#or indicate a fundamental lack of understanding of how stories work

[noxexistant]

“katherine sucks she should’ve never been written, sarah’s so much better” “sarah’s so boring and barely a character, katherine’s so much better” newsies fans truly cannot handle more than one woman before you start getting scared

[lansplaining]

u kno on the topic of interview answers/authors notes with mxtx, I tend to take it with a huge grain of salt. Considering how I keep hearing that she once said that wangxian were the only gay characters in mdzs, yet everyone I seem to come across agrees there was nothing heterosexual about LXC and his interactions with JGY. Like which is it.

well, right. I hold the perhaps controversial opinion that authors... can be kinda wrong about their own works. and I swear I don't mean it like that post about losing custody of your characters in court-- I actually think the wangxian/xiyao thing is a really good example of what I mean.

however you feel about xiyao as a ship or the two of them as characters, there is no denying that they are set up to parallel wangxian in a lot of really key narrative ways. just taking a few broad examples:

both are pairings of a Lan brother and someone who was born in a marginal social position but has entered a place of relative outward security and respect

this position of security and respect is rapidly dismantled due to a combination of WWX/JGY's own actions and snowballing rumors and anger based in part of social prejudice, ultimately driven by an individual (JGS and NHS) who wants to see them ruined

both Lans, in defiance of social expectation, try to trust that there is a reason their partner has made the choices they made and to understand where they are coming from (LWJ over a longer span, LXC in a very compressed period in the temple)

there is a divergence, as LWJ decides he will fight and die for WWX no matter what he's done, and LXC has a moment of doubt and stabs JGY

but then they converge again, as both are pulled into a violent final confrontation/climax and make the decision to die for/with their partner, only to be prevented

both are finally left with feelings of regret and a lack of resolution, as LWJ feels like he didn't stand by WWX early enough or fight hard enough, and LXC feels he wasn't given the opportunity to really understand who JGY was or why he acted as he did

to be completely obvious about it, narrative parallels convey meaning. it tells the reader "something about these two events/sets of characters is fundamentally the same." narrative parallels have also been a very common way historically to subvert censorship when it comes to queer content: you parallel a queer person or couple and a straight couple, and let the viewer draw the lines. i'll be perfectly honest, i don't know as much about the history of this trope in China, but you can certainly see it in CQL itself, and the ways wangxian is paralleled to Yanli and Zixuan to draw attention to the fact that they are both, in fact, romantic couples.

MXTX has said this is not what she was trying to indicate! but she did put in these parallels, and a reader cannot be blamed for interpreting them as indicating something-- or for interpreting them as indicating that the fundamental sameness that the parallel points to is that both wangxian and xiyao are and were in love. maybe it was an accident, but it's a very specific, and very specifically crafted literary device that is inescapably present in the story.

[misscarnivalofcarnage]

☠︎ Cɾҽҽρყραʂƚα: MBTI ҽԃιƚισɳ ☠︎

Mbti's are cool as fuck so here we go

-♱ ♱ ♱—♱ ♱ ♱—♱ ♱ ♱—♱ ♱ ♱—♱ ♱ ♱—♱ ♱ ♱-

,,In personality typology, the Myers–Briggs Type Indicator is an introspective self-report questionnaire indicating differing psychological preferences in how people perceive the world and make decisions“

———————————————————————

JEFF(REY) "THE KILLER" C. HODEK

(ISTJ / Logistician)

,,The ISTJ personality type is Introverted, Sensing, Thinking, and Judging, which means they are energized by quiet, independent work; pragmatic and detail oriented; logical; and skilled in organization and time-management. This combination of personality preferences produces people who value order, predictability, and routine. They are rule-followers who love the security that comes with knowing their place in the world. ISTJs are hard workers who are reliable, productive, and persistent. They appreciate the value of teamwork, but can be stubborn and struggle with change.“

In Sesseur's version of his character, Jeff presents himself as a very stubborn and single-minded man. He appears to have a tendency to be overcritical and a lack of sensitivity, which is crystallized in the course of his story and his way of treating people.

He spares no effort (or bodies) to pursue the goal he has dedicated himself to by ridding the world of those who lie, judge and are fundamentally bad in his eyes. Hypocritically, he misjudges and suspects people of being dishonest or weak himself, usually for the simple fact that they might not meet his standards.

Beyond that, Jeff demonstrates a sense of loyalty and responsibility to his family by being willing to do anything to ensure their safety.

Strengths: Endurance And Persistence, Loyalty, Protectiveness, Adherence To Personal Code, Strong Work Ethic, Focus, Determination, Reliability, Responsibility

Weaknesses: Overemphasis On Past Experiences, Resistance To Emotional Expression, Tendency To Be Overly Critical, Reluctance To Seek Help

———————————————————————

BEN DROWNED

(ENTP / Debater)

,,The ENTP personality type is Extraverted, iNtuitive, Thinking, and Perceiving, which means they are energized by working with others, focused on understanding people and problems, creative and systematic thinkers, and comfortable with frequent, fast-paced change. This combination of personality preferences produces people who love taking on challenges deemed impossible by others. Quick-witted, confident, and charming, they are visionaries with infectious enthusiasm. ENTPs trust their instincts, are not bound by convention, and are rarely judgmental; however they can be impatient and impractical.“

Ben exhibits several signs of the ENTP personality type. His manipulative and deceptive nature, as well as his indulgence in psychological games, reflect the ENTP's inclination for intellectual dominance and mind games. Ben's relentless pursuit of chaos and disruption, as well as his indifference to the well-being of others, show the unhealthy manifestation of an ENTP's desire for intellectual stimulation and pushing boundaries.

Overall, Ben represents the negative aspects of an ENTP to an extreme and unhealthy level, emphasizing manipulation, disregard for consequence, and a warped sense of reality.

Strengths: Creativity, Strategic Thinking, Inventivness, Persuasiveness, Charisma, Versatility, Experimental Nature, Communication

Weaknesses: Insensitivity, Manipulative, Overconfidence, Lack Of Emotional Expression, Provocative, Disregard For Consequences

———————————————————————

EYELESS JACK

(INTP / The Logician)

,,The INTP personality type is Introverted, iNtuitive, Thinking, and Perceiving, which means they are energized by time alone in deep thought, focused on understanding the theories behind ideas and concepts, led by logic and reason, and unencumbered by tradition. This combination of personality preferences produces people who generally do not buy into conventional thinking, but instead seek to break apart widely accepted ideas to look at them from different angles. Though INTPs do not value small talk, they are passionate and articulate when exploring different complex systems and analyzing bigger universal concepts.“

Jack displays several traits related to his personality type. Both his Analytical nature and his curiosity to understand the human body and surgical procedures reflect the INTP's thirst for knowledge and their inclinations towards logical exploration.

Jack has a preference for solitude, introspection and introverted tendencies. In addition, he has difficulty expressing deep emotions and a rather detached demeanor.

Overall, Jack's intellectual depth, analytic mindset and introverted disposition suggests an INTP personality type.

Strengths: Analytic Thinking, Intellectual Depth, Independence, Attention to Detail, Objective and Impartial Thinking, Inquisitive Nature, Unconventional thinking

Weaknesses: Emotional Detachment, Overthinking, Perfectionism, Impatience with Redundancy, Lack of Practically, Lack of Assertiveness

———————————————————————

JANE "THE KILLER" RICHARDSON

(INFP / The Mediator)

,,The INFP personality type is Introverted, iNtuitive, Feeling, and Perceiving, which means they are energized by time alone, focused on big picture ideas and concepts, led by their values and feelings, and spontaneous and flexible. This combination of personality preferences produces people who are open minded, creative, and deeply committed to authenticity. INFPs do not conform easily to others’ expectations, yet they work towards the personal growth of themselves and others. An INFP is sympathetic, gentle, and encouraging to their friends and loved ones.“

Jane exhibits several traits common for an INFP, such as her deep sense of individuality, a desire for authenticity, as well as a strong moral compass and compassion for others. She seeks to protect innocent individuals from danger, especially from people who have hurt her in the past.

Her emotional depth and introspection are also consistent in an INFP's tendency to explore her inner world and express her emotions creatively.

Overall, Jane implies an INFP personality type due to her unique perspective, empathic nature, and pursuit of authenticity.

Strengths: Strong Values and Ethics, Empathy and Compassion, Idealism, Vision, Deep Emotional Connection, Intuitive Insights, Authenticity and Individuality

Weaknesses: Idealism and Disappointment, Difficulty Setting Boundaries, Overwhelm by Emotion, Sensitivity to Critism

———————————————————————

NATALIE "CLOCKWORK" OULLETTE

( ESTP / The Entrepreneur)

,,The ESTP personality type is Extraverted, Sensing, Thinking, and Perceiving, which means they are energized by playful time with others, perceptive and able to improvise, motivated to solve logical problems, and focused on immediate results over long-term goals. This combination of traits produces people who are excellent in emergency situations; they are able to think on their feet, adjusting and responding reflexively. Gregarious and self-assured, ESTPs have a great sense of humor and a wide circle of friends, but may have difficulty connecting on a deeper emotional level. Because ESTPs are so focused on the present, they are able to be bold and adventurous, but they can also struggle with thinking ahead and following through.“

 Clockwork's impulsive and thrill-seeking behavior align with the ESTP penchant for excitement and immediate gratification.

