—and no, it didn’t feel patronizing at all! I can see what you mean about things.

In terms of Wikipedia’s definition of white savior as a cinematic trope, I can see where that could be applied to the entirety of the VLD show as you mention, even in aspects to the Balmeran episode. In VLD, I do see how in every case, the largely unprepared MCs save a group of people and in doing so, usually learn something about themselves/achieve a power unlock that makes them personally stronger, especially compared to the people they assist/save, who remain without such power-ups. Or, in various other instances, Team Voltron is shown as “more enlightened” in ethics or willpower, etc. compared to the people groups they’re trying to save/convince to join their cause. That concern absolutely does make sense, and it’s definitely a problem that our paladins are placed on that kind of pedestal and that it’s...celebrated?

I also felt this line of yours in my soul, lol: “i think this is an issue with voltron: liberating a country, let alone a whole planet, is a long, tiring, bloody process. i guess voltron by its nature circumnavigates that, but. it is, to say the least, frustrating to watch.”

Yeahhh lol, I think in terms of how it handles war and heavy situations, VLD accepts a lot of “this isn’t realistic war/politics” moments by virtue of it being a Y7 cartoon? Its fantasy violence is targeted for, I guess, 7-year-old American boys... So, I think when we sensed those more adult themes and moments of realism, we wanted the show to naturally follow up on those struggles more, but I remember an interview where the dev team talked about having to cut politics because the stakeholders felt it was too adult for the target audience, RIP.

But just thinking about this larger conversation about the unsettling images and implications of VLD Voltron’s power as savior…I keep wondering if “savior complex” is in some way inherent to the franchise as a whole by virtue of how it was fitted to a young American audience back in 1984? Like, not only did the original pilots from 1981’s Beast King GoLion get white-washed for an American audience, but it seems like the whole story structure got some pretty major adjustments, and some characters got altered for better (I’d argue 1984 did humanize Lotor and other antagonistic aliens) or worse in various ways (the Voltron pilots became “foreigners” to the war they grew to fight in as the most powerful warriors, instead of the GoLion storyline of the pilots being a band of escaped slaves)…And that’s all on top of the original story being rated much higher at TV-14, while Voltron: Defender of the Universe 1984 was sanitized to Y7.

I wonder if these decisions in 1984 feed into the tangles and weird power structures/savior narrative we see in VLD?

I feel like the only Voltron iteration that really reflects on and questions the “powerful savior” narrative is the one that was rated for older audiences (16+), which is the Dynamite Comics (2011), written by Brandon Thomas...

It was perhaps one of the most innovative versions of Voltron, even though its artwork is criticized for its quality. I say innovative because Team Voltron actually recognizes that they and their machine have been fighting in the name of a corrupted Earth just interested in further conquest and corporate control of its own, and that Earth is actually no better than Zarkon or other despots. It’s a really sticky mess. So we really see Team Voltron try to disavow themselves from that past and their leaders, at the same time that the team and Drule Empire both are realizing that a far darker force (sentient rift creatures, basically) has been instigating the entire war across the universe, using Voltrons to carry out its will, and poisoning people against each other. In this iteration, team Voltron is not the most powerful, nor are they even the only Voltron. And anyone in this iteration could learn powerful magic. So it’s a really complex backstory that tries to unite long-standing opposing groups together under fairly equal powers. And while it’s clearly still got some problems, I really appreciate what writer Brandon Thomas was trying to do here. It feels like a critique on DotU 1984’s mentality around Voltron, while also reaching back to Voltron’s 1981 Beast King GoLion origins—in which, in that version, the pilots were actively victims of the war and had intense, personal reasons for further involving themselves to stop Zarkon.

VLD seems to lift a lot of plot points from the previous Dynamite Comics, along with GoLion. But in doing so, VLD seems to strip out a lot of involved backstory and the past gray morality of Voltron itself. Which seems to reverse the reboot back to its 1984 “yay we’re here to the save the universe” fluff.

An anon recently joined in on our discussion here to suggest that maybe the trope we’re looking for regarding Allura specifically is called “xenos savior trope”? Which appears to be in reference to the larger genre concept of a foreigner of any kind outside the group being the only one who can actually save the day/that group. So it seems to be related without necessarily taking on some of the criteria I suppose I apply to white savior complex specifically….

About Allura’s sort of “Chosen One” hyper-abilities even as an Altean… You’re right that the show isn’t terribly explicit about it. Episode 1 prefaces some of Allura’s powers by referencing that they exist because her life force is tied to Voltron. I talk about it in an old meta here if you’re interested. (I also have this other meta too, where I try to argue that seasons 1-5 have details suggesting Alteans aren’t inherently a master race, but that world-building contradicts the latter half of the show which hinges on that master race concept. But the meta itself also gets into the screenshots about Allura’s life-force tie and her abilities vs. Alfor’s.)

Ultimately, the show certainly doesn’t take time after episode 1 to reiterate why Allura would be so special, but her tie to Voltron is the only thing I can think of for why she’s on such a different level even from Honerva or Alfor, both of whom also made it to Oriande.

I keep thinking about what it would mean to fully update VLD for modern audiences, and I wonder how things would have felt if every major race involved in the war’s scope were still represented by the paladins (reflecting the s3 OG paladin diversity, which did feel really cool). And if everyone had magical abilities but simply that different cultures had different understandings or uses of it—but that they weren’t inherently incapable of learning another’s way. I wonder how much that would have changed VLD as a show…

#Voltron #Voltron meta #Voltron critical #Allura #Alfor #VLD #DDP #Voltron Dynamite Comics #this is a really interesting discussion and thank you for continuing it with me #Lots of complex issues all happening at once

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wuzzupketchup · 3 years

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UNTIL WE MEET AGAIN

This drama came out in 2019 but it’s only now that I got the time and energy to watch it. I’ve had a lot of recommendations from a bunch of people to check this one out. Finally, I did. This is gonna be a full-on review so brace yourselves. Warning: Spoilers possibly ahead.

Time and again, I’ve told people that I am a sucker for great storytelling. Toss me a line in your opening sequences and if I like it, I’m gonna grab on and sink into the story with you. What happened here was that I kept tugging at the line and wasn’t able to sink until about Episode 4.

Okay. The show actually has merits. I’ll list them down one by one.

1. Great concept. Right off the bat, it is nice to see a BL defy the norm. The soulmate/reincarnation theme was something that we normally get to watch on heteronormal media. Really refreshing to see it incorporated into a BL series to separate it from the “usual” themes we have in this genre.

2. Cooking/cuisine. I love the fact that we are introduced to Thai cuisine, specifically, desserts. My knowledge of Thai food is just basically limited to pad thai and tom yum. So it’s nice to get educated in this area especially international viewers like me.

3. Soundtrack. The series has pretty decent music. It’s not the most outstanding, but it was enough to put you into the mood to watch the scenes/episodes. The upbeat song they used for the more cheerful scenes was my favorite.

4. Dean/Pharm relationship. I’d have to say that this was in fact a very healthy relationship. I liked that boundaries are explicitly established and that even if they were together, consent was still a major factor.

5. Side couple supremacy. I’m sorry but I was really more interested in the Team-Win duo. Eventhough they had such limited screentime, they actually managed to steal my attention. Every single frame that Buon is onscreen, he effortlessly grabs the attention. Prem, on the other hand, was so natural that I had his character as my most favorite. The way he was overprotecting Pharm like he was a baby was just so endearing to me.

6. No girlfriend to ruin the story. I’m so done with stories that incorporate a girl just to stir things up. That being said, the female support in this series was so good to watch (well, maybe Manaow can be a bit irritating most of the time lol).

Now, where do I begin for the not so positive points? For the record, I was meaning to drop the entire show after Episode 3. It wasn’t doing anything for me. But thankfully, I chose to stick it out. Although, I don’t recall watching another BL show where I had to fast forward scenes more than this one. I’ll talk about it later. Here goes the list of minus points:

1. Opening sequences. Good Lord. I wasn’t prepared for it. Like, it literally shocked me I had to stop watching after just 5 minutes in. Once I got over the initial shock, I came back and just started shaking my head. The entire opening was devoid of logic and badly executed. But hey, I can forgive this bit because the whole story is hinged on it.

2. Korn and Intouch. Pivotal characters but sadly, falls short, by a long shot. I should say first and foremost, they were miscast. Not the actors’ fault though, more on the production’s side. There was literally no chemistry between Kao and Earth. Now here’s one major problem for me. I didn’t feel connected with the supposedly OG couple to even care about their reincarnated souls. I had to fast forward their scenes because I found them borderline disturbing and cringey. I was looking for clues as to why Korn fell madly in love with Intouch but I didn’t find any. Intouch, to me, was annoying and creepy. Emotional investment was really hard to come by with this series.

3. Pharm. Oh Pharm. You were cute with your shyboy demeanor at first, but I was mildly irritated once the series progressed. I felt like he had a rather boring personality. Had he not been the reincarnated Intouch, would Dean even bother? That’s a question I was waiting to be answered in the end but I think I’ll just draw out my own conclusion.

4. It’s awfully long, to the point it has already become dragging. Literally, it was a struggle to finish the whole thing. I mean, 17-45 minutes-ish episodes are nothing compared to your normal dramas but from a BL standard, it’s rather long. Some scenes could have been chopped off but still would push the narrative forward. Was this fan service? I don’t know really.

5. Dream sequences. Okay. These were important to the story but midseries, I was so done with them because it seemed like nothing was coming out of it. Fine, Kao and Earth story arc was the focus. And that it was to establish that Dean and Pharm were the reincarnations. But other than that, what was accomplished? Just have some random nightmare and then hyperventilate? At least Dean made a move by having Korn and In investigated but Pharm? What did you do about your nightmares? Me thinks it was just a ploy to have Dean by his side.