Her unhealthy manifestation is evident in her extreme violence and lack of empathy towards her victims and the disregard of consequences for her actions.

Clockwork's Manipulative tendencies for ignoring rules and authority further speak to the type, as she engages in dangerous and sadistic behavior without remorse.

She has a lack of long-term planning, the disregard for the safety of others, and a tendency to impulsive, implying her to be an ESTP.

Strenghts: Adventurous Spirit, Quick Thinking, Charisma, Practical Problem-Solving, Boldness and Fearless, Ressourcefulness, Pragmatism, Action-Oriented

Weaknesses: Impulsiveness, Insensitivity, Reckless, Difficulty with Long-Term-Planning, Impatience, Difficulty with Emotional Intimacy

———————————————————————

NINA "THE KILLER" HOPKINS

( ENFP / The Campaigner)

,,The ENFP personality type is Extraverted, iNtuitive, Feeling, and Perceiving, which means they are energized by time with others, motivated to deeply understand the human experience, drawn to authentic emotional intensity, and easily bored by the mundane. This combination of personality preferences produces people who place great value on personal freedom and happiness, both for themselves and for others. ENFPs are excellent communicators who enjoy bringing out the best in others, though they can lack focus and overlook key details in favor of the bigger, more imaginative picture.“

Nina exhibits traits that suggest she embodies an unhealthy ENFP personality type. Her obsession with Jeff the Killer and her desire to emulate him reflects an ENFP's tendency to become very passionate and idealistic about their interests.

However, Nina's unhealthy behavior is evident in her intense fixation, which leads her to engage in violent and destructive behavior without regarding for the well-being of others.

Her distorted perception of love and her willingness to harm anything in the name of her obsession is another indication of an unhealthy ENFP potential of losing touch with reality and disregarding ethical boundaries.

Additionally, Nina‘s erratic emotions and impulsive actions indicate a lack of emotional stability and a struggle to find healthy outlets for her intense feelings.

Overall, Nina‘s character emphasizes on the negative aspects of an ENFP personality taken to an extreme and unhealthy level, showcasing obsession, distorted values and emotional volatility.

Strengths: Passion, Creativity, Idealism, Vision, Infectious Enthusiasm, Charisma, Open-Mindedness, Loyalty, Unconventional Thinking,

Weaknesses: Obsession, Distorted Perception of Reality, Emotional Instability, Lack of Boundaries, Difficulty Coping With Criticism, Lack of Long-Term Planning

(credits for the mbti-description: https://www.truity.com/blog/author/truity)

[hyperfixationtimego]

I tried to be open minded about the show but I just can’t. Like I was enjoying the animation, then the girl who got murdered in the first scene was used to fill out a small crowd and I was like… this is kind of lazy. Absolutely none of the jokes have been funny. Some don’t even seem like jokes, just two unrelated thoughts smashed together in a way they’re hoping is funny. the only moment that kind of struck joy was when Fred’s dad spoke and I was like, hey that’s Fred og voice actor isn’t it? Cool.

The whole “Velma has ghastly mystery induced hallucinations” is an interesting angle bc I think it justified her sometimes ridiculous skepticism in other iterations. I do think my main problem is it’s trying to deconstruct popular character tropes by forcing existing characters into tropes they’ve never really fit.

Like it works better for a show like riverdale bc the Archie comics characters are relatively one note and just adapt to whatever situation they’re in. Velma is a high school setting prequel for characters who are already teenagers in the source so of course people are questioning why things are so different, and every scooby adaptation for 50 years has developed them into characters people are attached to. It’s like, two years tops before these kids are living in a van with each other and a fully grown Great Dane.

I kind of think an edgy scooby doo show should go the opposite way. They’re all like 40, scooby isn’t around anymore, they’re washed up and directionless because being a teen detective is cute but not a career choice. The live action scooby doo movie already kind of explored the gang breaking up as grownups though and can’t possibly be beaten, so instead there’s another scooby doo prequel but this time the characters are intentionally grating and the humor simply doesn’t work. And there’s no scooby doo

You raise some very good points! And I concur with a lot of what you’re saying!

I agree, a good deal of the humor and dialogue doesn’t land, or feels overly embellished. At best, it’s pretty meh.

Frankly, I completely understand why diehard fans of previous scooby doo versions wouldn’t enjoy it; there’s a lot of change that’s been done to the characters and world you’ve already come to love, so it makes sense why VELMA’s more sardonic and satirical nature might be off-putting or difficult to stand. (I get it!! I’m a huge TMNT fan, but I personally just can’t enjoy ROTTMNT because of how fundamentally different it is from what I grew up with, and I feel a similar way about the current Monster High generation!)

(also yes!! The og va for Fred playing Fred’s dad was indeed a cool little Easter egg! not sure if you managed to get that far, but Norville’s dad’s appearance was also included as homage to Shaggy’s original character design, which I thought was pretty fun!)

You gave it a shot, and you didn’t like it! That’s completely fair! I admire the fact that you were willing to try it, though!!

But I hear what you’re saying in terms of the show being a prequel, and I think the only answer I really have is that, for as much of it is rooted in the past of Scooby Doo canon, the show itself is its own work, and it’s probably going to make a lot of choices that conflict with past iterations. I feel Scooby’s lack of presence is a pretty fair indicator of that; it’s not the gang we’re used to, and it may well be that the gang we end up with when the season/series wraps won’t be concurrent with the mystery inc we all currently know and love.

But I think that’s mostly because I don’t think VELMA is meant to be a prequel of any iteration in particular, you know? like the show is telling the origin story of ITS Velma Dinkley and ITS mystery incorporated, not the origin story of every version of Velma & Mystery Inc. ever. It draws heavy inspiration from its source material, but a lot of the broad strokes are likely to be pretty unfamiliar!

As for the idea of an older and washed up edgy mystery inc, I think that that could make for a HILARIOUS punchy animated short, but the idea of it as the premise for an on-going comedic series sounds a bit depressing. I don’t know! I feel like there’s at least a little bit of a safety net in knowing that this is an origin story; we know they ultimately end up happier and closer to one another than where they initially began!

Thank you for the ask, anon; I really appreciate it!

(Also, do you happen to know which scene the dead girl’s character model gets used in to fill out a crowd? I’m just curious to see if I can spot it for myself!)

[starseedfxofficial]

The Comeback No One Saw Coming: Understanding WTI's Dead Cat Bounce In the thrilling world of trading, sometimes prices drop, and they drop hard. But every now and then, they bounce back—albeit not for long—a phenomenon affectionately known as the "dead cat bounce." Today, we're diving into a peculiar case: WTI Crude Oil and how it pulled one of these surprise stunts on us. Strap in (but not too tight) because we'll add a little humor to this serious game. Why WTI's Bounce Was Anything But Alive First things first—why is it called a "dead cat bounce"? Well, it's a bit morbid, but the idea is that even a dead cat will bounce if it falls from a great height. This temporary recovery can trick traders into thinking the asset is reversing its bearish trend when, in fact, it's just an illusion—an optical trick like thinking that perhaps those shoes you bought on impulse might actually be comfortable one day. Spoiler: they won't. Recently, we saw WTI crude oil pull off a textbook dead cat bounce. After a significant drop in price, it looked like a turnaround was on the horizon—but just like that hope you get when you accidentally press the "sell" button instead of "buy," the recovery was short-lived, and reality soon set in. WTI, which had been knocked down by market oversupply, recession fears, and shifting geopolitical dynamics, gave traders a taste of optimism before snatching it right back. It's a bounce, but not the kind you want to catch if you're looking for stability. The Hidden Patterns: Dead Cat or Revival? So, how do you tell a dead cat bounce from a true reversal? Here’s the thing—you don’t want to be that trader who, like a hopeless romantic, clings to a fleeting moment of optimism only to get burned. Instead, it’s time for a little savvy detective work. Look for volume. A legitimate rally usually shows an increase in buying volume, while a dead cat bounce lacks conviction—sort of like when your friend says they’re "definitely" going to the gym next week. Sure, Jan. During WTI’s bounce, the volume data didn’t support the optimistic move, and technical indicators pointed to bearish divergence. The signs were all there, but it’s easy to see why some traders got caught in the euphoria—after all, we love a good comeback story. The Comeback Story That Wasn’t Ah, the human mind. We all want to believe in the underdog, the comeback kid—the idea that what goes down must come up. But WTI’s recent price action was more of a lesson in gravity than in hope. The bounce happened, but it didn’t have the backing of solid economic data or a clear shift in fundamentals. When dealing with WTI, it’s crucial to remember the macro factors at play. Oil prices are highly influenced by factors like OPEC decisions, geopolitical tensions, and global demand. It’s not just about the charts, folks; there’s an intricate dance of economic forces at play. During this bounce, the underlying fundamentals didn’t change—recession fears were still in the air, and supply wasn’t cut dramatically enough to support a real reversal. This was like trying to do a grand piano lift with a bunch of party balloons—sure, it lifted a little, but the weight was still too much to handle. A Contrarian's Perspective: Trade the Illusion So, how can you benefit from this bizarre market illusion? Let’s go full contrarian here. Dead cat bounces are perfect opportunities to short the market if you know what to look for. When the signs scream "false recovery," there’s potential to capitalize. The key is timing. Jumping in too soon could mean you get caught by an unexpected leg-up; too late, and you miss the meat of the move. Think of it like grabbing a train ticket: there’s a sweet spot between "boarding now" and "doors closing." During WTI’s recent bounce, savvy traders with a finger on the pulse saw a chance to go short when the price retraced towards key resistance levels without any true signs of fundamental strength. Like a cat batting at a string, the market will jerk back and forth, but knowing when the movement lacks intent can save you from being swiped. Emotional Pitfalls: Why Traders Fall for the Bounce Why do traders get caught in these traps? It’s called fear of missing out, or FOMO, and it’s more powerful than any technical indicator. When WTI began its bounce, traders thought it was the beginning of a major comeback, fearing they’d miss out on a huge move. It’s the same reason you buy that trendy new gadget that everyone else has, even if it ends up collecting dust in the drawer—you didn’t want to be left out. One tip to avoid falling for a dead cat bounce is to trade with a plan. Write it down, make it smart, and stick to it. Even better, make sure your plan includes risk management. If you’re trying to catch a falling knife, wear gloves—figuratively, of course. In trading, that means setting stop-losses and understanding the risk you’re taking. And please, don’t trade on emotion. That’s like adding fuel to a dumpster fire—it doesn’t end well. Strategies for Spotting and Avoiding the Bounce Trap - Check Volume and Sentiment: If volume isn’t increasing during a price rally, that’s a big red flag. WTI’s dead cat bounce didn’t have the volume support, and sentiment among industry insiders remained cautious. The market didn’t suddenly love oil again—it was just catching its breath. - Mind the Fundamentals: When WTI began its bounce, the fundamentals hadn’t shifted. There were no surprise announcements, no big breakthroughs in supply management. Always check if the narrative matches the price action. If it doesn’t, be skeptical. - Use Technical Indicators Wisely: Tools like RSI (Relative Strength Index) can help identify whether an asset is oversold or overbought. When WTI bounced, RSI indicated that prices were simply correcting from an oversold condition, not starting a new trend. Wrapping It Up: Avoiding the Feline Feint WTI’s recent dead cat bounce is a reminder that markets are volatile and don’t always follow a clear path. Trading these situations is all about understanding what’s behind the move—is it hope or hard data? To avoid getting caught in a bounce trap, stay level-headed, trade with a plan, and remember, not all comebacks are created equal. And sometimes, that "dead cat" isn’t coming back to life—no matter how much we want it to. Next time you’re tempted to jump on a seeming recovery, ask yourself if there’s real substance behind it, or if it’s just gravity at play. And remember—even when a cat bounces, it’s still just a cat, and the market is much, much bigger. —————– Image Credits: Cover image at the top is AI-generated Read the full article