6. The final revelations were anti-climactic. Imagine building up the events of the tragic past, only to have a resolution that seemed too convenient. Why say so? Was it just me or did any of you feel like all the obstacles that were supposed to be in Dean and Pharm’s way were consciously removed? This was where I felt super underwhelmed with the writing. The OG lovers had hell to deal with but the reincarnated lovers seemed to have a walk in the park. I’m not saying that they should also go through hell but seriously, there was no real conflict to resolve by the end. Hence, it was a let down.

7. Switching families. Korn being reborn into In’s lineage and In being reborn into the other. I didn’t actually get the point here. I was predisposed to the notion that reincarnated souls tend to come out in the place where they felt they were most loved. Or did I not get the memo it has already changed? Lol. But yeah. It didn’t make sense for me for the OG couple to be reborn in the other side of their respective families. I mean, where’s the familiarity there? It wasn’t even shown that each one had a deep seated connection with members of the other’s families to merit such occurence.

Overall, I enjoyed the story for the most part. I’m sorry if the points I raised in here differ from yours. But the thing is, I watch not only to be entertained. I was constantly trying to find logic to what was happening onscreen especially towards the end when the revelations started coming out. The writers, I have to say, had a penchant with creating unnecessary moments.

Kudos to LineTV and Wabi Sabi for coming up with this very out of the box series. Although I had a lot of reservations, I was still able to appreciate the effort. There were moments of brilliance, but sadly, it was inconsistent.

Would I rewatch it? Hmm. Maybe Team-Win sequences only.

I’d give this a 6.5 out of 10 stars. ⭐️

#until we meet again #bl series #deanpharm #teamwin #uwmatheseries #uwma korn #uwma win #thai bl #review

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mediaevalmusereads · 3 years

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When A Scot Ties the Knot. By Tessa Dare. New York: Avon Books, 2015.

Rating: 3/5 stars

Genre: historical romance

Part of a Series? Yes, Castles Ever After #3

Summary: On the cusp of her first London season, Miss Madeline Gracechurch was shyly pretty and talented with a drawing pencil, but hopelessly awkward with gentlemen. She was certain to be a dismal failure on the London marriage mart. So Maddie did what generations of shy, awkward young ladies have done: she invented a sweetheart. A Scottish sweetheart. One who was handsome and honorable and devoted to her, but conveniently never around. Maddie poured her heart into writing the imaginary Captain MacKenzie letter after letter … and by pretending to be devastated when he was (not really) killed in battle, she managed to avoid the pressures of London society entirely. Until years later, when this kilted Highland lover of her imaginings shows up in the flesh. The real Captain Logan MacKenzie arrives on her doorstep—handsome as anything, but not entirely honorable. He’s wounded, jaded, in possession of her letters… and ready to make good on every promise Maddie never expected to keep.

***Full review under the cut.***

Content Warnings: graphic sexual content, blood, violence

Overview: I came across this book while doing research for a blog post on Scottish fetishization in romance. While writing the post, I encountered YouTuber Jean Bookishthoughts’s video “ An Actual Scot Reads Highlander Romances,” and she gave this novel a fairly positive review. So I decided “why not? I’ve got nothing better to do.” Overall, the premise of this book was really enticing - the idea of a woman writing letters to a fictional sweetheart only to have a flesh-and-blood man show up at her door is quite the setup. I also think Dare does a good job of writing humor and moving the narrative along. But I ultimately couldn’t give this book more than 3 stars for a number of reasons: for one, the main crux of the plot felt like it could have been a bit more robust. Two, I didn’t find Logan to be a very interesting character. And three, some of the random “Highlander” references felt cheesy.

Writing: Dare writes prose that is quick, witty, and humorous. I very much enjoyed the jokes and the banter between our protagonists, and I appreciated that Dare didn’t get bogged down in some of the details of day-to-day life. If I had any criticisms, it would be that I think Dare moves almost too quickly at times. Some of the more emotional moments could have used some room to breathe or some more description of how the characters’ emotions are faring. But it wasn’t so bad that I felt like I was being rushed through the novel. Another way of putting is may be that sometimes Dare told where she could have shown, but the balance of telling vs showing didn’t feel egregiously off.

Plot: This plot mainly follows our heroine, Maddie, and our hero, Logan, as they try to work out an agreement. Maddie, in the attempt to avoid going on the marriage mart, invented a sweetheart at age 16 and wrote letters to a “fictional” Scottish captain in the army for years. Unbeknownst to her, the letters were actually being received by Logan, and when he and his men come home from the war, Logan is determined to marry Maddie in order to get her land in Invernesshire.

Personally, I found this setup to be quite intriguing and whimsical. I liked the embarrassment that arose from Maddie’s letters actually being received and read. I liked that Logan secretly looked forward to the letters from a stranger. I even liked the dilemma of negotiating a marriage of convenience. But I think where this plot fell apart for me was the whole challenge of consummating the marriage. Logan and Maddie agree to marry and live separate lives (it’s early on, so this isn’t really a spoiler), but Logan is adamant about consummating the marriage so that there’s no possibility of an annulment. Maddie, for her part, wants to avoid consummating the marriage because she finds that marriage will threaten her career prospects; as an illustrator, she finds that men will not hire her for work if they think household or parenting duties will interrupt her work schedule. To be completely honest, this challenge was quite good; I thought there was a real opportunity here for Dare to explore the sexist challenges women face in the workplace. Where I thought the challenge was weak was in the whole obsession with consummation. Unless there was such hostility between the Scottish and the English that an Englishwoman’s word would always be taken over a Scotsman’s, I found the question of “did they actually have sex or not” to be quite trivial. From what I know, annulments were notoriously difficult to obtain, so it wouldn’t matter much if Maddie and Logan had consummated the marriage. It seems like Logan could just say they did and an annulment would be near impossible. Nor do I think the law would care much if they only had non-penetrative sex. It seems like the whole plot hinging on whether or not they had “real sex” was a non-issue for me.

Instead, I would have liked to see more conflict in Maddie between balancing her desires for romance and a family with her career aspirations. Once Logan enters the picture, it seems like her career takes a backseat (except for a couple of scenes), and I would have rather seen it be more front and center. Either that or I think Maddie’s story could have mirrored her aunt’s more closely. Maddie’s Aunt Thea was long ago caught up in a scandal that ruined her, but later, Thea reveals that she had enjoyed the freedom. I think having Maddie be independent and struggle with the idea of being “tied down” by marriage could have also been good, and while there’s a little of that, I think it could have been more apparent to the reader.

In terms of small-scale narrative points, I think a lot of the scenes Dare writes are very funny and entertaining. I liked, for instance, the scene where Maddie falls into a bog, or when Maddie shows kindness to Logan’s friend, Grant. The scenes that truly did bother me, however, were some of the more “fluffy” ones that were a bit too cheesy for my tastes. For example, there’s a scene in which Maddie finds Logan reading Pride and Prejudice and he’s wearing spectacles. She makes a big deal about him being a reader and I had to roll my eyes. There’s also a scene towards the end in which Maddie attempts to make haggis, and I hated it because it felt like it was inserted so Dare could check off a “Scottishism” in a list. Tartan? Check. Brogue? Check. Haggis? Check. The scene also erupted in random violence, too, which felt out-of-place and inserted for pointless drama towards the end of the novel.

But I will admit, I did like the scenes that were very self-aware about what Dare was doing. For example, there’s a scene in which Logan is debating about what to do to get Maddie into bed. His friends give him suggestions like “offer your heart to her on a platter” or “throw in a lot of oochs and bonny lasses when you speak” or “dive into the loch and have her go looking for you. Then, when she’s found you, pretend you don’t notice her and have her watch you bathe for a while. Then emerge from the lock all dripping wet.” This self-awareness was a nice stab at romance cliches, though I wish Dare had done a better job herself at avoiding them.

Characters: Maddie, our heroine, is fairly likeable in that she’s bookish, generous, and a bit clumsy at times. I liked that there was a juxtaposition between her confidence and her social anxiety: while she wasn’t afraid to assert herself in some situations, big crowds made her nervous, and I think navigating those two scenarios made for some interesting characterization. The main thing I didn’t like about Maddie was how quickly she seemed to give up her career ambitions for Logan. There’s a point where she has to make a choice between letting Logan go and following her dreams, and she claims that she’s choosing Logan even though the choice is really made for her based on sexist norms of the day. I would have liked to see her wrestle with her ambitions a little more.

Logan, our hero, has some admirable qualities, but in the end, I found him rather uninteresting. He’s your basic roguish Scotsman with a tragic past, and though I liked the loyalty he showed to his men, I ultimately though he was a little too jealous and a little too used to his orders being obeyed. I would have liked to see him be a little less dictatorial so that his romantic appeal would shine through a bit more brightly.

Side characters are charming but, in my opinion, underutilized. I liked all of Logan’s army buddies and appreciated that all of them had disabilities in some way (and those disabilities were important but didn’t define them). I really appreciated Maddie’s relationship with Grant, the soldier whose memory resets every hour or so. She was kind to him and he was sweet to her; I just didn’t think his random violent outburst towards the end was necessary or in-character. Maddie’s Aunt Thea could have also been used more effectively, but I did like that Thea had this quirk of making a lot of cosmetics and remedies that were, ultimately, rubbish. It was charming.

Romance: Logan and Maddie’s romance was... ok. The premise started out really interesting, but over time, I lost some enthusiasm because I felt like I was being told that they had feelings for each other (rather than being shown). Sure, Logan does some things that challenge Maddie’s assumptions and vice versa, but I wanted them to have a stronger basis for a romance than just “they’re hot and I’m horny oh wait they were nice to me and aren’t exactly what I expected.” Part of the reason I wasn’t super enthused might also be the focus on sex and sexual attraction as well as Maddie feeling pity for Logan on account of his past. I prefer romances where the focus is on each person lifting the other up emotionally, and while there was a little of that, I think I would have liked to see it be more of a centerpiece within the plot.