[drtathed1]

How Homeopathy Works and How Homeopathy Can Cure Autism

Autism Spectrum Disorder (ASD) is a complex neurodevelopmental condition that affects communication, behavior, and social interaction. While there is no cure for autism, various therapies aim to manage symptoms and enhance the quality of life for individuals with ASD. Homeopathy, a holistic system of medicine, has gained attention as a complementary therapy for autism. In this article, we will explore how homeopathy works and its potential in treating autism.

Understanding Homeopathy

Homeopathy, founded by Samuel Hahnemann in the late 18th century, is based on the principle of "like cures like." It involves using highly diluted substances derived from plants, minerals, or animals to stimulate the body's self-healing abilities.

The Principles of Homeopathy

Homeopathy is built on three fundamental principles:

Law of Similars: A substance that can produce symptoms in a healthy person can treat similar symptoms in a sick individual.

Law of Infinitesimals: Substances are diluted to the point where often not a single molecule of the original substance remains, leaving behind an energetic imprint.

Law of Individualization: Each patient is unique and should receive personalized treatment based on their specific symptoms and constitution.

Dilution and Potentization

Homeopathic remedies undergo a process of dilution and potentization. The more a substance is diluted, the higher its potency. Contrary to conventional medicine, where higher doses indicate stronger effects, homeopathy believes that increased dilution increases the remedy's effectiveness.

Individualized Treatment

Homeopathic treatment considers the physical, emotional, and mental aspects of a person. Each patient's case is thoroughly examined, and remedies are selected based on their individual symptoms and characteristics.

The Mechanism of Homeopathy in Treating Autism

Homeopathic treatment for autism aims to address the underlying factors contributing to the condition and improve overall well-being.

Addressing the Root Cause

Homeopathy focuses on identifying and treating the root cause of the individual's symptoms, not just suppressing them. By doing so, the treatment seeks to provide long-term benefits.

Boosting the Immune System

Homeopathic remedies are believed to enhance the body's immune system, promoting better resilience against infections and environmental stressors.

Reducing Toxic Overload

Homeopathic treatments aim to detoxify the body from accumulated toxins, potentially alleviating symptoms related to toxic overload.

Balancing Neurotransmitters

Homeopathy aims to balance neurotransmitter levels, which may positively impact mood, behavior, and cognitive functions in individuals with autism.

Efficacy of Homeopathy in Treating Autism

Over the years, there have been several studies and research examining the effectiveness of homeopathy in managing autism.

Clinical Studies and Research

While some studies show promising results in symptom improvement and quality of life, more research is needed to establish conclusive evidence.

Success Stories

Many parents and individuals with autism report positive outcomes and improvements in various aspects of life after undergoing homeopathic treatment.

Integrating Homeopathic Treatment with Conventional Therapies

Homeopathy can be used alongside conventional therapies to complement and enhance the overall treatment plan for individuals with autism.

Debunking Myths about Homeopathy and Autism

Several misconceptions surround homeopathy and its role in treating autism.

Placebo Effect

Critics often dismiss homeopathy's effects as a placebo response. However, numerous positive outcomes have been observed, indicating its potential beyond the placebo effect.

Lack of Scientific Evidence

While more research is needed, it is essential to acknowledge that there are studies and testimonials supporting homeopathy's efficacy in managing autism.

Safety Concerns

Homeopathic remedies are generally considered safe when prescribed by a qualified practitioner and used appropriately.

Finding a Qualified Homeopathic Practitioner

Choosing a qualified and experienced homeopathic practitioner is crucial for effective and safe treatment.

Research and Recommendations

Seek recommendations from trusted sources or consult professional homeopathic organizations for reputable practitioners.

Initial Consultation

During the initial consultation, the homeopath will gather comprehensive information about the individual's health history and symptoms.

Treatment Plan

A personalized treatment plan will be developed based on the individual's unique case.

Home Care Practices to Complement Homeopathy

In addition to homeopathic remedies, certain home care practices can support the overall well-being of individuals with autism.

Diet and Nutrition

A well-balanced diet that avoids potential allergens and artificial additives can positively impact health.

Lifestyle Changes

Incorporating exercise, relaxation techniques, and sufficient sleep can contribute to improved overall health.

Supportive Therapies

Occupational therapy, speech therapy, and behavioral interventions can be integrated with homeopathy to enhance the treatment approach.

Realizing Positive Outcomes: Testimonials from Parents and Patients

The success stories of parents and patients who have witnessed improvements through homeopathic treatment are encouraging.

Case Studies

Several documented case studies demonstrate the positive impact of homeopathy on individuals with autism.

Improved Quality of Life

Homeopathic treatment has been reported to enhance the quality of life for individuals with autism and their families.

Managing Autism Symptoms

Homeopathy has shown potential in reducing specific autism-related symptoms, such as sensory issues and repetitive behaviors.

Addressing Controversies and Challenges

While homeopathy has shown promise in treating autism, there are certain controversies and challenges that need to be addressed.

Regulation and Standardization

The lack of standardized practices in homeopathy highlights the need for clearer guidelines and regulations.

The Importance of an Individualized Approach

Given the uniqueness of each individual with autism, an individualized approach to treatment is essential for success.

Conclusion

Homeopathy presents a holistic and individualized approach to treating autism. While it may not be a cure, it offers potential benefits in managing symptoms and improving the quality of life for individuals with autism. When used alongside conventional therapies, homeopathy can be a valuable addition to the treatment plan

[from-the-coffee-shop-in-edoras]

I definitely don’t want to suggest that you can’t read Théoden in whatever way works for you. So I almost didn’t write this response because I don’t want to seem like I’m arguing with you and telling you how to feel about it. I just want to explain why this aspect of Théoden really doesn’t work for me, though I’m sincerely glad it does for you and I wish I could get on board because I really WANT to like Théoden (and do in most other contexts)!

Can I imagine for myself reasons why his lack of reaction to Théodred’s death makes sense? Absolutely. But the fact that it’s possible for a reader to construct their own potential rationale for his behavior doesn’t make it good storytelling or character building to me. If my understanding of such a key element of Théoden has to come only from my own personal assumptions or by layering on inferences based on historical parallels or Tolkien’s own life philosophy…I just don’t think that’s good for the character or story.

In real life, it’s totally fine for a person to react to death in whatever way works for them, and they don’t owe anyone an explanation of that reaction. But this isn’t real life—this is narrative storytelling and explanation is fundamental to understanding. If you leave major things unexplained, you create confusion for the reader. There’s a reason Tolkien shows us Faramir acknowledging and dealing with Boromir’s death. If he didn’t, the reader is left wondering whether Faramir even knows Boromir is dead, whether their relationship was good or bad, what’s going on in Faramir’s state of mind. These are all critical things to know about Faramir and so they’re included. And I don’t see this as different. Yes, Théodred is a minor character who dies off page. But he’s Théoden’s only child. And he’s the difference between business as usual and the untimely end of a 300 year old line of kings, a total upending of the power structure in Rohan. That’s a LOT to leave unaddressed to me.