TL;DR: When a Scot Ties the Knot is a funny, light, historical romance, but ultimately doesn’t have a “meaty” enough plot for my personal tastes. Some readers might enjoy the banter and the heroine’s determination, while others might be turned off by the cheesiness and lack of a complex hero.

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animebw · 3 years

Text

Binge-Watching: Legend of the Galactic Heroes, Episodes 92-94

In which this show makes a serious mistake for the first time in its run, but also works like overtime to keep it from stinging too hard.

Foul Play

I’ve said in the past that realism is one of the trickiest genres to get right. More than any other genre, realism needs the audience to believe that the events of the story and actions of the characters are what would actually happen if this situation occurred in the real world. One little crack in the suspension of disbelief- a character does something inexcusably dumb, a deus ex machina solves an impossible problem- and the entire house of cards can quickly come crashing down. And it’s to LOTGH’s credit that it’s almost entirely avoided that particular issue. For almost a hundred episodes, it’s fully sold me on the reality of its futuristic space war, making me believe that its history, plot progression and evolving sociopolitical landscape are things that could happen once human society evolves into a spacefaring one. What nitpicks I’ve had have mostly been about the stodgy presentation coming off too stagey or occasional overly melodramatic moments, and those are easily excusable. To go on so long without fracturing my suspension of disbelief in this world’s reality is an impressive achievement any way you look at it.

Sadly, though, that run has finally come to an end.

Straight to the point: I do not buy Reuenthal’s traitorous hell turn. I do not believe the sequence of events that makes him decide “Fuck it, I’m gonna fight the man I’ve been supporting for years.” I don’t even think I fully understand why he made this choice. Was it really just a case of “If they’re gonna say I’m a monster, I might as well be one”? Is he really so prideful that he’d throw his position away rather than try to make peace for something that isn’t his fault? Because that’s not how he’s come off throughout this show. He’s been cynical and bitter and maybe a little resentful, but for all the hinting of “Ooooh, maybe he’s gonna try and overthrow Reinhard!”, he’s never shown anything but loyalty to his Kaiser. All he had to do was send a message saying, “Hey, this attempted coup wasn’t me, let’s get to the bottom of which bastards would try to kill Reinhard,” and voila! No more trouble! Okay, there’d still be some trouble, but my point stands. The show tries to connect it to his troubled past and how he feels fated to always walk the path in life he wants the least, but, like... people don’t just overturn their entire way of life when one thing goes wrong. Reinhard’s been in an incredibly good spot lately, with nothing to suggest he was on any sort of downward slope. If anything, he should be even more aware now than ever of how much Reinhard trusts him, and how little sway Lang and Oberstein have been able to exert over him. So why the hell does he make this choice?

The answer, sadly, is obvious. He makes this choice because the story needs him to turn traitor, and for the first time, it isn’t able to justify that choice in a realistic manner. It just forces him into a preset narrative role, one he’s been destined to fill since a while back, without making us believe the sequence of events that brought him to this point. And that’s a serious issue for this show moving forward, because it’s hinging the entire climax of its story on a plot turn that smacks heavily of bullshit. How does LOTGH recover from this? Can it recover from this? I hope it does, because after such an excellent run, it would suck hard to lose its way in the final stretch.

Not On Your Life

Still, one thing that helps the medicine go down easier is the fact that nothing else around this fumbled heel turn is fumbled in the same way. Hell, if anything, it almost feels like everyone in the show is suddenly fighting twice as hard just to pick up the slack Reuenthal let out. This is an intense series of episodes, full of moments that literally made me reel back in my seat. Lutz’ last stand against the traitors on Urvashi, silhouetted against the flames, was as epic as any of the big space battles. And then Lutz outdoes himself in death by unraveling Lang’s connections to the Church of Terra to snap Reinhard out of his prideful rage like an absolute G. But even that’s nothing compared to Mittermeyer, who dominates episode 94 with some of this show’s most awe-inspiring moments yet. We’ve never seen anyone stand up to their beloved Kaiser Reinhard with this much passion and boldness. Mittermeyer’s so determined to prevent the Reuenthal situation from spiraling out of control, he doesn’t even crack in the face of Reinhard’s anger. And then this based motherfucker tries to assassinate Lang with his own hands! Jesus Goddamn Christ! I already liked Mittermeyer a lot, but at this point he’s my second favorite character, just behind Yang himself. He even has the one Genuinely Great Romance in the entire show, and his goodbye with him wife actually god me emotional, god dammit! I want him to be okay!

And yet, even these moments pale in comparison to what may be the single most badass moment in the entire show. Reinhard and his allies are surrounded by assassins in the middle of a burning forest, with guns trained on them from every direction. All it would take is a few shots and they’d all be dead, the Lohengram dynasty burned to ash. But instead of cowering, Reinhard pushes his men aside to stand face-to-face with the would-be rebels, daring them to their face to shoot him dead. And it works. In the face of certain, inescapable death, Reinhard saves his life and the lives of his allies by literally intimidating the traitors into rejoining his side through sheer force of personality. And then he watches without flinching as the turncoated turncoats turn on their allies and gun them down right before his firelit eyes. Sweet. Buttery. CHRIST. Reinhard von Lohengram is the single coolest motherfucker to ever walk the galactic firmament, and I’ll fight anyone who disagrees. I just hope that level of badassery is enough to keep this show from stumbling over itself in the final leg of its journey.

Odds and Ends

-”From now on, you can call me Poplin the Respectable!” slkdfjsdf nice try bud

-It must be hard for Julian, following Yang’s teachings while trying to understand his own way forward. I don’t envy him.

-Huh, was Reinhard reading a book about the Free Planets Alliance there? Interesting.

-HOHOHOHO SHIT THEY JUST PLOWED THROUGH EM

-”That may not be true, but it’s what I wish to believe, so let me believe it.” This episode is weird, man.

-Now he’s doing the Gendo Ikari pose? I... whuh?

-Okay, throwing Trunicht in the slammer is the smartest thing you’ve done all episode.

-...shit, is Grillparzer in with the church too?

-”You wish to retire in your thirties? We never imagined you to take after Yang Wen-Li.” Oh, low blow.

-”You need not feel sorry. You will accompany me, after all.” ahaha holy shit Oberstein

-GOD DAMMIT OF COURSE SHE’S PREGNANT

Holy hell, we’re getting close to the end now. See you next time!

#anime #the anime binge-watcher #tabw #legend of the galactic heroes #lotgh #logh #ginga eiyuu densetsu

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ot3 · 3 years

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wait wait wait can you explain more how to be funny and what makes humor work preferably a la essay form if you’re up to it. I’m reading a comic and the jokes aren’t sticking so I’d love to be able to properly be able to figure out what makes some joeks works but others not so I articulate what I hate about it

This response got kinda long so i’m sticking it under a readmore. TL;DR: I don’t think I can tell you how to be funny and what makes comedy work, I don’t think anyone can tell you that. However, I can give you a bunch of advice and guiding questions on how to go about figuring out these answers for yourself

Honestly I don’t think that’s something I’m capable of doing this in any sort of reasonable amount of time. It’d either have to be something really short and really general like what I wrote in the rvb0 post or it’d have to be incredibly long and incredibly specific where I pick specific good and bad examples of comedy and break down what I think works and what I think doesn’t. It’d take a lot of slow and meticulous work I don’t really have the time for, and I’m also not sure how helpful it would be, because once again, comedy is super super subjective and I don’t want to risk overemphasizing my own tastes/general observations as any sort of gospel.

the best advice i can give you would be to try and properly figure out for yourself why these jokes aren’t sticking! because processing something as Funny is much more of an innate reaction than, like, engaging Cerebrally with Narrative Developments it can be much harder to actually realize why something works or doesn’t. I’m going to start by sticking in what I said in my original RVB0 post here in case anyone is reading this without context.

A rule of thumb I personally hold for comedy is that, when push comes to shove, more specific is always going to be more funny. The example I gave when trying to explain this was this:

saying two characters had awkward sex in a movie theater: funny

saying two characters had an awkward handjob in a cinemark: even funnier

saying two characters spent 54 minutes of 11:14's 1:26 runtime trying out some uncomfortably-angled hand stuff in the back of a dilapidated cinemark that lost funding halfway through retrofitting into a dinner theater: the funniest

The more specific a joke is, the more it relies on an in-depth understanding of the characters and world you’re dealing with and the more ‘realistic’ it feels within the context of your media. Especially with this kind of humor. When you’re joking with your friends, you don’t go for stock-humor that could be pulled out of a joke book, you go for the specific. You aim for the weak spots. If a set of jokes could be blindly transplanted into another world, onto another cast of characters, then it’s far too generic to be truly funny or memorable. I don’t think there’s a single joke in RVB0 where the humor of it hinged upon the characters or the setting.

Then there’s the issue of situational comedy and physical comedy. This is really where the humor being ‘tacked on’ shows the most. Once again, part of what makes actually solid comedy land properly is it feeling like a natural result of the world you have established. Real life is absurd and comical situations can be found even in the midst of some pretty grim context, and that’s why black comedy is successful, and why comedy shows are allowed to dip into heavier subject matter from time to time, or why dramas often search for levity in humor. It’s a natural part of being human to find humor in almost any situation. The key thing, though, once again, is finding it in the situation. Many of RVB0’s attempts at humor, once again, feel like they would be the exact same jokes when stripped from their context, and that’s almost never good. A pretty fundamental concept in both storytelling in general but particularly comedy writing is ‘setup and payoff’. No joke in RVB0 is a reward for a seemingly innocuous event in an earlier scene or for an overlooked piece of environmental design. The jokes pop in when there’s time for them in between all the exposition and fighting, and are gone as soon as they’re done. There’s no long term, underlying comedic throughline to give any sense of coherence or intent to the sense of humor the show is trying to establish. Every joke is an isolated one-off quip or one-liner, and it fails to engage the audience in a meaningful way.