Again, I’m not looking to dictate a particular grief response from Théoden. He doesn’t have to weep or tear his hair or be moved to spontaneous poetry (reactions which Tolkien, his Britishness aside, gives to others in the story). He can react or not react however he needs to. I’m just asking to be given ANY indication of his interior life about that reaction or lack thereof. Because failing to address or even acknowledge it at all leaves me with no textual explanation except apathy.

Théoden rant incoming:

It is and always will be absolutely inexplicable to me that Tolkien makes Théoden a kindly and loving uncle and friend and king and ally but an apathetic and insensitive father who doesn’t seem to care about the death of his own son.

We aren’t there when Théoden is informed of Théodred’s death, so who knows how that went. But even if he grieved then, it is WEIRD that he basically never speaks of Théodred again or shows any emotion about him, even in scenarios where he’s directly prompted to.

When—only days after his death, mind you—they ride right through the place where Théodred was killed and buried, Théoden has no reaction. He laments the general loss of men in the battle but doesn’t acknowledge that his own son was among them, and he expresses no interest in looking on his son’s grave. Then they arrive at Isengard and Théoden says he wants to confront Saruman for having done him so much wrong and you think, “Yes! Finally! Tear that old wizard a new one for having murdered your only child!” But again he…doesn’t. He registers a number of righteous complaints (ravaging of the Westfold, killing and maiming of Háma, etc.) but not one of them is about Théodred. The murder of his son just days ago is absent entirely from Théoden’s list of grievances.

It’s not like Tolkien makes up for this silence by giving us ANY indication that Théoden is just too overcome by emotion to speak about Théodred. And it’s not like Tolkien just dropped the narrative thread and forgot about Théodred entirely, because Éomer brings him up (this is why we love Éomer) and reminds (!) Théoden that Saruman killed him. And yet Théoden still says and does nothing about it! So it was a CHOICE to make Théoden seem unfeeling and cold here. And I just don’t get it, because that’s obviously not what Tolkien was going for with the character over all. And it serves no narrative purpose. So why not just toss in a sentence or two to prove that Théoden isn’t a monster about his own son’s death???

(I've seen it suggested that Tolkien is trying to reflect Anglo-Saxon tradition--in which kings sometimes or often preferred their sisters' sons to their own sons because they knew for sure that the sisters' sons were blood relatives and couldn't always say the same of their own sons if they didn't trust their wives--but this...does not reflect any better on Théoden if it's true.)

Ok, rant over. Let’s all palate cleanse with the face of a father who actually did love his son and grieve his loss because PJ understood that this is IMPORTANT:

[cosmicjoke]

Levi and the misconception of Sadism

One persistent and, I think, particularly annoying misconception surrounding Levi’s character is this idea that he’s a sadist, or somehow has sadistic tendencies.

It’s obvious where these notions come from.  They come from Levi beating the hell out of Eren in the courtroom near the beginning of the story, from the numerous times he threatened certain enemies with violence or torture, like Annie, or Pastor Nick, or the way he often relies on violence as a solution to problems, etc... 

The most prominent example that these people who believe this about Levi often point to is his scene with Hange, in which they torture Sannes.  But just like with the above examples, to come away from this scene interpreting it as “proof” of Levi’s being sadistic shows a lazy and fundamentally lacking reading of AoT’s text.  This scene, in fact, I would argue, proves the opposite, that Levi isn’t sadistic at all.

To understand this, one first has to understand why Levi was there, torturing another human being at all.  Levi wasn’t engaging in this sort of conduct out of any sort of self-satisfaction.  He wasn’t doing it because he was enjoying it.  He wasn’t doing it because he wanted to.  First, he was doing it because the Survey Corps needed what information Sannes had in order to move forward with Erwin’s military coup, and second, he was there to help Hange in dealing with their own grief and sense of guilt in what happened to Pastor Nick.  This wasn’t done by Levi because he wanted to do it, it was done because it was a necessary evil in accomplishing the ends of Erwin’s plans.

Now I often see people point to Levi realigning Sannes’ nose after breaking it as some sort of evidence of his cruelty, or him pouring on unnecessary punishment, and this being indicative of Levi’s sadism, but again, if you think that, then you’re entirely misunderstanding the scene, and Levi’s actions in particular.  Once again, I would argue that Levi’s actions here are only further proof of his being the opposite of sadistic, and again, to understand why, one has to understand why Levi does what he does in the first place.

He realigns Sannes’ broken nose not out of enjoyment, but out of anger and disgust.  In the moments before, Sannes had been spouting off, pontificating about the moral correctness of his own, past actions of torture and cruelty, justifying and excusing it, excusing his murder of other people as a good thing.  He tells Levi and Hange that they should be grateful for what he and the MP’s did.  He goes through a list of some of the people he and his team have tortured and killed, at one point referencing Historia’s mother, saying “Even just a whore in some backwoods farm...”  (and one can imagine how hearing words like that made Levi feel, given the fact his own mother had to work as a prostitute to support them).  Sannes goes on to say “Humanity was able to come this far because we snuffed them all out!  It’s all thanks to the MPs first squad!  You should be grateful!”

It’s the way Sannes is talking about the people he’s tortured and killed, and then justifying his actions against them, that pisses Levi off.  It’s one of the same reasons that Levi hates Zeke as much as he does, because Zeke does the exact same thing.  He justifies his cruelty and violence as morally good and correct.  He frames it as acts of mercy and salvation and kindness, as something heroic.  This ties back into my post here, talking about Levi’s violence, and how he never tries to portray it or justify it as anything other than what it actually is: https://cosmicjoke.tumblr.com/post/689474864263856128/levi-and-the-nature-of-duality

Sannes talks about the people he’s killed as though they’re worthless, as though they deserved what happened to them through their own foolishness, their own stupidity, their own actions, etc...  He frames himself and his colleagues as the heroic figures in the scenario, just doing what had to be done in order to protect humanity inside the walls, taking on the thankless duty of disposing of the instigators and riffraff to the great benefit of the ignorant masses.  Sannes is arrogant and self-righteous in this moment, declaring that others should be grateful and acknowledge that righteousness, that others should praise him and his colleagues for their violence, and it’s that which makes Levi so angry.  He even says to Sannes right before realigning his nose, in response to him justifying his past actions “Oh... sounds tough.  You worked hard to do your jobs.  I get it.”  He’s mocking and calling Sannes out on his self-pity and self-righteousness, for his attempts to frame his past actions as somehow good, or just, or morally right.

Because Levi is fully aware of and able to objectively perceive his own actions here as wrong, and bad.  He doesn’t try to justify what he’s doing.  He doesn’t try to frame his actions as morally right, or heroic, or selfless and benevolent, the way Sannes did with his own.  Afterward, he flatly calls himself a “monster” for doing what he did, and tells his squad that it’s what he’s willing to do, what he’s willing to make himself into, if it means giving humanity a future.  He isn’t trying to paint himself as a hero, he isn’t trying to  cast his actions in a better light, or make them out to be acts of mercy, or kindness, or salvation.  He doesn’t say what he’s done is right, or good, or tell anyone they should be grateful to him.  He acknowledges that what he’s done was barbaric and ugly and cruel, and that there’s no way to objectively view it as anything other than that.  He acknowledges it as the actions of a monster.  Even if he only engaged in it in order to achieve a greater good, Levi doesn’t delude himself the way Sannes initially did, or the way Zeke did, into believing the actions themselves could in any way be justified as morally correct.  He knows and takes responsibility for the wrongness of it.

This ability to not make excuses for himself, to fully acknowledge and understand the ugliness of his own actions, is proof of Levi’s actual humanity and compassion.  He understands that to purposefully torture another human being is wrong precisely because he has so much empathy and kindness for other human beings in his heart.  That’s directly contrary to him being a sadist, to someone who takes pleasure in the torture and torment of others.  People like that are incapable of empathy, incapable of putting themselves in the shoes of another, or acknowledging their feelings.  Levi understands the wrongness of his own actions, he doesn’t take pleasure in it, he doesn’t try to justify it to himself, or excuse it as something better than what it is, because he genuinely cares for and values the lives of other people, he genuinely understand their perspectives.  He’s willing to engage in monstrous acts so others won’t have to, to save them from the same fate, because he’s so aware of ugly and base nature of violence to begin with.  It can never be heroic.  It can only be what it is. 

Another detail I want to point out is Levi’s expression when Hange pulls one of Sannes’ teeth out.  I know people make jokes about this all the time, shippers saying it’s Levi being “turned on” by Hange’s cruelty here.  But of course, all jokes aside, Levi’s expression is one of shock.  He’s taken aback here by Hange’s cruelty.  I bring this up because it again illustrates my point. 