When you see a joke that doesn’t land - try mentally rewriting it. Is there anything you could do to make it funny? Can you bring to mind any similar jokes from other pieces of media that you did like? How does the joke effect the pace of the story - is it an awkward and unnatural pause within the flow of events/dialogue? Is the joke well implemented - that is to say, regardless of how ‘objectively’ funny or unfunny the actual meat of the thing is, is it coming from the right source and directed at the right target? Does it add to your understanding of events/characters/setting, do nothing in this department, or does it detract from/contradict them? Is it immersion-breaking (and if so, is this intentional or meaningful?) or does it pull you deeper into the world you’re being shown?

Once you start asking these questions of both media you like and media you dislike you’ll start to recognize patterns in what lands and what doesn’t, and I don’t think they’re questions anyone else can really answer for you.

I think it also is a question of whether comedy is the intended final destination of a piece of media or just a step along the way. Media that exists solely as a vehicle for jokes is going to have comedy that looks very different than the comedy present in media that exists for heavy narrative purposes but includes moments of levity.

Here are two examples of shows I think are really good and are also about as different in concept, execution, and intent as humanly possible: phineas and ferb and breaking bad.

Breaking bad is probably the most emotionally taxing television experience I’ve had in my life. I mean this as a compliment. breaking bad is supposed to be grueling to watch. It also has jokes in it. the scenes that are funny server to really meaningfully increase the immersion, not break it, and they do this by bringing a very realistic sense of human interaction that grounds the high-stakes melodrama into something that looks a hell of a lot more like reality. There’s one scene in particular i think does just such a great job of exemplifying this. here we’ve got jesse having dinner with walt and his wife while they are, as always, fighting with each other viciously and creating such a horrible and suffocating miasma of tension over the entire narrative, and jesse is trying to break some of this tension very poorly.

youtube

Then, in literally the complete opposite vein, you’ve got the phineas and ferb episode ‘lets take a quiz’ which i consider incredibly formative in the development of my sense of humor. The entire Bit of literally this whole episode is that they’re doing this terrible quiz with no rules that makes no sense and candace is trying to win but nobody knows how to play this game.

youtube

Phineas and ferb is an episodic children’s cartoon that deals almost exclusively in unreality and the absurd, and so this kind of bit works here.

Saying ‘whats good comedy’ is really hard because it’s just like saying ‘whats good narrative’. There’s no one set of criteria; it boils down to what is the intention of your comedy, and how successfully were you able to act on these intentions?

This really got away from me sorry I am working on extremely little sleep i hope this helped even a little bit. My final piece of advice is: go watch hot fuzz. seriously. go watch hot fuzz (2007) dir. edgar wright and look at how the jokes in that movie are because theyre perfect and i love hot fuzz and it’s fucking funny

#long post #Anonymous

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film-masochisme · 4 years

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Trust (1990)

Directed by Hal Hartley

Doomsy’s Rating: 100/100 (My favorite film!)

Is Trust the best film ever made from a technical point of view? No. Is it my favorite film of all time? Hell yes it is. At this point, I think I’ve seen this classic going on fifty times and every time it’s just perfect and everything I could ever want in a film.

Before you read any further, I implore you if you’ve never heard of this film (understandable if you haven’t, it’s somewhat obscure), stop what you’re doing and make the effort to find it.

Trust, for lack of a better word, invented emo culture.

It didn’t popularize it—the film was little seen at the time of its release outside arthouse crowds and fans of the director—but it created the first modern emo protagonist way back in 1989 with the wonderfully unpredictable icon and quote machine Matthew Slaughter, seen below in all his jet-black, chain-smoking laconism:

Matthew Slaughter may be, in my humble opinion, one of the top five greatest cinema characters ever. Martin Donovan, who has to date, appeared in nine of director Hal Hartley’s films, brings this troubled, intellectual, confrontation-prone yet empathetic soul to life in a layered performance of gruff scowl and poetic wisdom. If Holden Caulfield’s internal musings of apathy were the skeleton, Matthew Slaughter is the muscular exterior, throwing glances of possession and clouds of smoke to whoever dares to question his integrity. His permanently clenched fists and avoidance of eye contact belie the traumatic home life that in another film would be presented as more serious. Here, instead of regarding parental abuse with the utmost sincerity, Matthew’s obsessive-compulsive, violent father (played with disturbing teeth-gnashing verve by John MacKay) is shown as a near caricature, literally exploding into his son’s room with nefarious intentions, the door being cartoonishly thrown off its hinges like some Looney Tunes gag. But Matthew’s father is no joke. His gaslighting and nasty streak are instantly relatable, evoking no laughs just as Hartley surely intended. Matthew’s half of the film is sad and lonely, but insightful and warm in a way that only a humanist at heart could affect. His deadpan aphorisms are endlessly quotable and influenced many romantic depressives for decades to come, including Jim Carrey’s Joel in Eternal Sunshine of the Spotless Mind, Donnie Darko’s title character, the protagonist of Submarine, and so forth. But alas, Trust is a film of two protagonists and their aimless lives on Long Island and their hope in each other. So, more on Matthew a little later on.

Trust’s other half is dominated by the luminous, adorable Adrienne Shelly in her greatest role, as Maria, a quick-witted and carefree 17-year-old girl grappling with an unplanned pregnancy at the hands of her pathetic quarterback boyfriend Anthony, and suddenly being cast adrift in a cruel and unforgiving town of sexual predators, toxic masculinity, and unstable homes. She begins the film an archetypal nubile, but through her interactions and ultimate romantic relationship with the older and likely asexual Matthew, she learns to believe in someone other than herself and to find her place and confidence. Adrienne Shelly, the beautiful, effervescent soul that was sadly murdered a mere fifteen years later, is a beaming ray of light no matter what room she enters.

Maria, as a pregnant teen struggling to find a path and possessing an acerbic tongue and a penchant for leaving accidental disaster in her wake, precedes Juno by nearly two decades and again, has clearly influenced emo culture with her hilariously dorky glasses (seen below) and sunken, eyeliner heavy aesthetic. She begins the film by unintentionally slapping her father into a heart attack-induced untimely demise, then spends the rest of her narrative attempting to make amends with her psychopathic mother (a fantastic Merritt Nelson) and make up her mind over whether to keep her child, played out in a highly-stylized manner that some would compare to the works of David Lynch (namely the domestic areas of Twin Peaks) but more closely aligns with the literary approach of Salinger or the Bronte sisters.

One thing that Trust managed to do, before perhaps any other piece of media at that time, was show how the alienation of youth from the commercialism of the 1980s was already blooming, and it captured, before grunge took it mainstream, the depressing lack of direction experienced by outsiders who couldn’t fit into Reagan’s model. Matthew and Maria do not fit in to the respective lives: Matthew is a thirty-year-old genius still living with a father who hates him, and despite his gifts, has sustained a failure to launch; Maria is a pregnant high school dropout with nothing on her mind besides what’s ten feet in front of her. These two, forced to rely on lethal safety nets, meet by pure happenstance on a cold night in a ramshackle building, and share four or five honest lines and a connection is forged.Their attempts to bring the other into their respective abusive homes are met with consternation and further verbal and physical altercations, almost all of which are darkly humorous in some way, but never successful. And yet, their initial desires to become responsible members of society only decay their psyches more. It is here that we realize while they may not get a happy ending, they have retained their independent identities and succeeded at what they set out to do.

The best scene in the film comes about halfway through, where Matthew comes into a bar, casually punches two people, then sits down with a massive “keep out” sign practically stapled to his forehead when he’s approached by Peg, Maria’s older, divorced sister. The dialogue of this scene, some of the best I’ve ever seen, somehow pales in comparison to the perfectly-tuned chemistry between the sexy, sassy Peg and the nihilistic Matthew, both of them playing off the other’s perceived weaknesses like the screwball comedies of old. The scene climaxes in a poisonous barb that leaves Peg speechless, and is the only time in entire film when Matthew utilizes a lowbrow dialectic.

It’s also one of the few instances in the entire film when Matthew looks at a character other than Maria while addressing them, leading me to believe (among other reasons) that he’s somewhere on the autism spectrum. His extreme difficulty in opening up to others is shown in painstaking detail, as is his extreme intelligence and lack of upward momentum. Whenever someone or something threatens his world and paradigms, he will often react violently or impulsively. This is a man who carries around a handgrenade “just in case.” He is terrified of change, but he is also aware of the fact that life is always changing. Sometimes quickly, perhaps even painfully, but it does.

The strange thing is that, even by the film’s end, despite his best efforts, Matthew’s changes as a character are minute. His growth, while not stunted per se, is reliant on whether he is understood, and even Maria, his soul mate, doesn’t get him sometimes. Relationships with a partner on the autism spectrum can be tricky (speaking from experience) but are so worthwhile because they are not unsure of who they are or what they want. Matthew spends much of his dialogue speaking his mind, at times perhaps even too direct (as above) but he is a singular and thoughtful person who wants to do right by the world, even when he doesn’t agree with it.

As the film progresses and Maria’s arc of the film takes precedence, the film shifts direction slightly into a powerfully feminist and deeply open-minded look at a woman’s right to choice, both in her life direction, and more bluntly, about abortion issues. A wonderful subplot involving a no-nonsense nurse (Karen Sillas) that nonchalantly offers her teenage abortion patients shots of scotch in celebration is both hysterical and sad, running the gamut of emotions with a tone of ambivalence. It is the flat prosody of the film that makes all these individual elements come to life, from top down.

Overall, Trust is a film without Hollywood glitz, but just as achingly romantic and heartfelt and emotionally fulfilling as the silver screen can provide, and most postmodern romantics and emo culture wouldn’t exist without its influence. It’s as honest, sincere and a real as movies get.

Please, everyone just watch this. It would be Tumblr’s favorite movie, just like it is mine.

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