Even before Levi and Hange begin torturing Sannes, Levi is wearing an apron that’s covered in blood.  They haven’t touched Sannes yet, but this is the sight that Sannes wakes up to.  It’s because the initial plan was to torture Sannes only as much as he had tortured Pastor Nick, this going back again to Levi doing this with Hange in order to help them cope with their own grief and guilt.  The plan, beyond that, was to trick Sannes into giving them the information they needed by making him believe his own colleague had betrayed him.  The idea was to get the information they needed out of Sannes while torturing him the most minimum amount possible.  Hange pulling one of Sannes’ teeth, however, was obviously off script, an actual act of unnecessary cruelty.  This really demonstrates the difference in perspective between Levi and Hange going in to this situation. 

To Levi, it was a job, an ugly and unfortunate part of a bigger plan moving forward.  He was acting in a professional capacity, and also as a friend, helping Hange through their own, emotional turmoil.  But to Hange, this was personal.  Hange was there to seek revenge.  They wanted to make Sannes suffer for what he had done to Pastor Nick.  Hange, in truth, was hoping and, I think, even expecting to enjoy torturing Sannes.  They wanted to do it.  Their act of ripping out one of his teeth is indicative of this, and Levi’s shocked reaction to it is indicative of how, for him, he wasn’t, and never intended to take any pleasure in Sannes’ torture.  Levi is shocked by Hange’s actions because it’s an act of unnecessary cruelty, one which can yield no benefit to them beyond Hange’s own satisfaction.  This is, once more, proof that Levi ISN’T a sadist.  He sees no purpose or point in hurting someone more than what’s required to attain a certain goal.  He finds no satisfaction in it.  It gives him no personal pleasure.

This isn’t to say Hange is a sadist either, though.  Hange remarks to Levi as they’re leaving, “Sheesh, I almost feel bad for him now.”  You can read into these words the hollow and empty sense of frustration Hange is left with after torturing Sannes.  They’d been hoping to feel some sort of satisfaction or pleasure at torturing him, but instead they just end up feeling sorry for him.  This manifests later with Hange as well, when they lash out physically and break a table, realizing that the satisfaction they’d sought in torturing Sannes never came, that instead they just feel bad and only more guilty for what they’ve done.  It’s Hange’s first real lesson in violence against another human being.  The first time they’re really realizing the awfulness of it.

Levi, though, already understood that.  He already understood what they were doing, he already understood the ugliness and wrongness of it.  He never believed the way Hange did that it would in any way be satisfying, and never sought for it to be.  He was never under any delusion about the nature of it.  I think this understanding of Levi’s comes from the fact that his entire life has, since childhood, been rooted in hardship and violence.  He’s had an extremely difficult life, and so he understands better than his relatively sheltered comrades about the nature of violence against other people, and how desperation can lead to it.

There’s one more example I want to bring up as proof of Levi not being in any way a sadist, and that’s his behavior after he and Hange torture Sannes, when he forgets to inform Historia and the rest of his squad about what it was they learned from it.  Sannes reveals to them finally that Historia is the true heir to the throne, which is vital information in moving forward with the coup plan.  But Levi forgets to tell his squad about it.  Why would Levi forget such an important detail?  Why would he forget to share the very information that he and Hange tortured Sannes to gain?  Well, it’s because Levi was troubled by what they had done.  He was upset about it.  He forgot to tell Historia and the rest because his mind was distracted by the ugliness of what he’d just had to do in order to get that information.  And as further proof of this, there’s Levi’s reaction when Historia initially refuses to accept her role as Queen.  He grabs her by the collar and lifts her up and threatens her.  He reacts with anger and violence, and again, the reason he does so isn’t because he’s enjoying hurting Historia, or scaring her, it’s out of frustration and dismay.  Historia, in her wallowing self-pity, is threatening to render the barbaric actions Levi and Hange just engaged in completely pointless.  If she doesn’t assume the role of Queen, then the coup will fail, and Levi and Hange will have tortured Sannes for nothing.  This once more ties back into Levi understanding the nature of what they’ve done, into not making excuses for it, or trying to paint it in a more positive light.  He knows it was terrible, he knows it was ugly, he knows it was wrong.  They did it to get specific information to help Erwin’s plan move forward, but the nature of it doesn’t change, despite the ends for which it was done, and Levi acknowledges and understands that.  But if even those ends can’t be achieved, then it makes the torture they’ve just engaged in not only morally wrong, but also pointless, and that possibility is incredibly upsetting to Levi.  The possibility that they’ll have hurt another human being for no reason at all is something he can’t abide.  Again, this isn’t Levi trying to justify his actions to himself, or excuse them, or frame them as something good and just.  It’s Levi knowing his actions are none of those things, while still being able to acknowledge that there was reason behind it, that there was meaning behind it.   Torturing Sannes was done with the intent of yielding a desired outcome, and Historia threatens to undo all of that because she felt sorry for herself.  That’s why Levi gets so pissed at her.  It would make his and Hange’s torture of Sannes violence done for violence’s sake only, and the fact that upsets Levi so much is proof in and of itself that he never took any, actual pleasure or satisfaction in the act of it.

Hurting people isn’t something Levi enjoys.  To try and claim that he does is to fundamentally misunderstand his character entirely.

[someoneimsure]

I’m seeing a lot of modern comic book writers make the same big mistake, and it didn’t really occur to me just how detrimental that mistake was to the entire comic book run until I read Superboy 1994 Issue 85 (which, as you can imagine, does not make the mistake).

What’s worse is that I know exactly why modern writers are making the mistake and why they think the mistake “must” be made, and I want to caution all future writers from making the same mistake.

The mistake: Telling your entire character’s backstory or telling the audience too much information about your character on the first few pages.

It’s natural for DC, the business, to assume that reintroducing your characters is going to generate more readers and revenue, especially for long running series, but it only works if a) you are telling the readers information they do not already know and has never been revealed before, b) correcting information made in past issues, eg. retconning for the better, or c) revealing new information that puts old information in a new perspective.

However, what they don’t understand is that, if it doesn’t fall under those three categories, then it’s an example of bad storytelling. It’s called an infodump. And if the infodump starts at the beginning of a work, it’s because the writer is only using it as a means to prop up a character they don’t believe can otherwise stand on their own. Or to prop up a story, or prop up a world. It’s weak writing and comes from a place of insecurity.

For a really egregious example, let’s look at the first issue of Robin 2021:

It starts with everyone but Robin. And everyone is directly telling the audience who Robin is. It’s literally a ‘writer speaking through the characters’ sort of situation. It speaks from the inherit lack of confidence the writer and DC has for Robin V. He is literally prevented from standing on his own: everyone else in the narrative has to prop him up.

And what we do understand of the real Robin based purely on that very last two-page spread is that he, apparently, likes to fight for sport. The absolute worst introduction for any character even if it was by itself. It’s a clear indicator that this writer has no idea how to introduce audiences to this character.

Batman vs Robin has exactly the same problem. The fact that these are written by two separate writers and both are about the character of Damian Wayne just goes to show that no one at DC believes their audience could love Damian. Hence, the clunky introductions that span three pages.

For comparison, here’s the first two pages of Superboy 1994 Issue 0.

See how quickly the story jumps straight into the action? See how much it tells us about Superboy?

Another quick comparison, Superboy 1994 Issue 1.

No boxes. Just dialogue and immediately it’s straight into the story.

The first page of Superboy 1994 Issue 85.

Dialogue. Glorious, funny dialogue that tells you everything you need to know about these two characters and their relationship with each other. (Honestly, this is the best example here.)

All three of the above introductions tells us something fundamental about Superboy’s character: he’s a hero who wants to have fun. (That last example is so magical that it literally sucked me in, and I was just picking them at random.)

The mistake of rehashing these old stories stems, of course, from the reboot. Writers aren’t sure what’s canon so they have to reinvent the wheel in order to get audiences invested. And it doesn’t work because the originals were so much better. In other words, this writing choice is a direct result of basic business assumptions.

The assumption: Audiences don’t know who our characters are so we must tell them directly who our characters are--every chance we get. 

They are correct: we don’t know who these characters are. But we can figure out who they are from context clues throughout the story. However, this assumption is how DC writers went from jumping right into the story to 2-3 pages explaining backstory or characters, which is rapidly becoming my newfound metric for determining whether a comic book is good or bad. DC needs to understand: explaining them to us does not endear us to the characters.

Here’s a modern example of good storytelling in DC:

This is the very first page of Task Force Z Issue 1, and it throws you right in. If you know Man-Bat is supposed to be dead in universe, it hooks you. If you don’t, the mystery of why the creature is attacking this weird guy hooks you. It’s extremely good writing.

For comparison to yet another good (not great) modern introduction, see what happened to Damian in Robin: Son of Batman Issue 1.

It jumps straight into the story. (Arguably, not a great introduction either since this part of the story literally serves only to introduce Damian and his bond with Goliath--not the plot of the rest of the run. Damn, Damian’s just getting the shaft all over the place. He needs better comics. :/)

I want to make it clear that the writers who do bad introductions aren’t necessarily bad writers--they are uncomfortable writing characters they don’t understand. It’s insecurity about characters which leads to bad writing. Specifically, insecurity about how well the character is going to be received. It’s a lack of confidence in the final product.

No writer should worry too much about introducing the character. Just introduce us to the story. Why? Because it’s more interesting to see characters act in the here and now, in new stories, then it is to hear their life’s backstory or see the conclusion of another adventure before being thrust into an adventure that promises to be as boring and tired as the introduction. It is setting the run up for failure.

TL;DR: If a comic introduces the characters first, it’s a bad story. But if a comic introduces the main story first, it’s a good story.

[humanwheatleyslefttoenail]

why do you ship chell and glados if glados is basically her mom

Okay this is actually a pretty common misconception in the fandom that unfortunately a lot of people have taken as canon, but I’m feeling nice so I’ll answer your question.

Basically, anon is referencing a theory from around 2012 that Caroline is Chell’s mom. The evidence for the theory is as follows:

- The turret opera calls Chell “bambina”, which means “little girl” in Italian

- Chell’s name can be found on a Bring Your Daughter To Work Day science project

- GLaDOS references the possibility of Chell being adopted multiple times

- GLaDOS is significantly nicer to Chell after discovering she’s Caroline 

And, anon, you’re right, it does sound like a pretty good argument at first glance. The problem is that a lot of these points don’t actually hold up to scrutiny.

For example, although “bambina” literally translates to “little girl,” it’s often used in the same way “baby girl” is used in English - it can mean child, but contextually it’s usually a flirtatious term. (Source: Cambridge Dictionary)

For Chell’s science project, it doesn’t work as evidence for the theory because GLaDOS killed the scientists around 1998-ish, when Caroline had presumably been uploaded several years earlier and Cave was already dead. Also, Chell’s in her 20′s, and since we know from Lab Rat/Portal 2 that people don’t age in stasis, and that Doug put Chell at the top of the test subject list only weeks after the takeover, Chell was 28 at the time of the takeover. The science project is really only an Easter egg and doesn’t actually fit into the canon timeline let alone prove anything about Caroline and Cave. 

GLaDOS talking about Chell being adopted is a pretty strong point, I’ll admit, but also it’s important to remember that maybe half of what GLaDOS says is true. And even if we take what she says at face value, she also says there’s a man and a woman in stasis with Chell’s last name, which could not have been Cave and Caroline because they were already dead at that point. And the official book Final Hours Of Portal 2 confirms Cave and Caroline were not married and could not have shared the same name anyway. It was also the 50′s, an an unmarried couple of two likely famous people having a child would’ve been scandalous, and yet we see no hint of something like this affecting their company. 

Also, although GLaDOS is nicer to Chell after the Caroline reveal, that’s not necessarily indicative of a mother-daughter relationship, and neither is any of their interactions. It’s just. GLaDOS being friendlier. 

Finally, when this theory was made (and let’s be honest - it still is happening) Chell was constantly whitewashed to hell and back. 

Chell is Japanese-Brazilian, and Cave and Caroline are white, so it would be a near impossibility for her to be their biological child (and insisting otherwise is kinda. just. whitewashing). And although people will cry “adoption!”, based on what I’ve previously proven, that’s pretty much impossible. This theory that somehow she’s Cave and Caroline’s daughter erases an important part of her identity. [Disclaimer, I am white, but this is what I’ve heard from around the fandom]

With all that said, the idea that she’s the daughter of Cave and Caroline really doesn’t hold weight when you really analyze the canon. It’s surface level analysis that doesn’t hold up. And honestly? The idea kinda cheapens the story. It’s much more powerful that GLaDOS learns to care about Chell and becomes kinder than just. Oh, she remembered she’s related to Chell. 

But to actually answer your ask. 

Why do I ship them?

Well, they aren’t mother and daughter, I think that’s pretty obvious now. But if you actually look at a lot of subtext in Portal 2, without the lens of the mother theory, it’s actually pretty romantic! 

I know that sounds ridiculous, but bear with me!

Now - it’s totally okay if you don’t ship them. I get it. Their interactions in Portal 1 and the first half of Portal 2 are toxic if not outright well. Y’know. Murderous. I completely understand why that turns people off from shipping them, and ultimately, shipping is a personal thing. To each his own. 

But before you judge me, let me present my case.

Exhibit A: Portal 

Portal is kinda gay. No, really. Chell and GLaDOS are enemies in this game, but the entire focus is on their relationship (good or not) and the power struggle between them. They are opposites, two sides of the same coin, different representations of opposite ideologies. People have analyzed Portal as a relationship metaphor, or as a metaphor about women’s role in society - either way, the heart of Portal is the complicated dynamic between Chell and GLaDOS. 

That’s not necessarily enough to code a romance, but a lot of popular (and especially popular queer ones) ships begin with opposite ideologies, symbolic powers colliding. Portal cements their relationship as a toxic one, something on the verge of falling apart and hurting both parties in the end. The ending image, of Chell and GLaDOS side by side after the battle, reinforces the symbolic parallels between the two. 

The companion cube is also pretty symbolically important to this interpretation. It’s literally a representation of someone’s heart, and you are told to protect it and preserve it under GLaDOS’ orders, and then you have to destroy it regardless of how you actually feel about doing that. You are destroying GLaDOS’ heart, so to speak. 

There’s also the ending song, Still Alive. The lyrics speak for themselves.

They hint that GLaDOS’ feelings about Chell are more complicated than they may appear (if she’s not being sarcastic...) and she literally talks about Chell breaking her heart (also, think back to the companion cube. Yeah.). The entire song is structurally similar to many a breakup number, with the laments of “I’m glad it happened, but also leave.” 

At the end, we also see that the long promised cake GLaDOS was supposedly lying about was real the whole time. Before Portal 2 came out, it was mostly interpreted as a stinger ending (along with the nicer lyrics of Still Alive) to make you question GLaDOS’ true motives and intentions.

She actually did have a real cake waiting for you. (Side note - not really evidence, but in Argentina, “torta” means cake in Spanish. It’s also a slang term for lesbians. So. Do with that what you will). The cake is what GLaDOS offers you to lull you into the sense that she cares about you, so discovering that “the cake is a lie” wakes you up to the realization that she doesn’t. Except then the idea is subverted one last time, at the very end, showing that the cake is real and at least some of what she said she meant. 

You also see the companion cube. You know, GLaDOS’ symbolic heart?

Now, okay, you might be thinking I’m extrapolating a bit too much. And you might be right. But Portal is not the only game in the series, and if you’re asking me about Cave and Caroline you obviously know about Portal 2.

Exhibit B: Portal 2

If you thought Portal was gay, Portal 2 turns that up to 11.

Even before GLaDOS wakes up, you’re treated to some visual subtext. A few of Rattmann’s drawings representing the events of Portal 2 focus a lot on the relationship between GLaDOS and Chell, with more of the cake symbolism.

In this, you can see a face layered on top of GLaDOS. This could be foreshadowing about Caroline, and likely is, but also resembles his other drawing of Chell. It insists that Chell is a part of GLaDOS, or reinforces parallels between Chell and Caroline, hinting at something either way. 

In this picture, we also see Chell standing on top of GLaDOS, in the same position where the overlay of the feminine face was, again referencing the parallel. It also presents them as opposites, fundamental parts of the same thing and both connected to the same basis, but on opposing sides. 

When GLaDOS wakes up, she returns to her antagonistic role, but there are more hints to something deeper just like in Portal. 

Here, in her awakening lines, she references Chell not unlike an estranged ex. Also worth noting that GLaDOS is pretty much the personification of testing (in a sense, she is testing since she can control all of Aperture like an extension of her body), and insinuates that Chell loves to test. And that she reciprocates that feeling.

In test chamber 10, she says this:

It’s supposed to be threatening, but it does read as almost... sentimental. 

There’s also another chamber with companion cubes in Portal 2. I already talked about their symbolism in Portal, and the same pretty much applies to them here. However, GLaDOS says something interesting about them during this level:

Once again, meant to be intimidating, ends up coming off as “well, GLaDOS, why were you going to give Chell a heart shaped representation of yourself that says ‘I love you?’” And you might think I’m stretching the GLaDOS’ heart metaphor thing a little far here, and I might agree, if the companion cubes didn’t literally sing Cara Mia for you. 

Cara Mia is the turret opera from the end of the game, which is all about how much GLaDOS cares about Chell. More on that later. But the companion cubes play a song called Love as A Construct, and when you get close to them, they sing a specific part of the song that has the tune of Cara Mia. These things literally exist to sing about GLaDOS’ feelings. 

Which makes this line a lot more. For lack of a better term. Tsundere-ish.

Then, right before the escape, she starts talking about the confetti from her fake surprise. 

I really don’t have to explain this one. What else does GLaDOS consider an inconvenience but might miss anyway? Or, more aptly, who else?

Then, during the escape, she teases a (fake) final test chamber in front of you, and forms the panels in the shape of a heart. No, really. 

Up to this point, a lot of the points I’ve presented are interspersed with a fair amount of antagonization on GLaDOS’ behalf, more Foe Yay than anything actually hinting at something deeper than GLaDOS being conflicted about whether she loves or hates Chell. But things really ramp up after Wheatley’s betrayal, when the two of them are forced to team up. (I should also note here that “enemies to lovers” is a pretty classic queer romance trope.)

Here, GLaDOS is put on an equal level with Chell and they have to rely on each other if they want to survive. For the rest of the singleplayer campaign, GLaDOS becomes a lot nicer and even friendly to Chell. There comes a point where she starts referring to Chell as a teammate, calling them “we.” She begins to consider them one unit, two opposites unified. Here’s what she says after the lemon rant:

You can not only see her using we, but actively talking about how her and Chell are going to fight Wheatley together. There’s also that last line - “let’s explode with some dignity.” GLaDOS has fully accepted the very likely possibility that she and Chell might die together. That she might die on the same level, and the same team as Chell. And she seems... surprisingly okay with that, as long as she and Chell go together. 

It’s during the Old Aperture levels that Chell and GLaDOS also discover that they have a lot in common. This is the part of the game where GLaDOS figures out she’s Caroline, that she’s human. Or, that she’s like Chell. And Chell discovers (from what we can tell anyway) that Caroline is kind, that she’s funny and smart and so many of these things she never noticed about GLaDOS before. Now also with the knowledge she is fighting alongside another human being. 

You can also draw parallels between Chell and Caroline, both intelligent women ultimately betrayed by their seemingly innocuous male friends before being trapped in Aperture and forced to team up with one another in a way that will free both of them. We see that really, GLaDOS isn’t that different from Chell - she too has been imprisoned in this place against her will, but in a completely different way. Once again, the idea of two sides of the same coin applies here. 

I’ve written another meta about this before, but I also think the whole idea of repressing a part of your identity and hating it, before bonding with another woman and then realizing that it’s okay to be like her and to be on her side. It’s okay to be yourself and meeting her is what helps you discover this new part of yourself. Is kinda inherently gay. GLaDOS’ discovery of her own humanity just fits so well into a queer realization narrative, to me at least.

Then, Chell and GLaDOS escape Old Aperture and have to get through Wheatley’s tests. 

Here, GLaDOS isn’t just begrudgingly on Chell’s team. She’s actively helpful. She wants to help Chell solve tests, defends her from Wheatley’s insults, and makes jokes to lighten the mood. Things that can really only be explained by her caring about Chell, especially the part about the insults. See below.

After the two escape Wheatley’s testing track, right before the boss fight GLaDOS has a few other things to say.

GLaDOS is not going to betray Chell, because of some kind of conscience. But she could easily ignore that back in her body, and yet? Here she’s deciding not to, and for no good reason. She didn’t have to say that to Chell, but she did, because she cares and she wants Chell to live.

And then, moments before the fight:

The final lines imply that GLaDOS does not think of Chell as an enemy anymore, and that it doesn’t matter what Chell thinks because they are in this together and they are getting revenge together. It’s pretty heartwarming to be honest, to know that even in a fight that will almost certainly kill you, she is there rooting for you and caring about you, even if you don’t feel the same way about her. It no longer matters to GLaDOS whether you even reciprocate - you staying alive, you making it through is enough for her.

So Chell fights Wheatley and sends him into space, all well and good, and at this point, GLaDOS has the option to kill Chell. But not only does she not, she actively saves Chell, and holds her hand in the process. If you don’t believe me:

And not only that, but when Chell goes unconscious from her injuries, GLaDOS sits and waits for her to wake up. It’s also implied that GLaDOS carries her to the elevator, since it’s where she wakes up but not where she passed out. In the scene where Chell blacks out, you can also hear the part of Love As A Construct that sounds like Cara Mia. Yeah. Yeah.

If you think that this cannot possibly get any gayer, you are wrong again, because then GLaDOS makes her final speech. Which is really just a love confession, let’s be honest.

The “surge of emotion?” Do you mean love, GLaDOS? And the idea of GLaDOS considering Chell her best friend, despite everything these two have done to each other? The idea that GLaDOS, out of all people, forgives someone?

Except this isn’t even Chell’s final send-off. GLaDOS writes her an entire opera of turrets, that sing a literal love song. (Note what I said earlier about the use of the word “bambina”).

It really can’t get any more obvious than that. “My (affectionate romantic term here), my dear, I adore you.” How. Is. That. Heterosexual. In. Any. Way.

So Chell goes to the surface, set free by GLaDOS (think of the saying “if you love something, set it free), and you think that’s the end. Until GLaDOS gives you a companion cube so you aren’t alone on the journey, and from the burn marks, you know it’s your first companion cube. Her original heart, her first gift to you, a piece of her that she wants you to carry with you to remind you that she does care about you after everything. It also gives the lyrics to Still Alive a much more genuine meaning. 

Portal 2 ends, and then the ending song, another GLaDOS number plays. Just like Still Alive, Want You Gone is structurally a break up song and very obviously about GLaDOS missing Chell and “counting on” (read: caring about/loving) Chell’s tendencies and quirks. 

She’s accepted Chell completely, and yet also given Chell the one thing she wants most. Only wanting Chell gone can mean GLaDOS not wanting Chell in her life anymore, but can also mean she wants to give Chell the freedom she’s wanted for so, so long. It’s the best thing she can give.

In the co-op campaign, GLaDOS also references still caring about Chell.

And that’s the end of the Portal series. Except. Brace yourself. Despite the games being over, there is STILL more subtext somehow. It gets. Even gayer.

Exhibit C: Supplemental Evidence

Valve has made a lot of extra/cut content for the Portal series, and I’ll be looking at some of it below.

This official valentine from Valve shows GLaDOS offering a romantic partner cake, which as we’ve established before, is very symbolic of GLaDOS’ feelings about and/or relationship with Chell. 

There’s a lot of other concept art and official art that emphasizes their relationship too. See below.

There’s also some cut GLaDOS lines that are even gayer than the source material and again, sound like confessions or references to a breakup:

The idea of “discovering things about someone”... how much more obvious can it get?

The developers have even confirmed a lot of my commentary on Chell and GLaDOS’ relationship in The Final Hours Of Portal 2. See these quotes from the book/this post:

The devs literally describe it as a romance. They use terms like “cheating,” they wanted to write a romantic duet, JoCo purposefully wrote the endings like love songs. It is literally, blatantly said by the creators of the game that their relationship is interpreted romantically. By the creators of the game. 

And if Word of God confirmation isn’t enough for you, have a song written for a cut alternate ending by GLaDOS’ voice actress, Ellen McClain. The song is literally nothing but GLaDOS talking about caring about Chell, about not wanting her to die/leave GLaDOS alone, about wanting to bake a cake with Chell, about waiting for Chell to wake her up. It’s so genuinely sweet and sad, and really, really romantic in the most heartwrenching way possible. 

JoCo also came back for the Portal levels in Lego Dimensions, writing one final breakup song for GLaDOS to sing about Chell. It comes off as GLaDOS not wanting to admit she misses Chell even though she obviously does, trying to replace their relationship but failing, and even explicitly forgiving Chell/wanting her to come back.

Also, the “finally I understand,” as if only now GLaDOS understands just how deep her feelings for Chell are... What else can I say?

In Lego Dimensions, GLaDOS also outright rejects anyone who isn’t Chell.

In Conclusion:

Why do I ship Chell and GLaDOS? 

Well, ultimately, it doesn’t matter whether I ship them. 

Because I think it’s glaringly obvious Portal does.

[religion-is-a-mental-illness]

"Allopathic" is a euphemism for "real."

This is the "my anecdote" fallacy. The plural of anecdote is misinformation. If homeopathy actually worked, you wouldn't have to couch your claim in anecdotes and storytelling. You would be able to point to the studies that prove your claim. There are zero. Which is the most important thing and the only thing anyone needs to remember.

Your story can't be tested, verified or confirmed to have even occurred at all. You yourself heard it second hand, from someone with no medical or scientific experience, and you conducted no process to verify the results. Nor can I conduct anything to verify it myself. This isn't so much an anecodote as a rumor.

You have no idea what else could have played a part, and you didn't control for anything. You didn't research and line up potential explanations, and methodically eliminate them.

Just because you can't understand something doesn't mean it's not effective.

It isn't effective because the mechanism behind homeopathy is literally magic. It's not that we "don't understand," it's that we do understand. We do understand that it's sugar or water or alcohol, because that's how the homeopaths themselves describe it.

Homeopathy or homoeopathy is a pseudoscientific system of alternative medicine. It was conceived in 1796 by the German physician Samuel Hahnemann. Its practitioners, called homeopaths, believe that a substance that causes symptoms of a disease in healthy people can cure similar symptoms in sick people; this doctrine is called similia similibus curentur, or "like cures like". Homeopathic preparations are termed remedies and are made using homeopathic dilution. In this process, the selected substance is repeatedly diluted until the final product is chemically indistinguishable from the diluent. Often not even a single molecule of the original substance can be expected to remain in the product. Between each dilution homeopaths may hit and/or shake the product, claiming this makes the diluent remember the original substance after its removal. Practitioners claim that such preparations, upon oral intake, can treat or cure disease.

All relevant scientific knowledge about physics, chemistry, biochemistry and biology contradicts homeopathy. Homeopathic remedies are typically biochemically inert, and have no effect on any known disease. Its theory of disease, centered around principles Hahnemann termed miasms, is inconsistent with subsequent identification of viruses and bacteria as causes of disease. Clinical trials have been conducted and generally demonstrated no objective effect from homeopathic preparations. The fundamental implausibility of homeopathy as well as a lack of demonstrable effectiveness has led to it being characterized within the scientific and medical communities as quackery and fraud.

You're trusting a process that predates knowledge of, and is ignorant of, the existence of viruses and bacteria.

We've tested homeopathic "medicine," and found that it doesn't work.

Conclusions: Homeopathic vaccines do not evoke antibody responses and produce a response that is similar to placebo. In contrast, conventional vaccines provide a robust antibody response in the majority of those vaccinated.

Nevertheless, the findings “suggest a concerning lack of scientific and ethical standards in the field of homeopathy and a high risk for reporting bias,” they write. 

And they “also indicate that journals publishing homeopathy trials do not adhere to policies by the [International Committee of Medical Journal Editors], which demand that only registered [randomised controlled trials] should be published,” they add.

The poor research practice they found “likely affects the validity of the body of evidence of homeopathic literature and may substantially overestimate the true treatment effect of homeopathic remedies,” they conclude.

Here's the thing: we don't need to know the right answer to reject wrong answers. We don't need to be able to cure every illness or understand every biological process to eliminate answers that don't work. Especially ones where there isn't even a plausible mechanism.

And yes, the placebo effect has been tested. Here's a study suggesting that open placebos be given in some cases.

They are particularly effective at subjective ailments, such as IBS, in which the key element is the perception and self-reporting of discomfort and pain. You know, exactly like your parents.

Psoriasis is a condition independent of stress or anxiety. However, stress or anxiety can trigger or worsen psoriasis symptoms.

One study has suggested that anxiety and psoriasis have a cyclical relationship. This means that psoriasis can cause anxiety and that anxiety can cause the symptoms of psoriasis to worsen.

As a result, a person with both conditions may notice symptoms of psoriasis during a period of stress or anxiety.

You never even considered this. And I don't have to be able to prove that this is what happened. Because what you assert without evidence, I can dismiss without evidence. That is, the above is a far more plausible explanation than "water has a memory (but doesn't remember poop)" or "sugar cures psoriasis." Because even a poorly understood mechanism is far more likely than something that is inert, with no mechanism whatsoever.

Homeopath is placebo. Again, because the homeopaths describe it as a placebo. This isn't a misrepresentation or strawman, it's literally how they produce it.

They put in a small amount of something and then dilute it all out. That's how homeopathic "medication" is created. It's diluted until there is nothing left, and you then rely on the magic of "water has memory." Like Dumbo and the feather.

It doesn't work because it can't work. Because there are no active ingredients. There is only magical thinking.

In some parts of the world, homeopathy and herbal medicine share an equal standing with allopathy.

Yes. Countries like India where "cow dung therapy" and "cow urine therapy" are prevalent. And people suffer and die needlessly as a result of relying on bogus pseudoscientific "treatments." Homeopaths and quacks fill the gaps in a poorly functioning health system. And, of course, homeopathy is a "luck of the draw" crap-shoot, because unlike actual medication, it's not standardized.

You think you're being "open minded" about this, but you're not. You're close minded, because your faith-based belief cannot be falsified. No amount of evidence, no number of scientific studies will make you question your anecdote, or the reliability of the reporting of it. No amount of evidence will make you wonder if "magic" is not the most reliable explanation for your tale. No amount of data will make you consider a well-known and understood mechanism to be more likely than something that has no mechanism whatsoever, underpinned by the Appeal to Nature Fallacy.

Description: When used as a fallacy, the belief or suggestion that “natural” is better than “unnatural” based on its naturalness. Many people adopt this as a default belief. It is the belief that is what is natural must be good (or any other positive, evaluative judgment) and that which is unnatural must be bad (or any other negative, evaluative judgment).

And that makes you incurious, close minded, and ripe to be exploited by any quack with their own anecdote. When it comes to children and pets, it makes you as dangerous and unethical as Xians who rely upon "faith healing" via prayer and anointing with oils. Indeed, biochemically, faith healing and homeopathy are indistinguishable.

James Randi's Challenge to Homeopathy Manufacturers and Retail Pharmacies

April 10-16 is Homeopathy Awareness Week.

Be aware that homeopathy is fake medicine and homeopaths are con artists.

[ Note: the 1023.org.uk website is now defunct. ]

https://web.randi.org/h---encyclopedia-of-claims.html

Homeopathy

This claimed healing modus is included here because it is an excellent example of an attempt to make sympathetic magic work. Its founder, Christian Friedrich Samuel Hahnemann (1775?-1843), believed that all illnesses develop from only three sources: syphilis, venereal warts, and what he called “the itch.”

The motto of homeopathy is “Similia similibus curantur” (“Like cures like”). It claims that doses of substances that produce certain symptoms will relieve those symptoms; however, the “doses” are extremely attenuated solutions or mixtures, so attenuated that not a single molecule of the original substance remains. In fact, the homeopathic corrective is actually pure water, nothing more. The theory is that the vibrations or “effect” of the diluted-out substance are still present and work on the patient. Currently, researchers in homeopathy are examining a new notion that water can be magnetized and can transmit its medicinal powers by means of a copper wire. Really.

The royal family of England adopted homeopathy at its very beginning and have retained a homeopathic physician on staff ever since.

The only concern of homeopaths is to treat the symptoms of disease, rather than the basic causes, which they do not recognize. Thus homeopathy correctly falls into the category of magic. And quackery.

[lotronprimesucks]

Regarding the "negative reviews" that ROP is apparently receiving, because you all seem to claim, without seeing it, that it's a bad show or of low quality: most negative reviews on ROP I have seen are outright racist or, if they're not racist/bigoted they're childish arguments and incompetent critique. "The elves have short hair now". "Elrond isn't respectable enough". "Galadriel is too warlike". This is not a slam dunk. They're setting up character arcs and prepping them for development, as you do when writing a story. You idiots. The fanfictions you've devoted your life to have taught you nothing, apparently. They don't have primacy, and there's no intrinsic value to following the "fan-accepted" version of any character. Nobody who is negatively criticizing ROP can make a good argument against its writing or dialogue (which is no worse than the original LOTR, they're basically on the same level), its set design, its characters or acting. All they have is petulant stuff like "this is not my Galadriel" "they gave Elrond short hair" "they don't say Finrod's name". You embarrass yourselves, you lower the quality of the discourse. Boycotting ROP on the basis of Amazon being ghoulish is a valid approach, but making up incompetent arguments and passing them off as critique isn't. Y'all just can't accept that an evil company can also create a technically and artistically competent TV series, because you lack critical thinking skills and are consumed by tumblr brainrot, thinking things can only be wholly bad or wholly good. Children

Okay, anon, sure.

Let’s take this in order:

The negative reviews I’ve highlighted have been from respectable mainstream publications who are not caving to reactionary racist or sexist backlash. You’re assuming I’ve been going to great lengths to seek out user reviews or comments on Twitter or the shit the Daily Mail or Bounding Into Comics is saying. I’m not. The reviews I linked to all point out significant flaws with the writing and dialogue and approach to the showrunning. Whoever you’re accusing of being a child, it sure as hell can’t be me.

The things pointed out in those reviews - the gender-essentialist short hair, the complete mishandling of the family relations in House Finwë, the details they legally can’t mention, the political situation in the Second Age that are being completely rewritten - are all signs of a bad adaptation. They are indicators that the writers fundamentally do not understand the text they are using as a source material, and that therefore the story they are telling is not connected to the books. You present these as petulant or childish complaints but they aren’t, they’re significant and show that the people writing this work are not interested in accurately portraying what’s written on the page. At that point, regardless of how good the writing is, this project has failed at its most basic task.

The first episodes also prove that they didn’t have the rights to anything except the Appendices. This means they are compelled to write an entirely original story, which might be good but so far is neither accurate nor compelling on its own.

Whether or not the adaptation is accurate matters to people who aren’t racist. This is because a desire for accuracy is not approving of the author, the author’s personal politics, or the author’s preferences. I don’t want accuracy because I care about Tolkien the man. I want accuracy because I like the books as they are written, and clearly what Amazon is doing is not following the books as they were written. This matters to me and to many other people. (“Accuracy” is not a shorthand for “white people”. I have said before on this blog that I want substantially more people of color in the show, not less and not the current amount. It is in fact necessary to include more characters of color to accurately reflect the text.)

The writing on this show is bad. Abysmally bad. Horribly bad. So bad I’d rather watch The Room and Birdemic and Zardoz on loop. Assuming that everyone criticizing this show has nothing to say about the writing and dialogue is false. The production design is horrible, the music is either generic or actively racist, the plot is already disjointed and badly structured. All of these are things that have been said in many critiques, and all of them matter. I at this point doubt that anyone who likes this show has actually watched it because the incompetence in every possible place except for some of the effects and the cinematography is staggering.

So no, I can’t accept that Amazon made a technically competent series. They didn’t do that, and I am not interested in being told they did simply because of your assumptions about what we’re all objecting to.

Cheers!

[robininthelabyrinth]

Spilled Pearls

- Chapter 28 - ao3 -

The answer, it turned out, was paint.

It wasn’t an answer that Lan Qiren would have anticipated in any way, shape, or form. He had been under the impression, as had Lao Nie, that Wen Ruohan had stopped painting long ago. After some teasing by Lao Nie, the man had even off-handedly confirmed it at a private dinner they’d shared at a discussion conference – there had been more than usual planned in this past year, accounting for the fact that all of the Great Sect sect leaders (except Wen Ruohan) were unusually young, and therefore active. And although no one acknowledged it as a reason, everyone knew that it was also meant to help calm the concerns of the smaller sects regarding the chaos in their Great Sect leaders’ personal lives, between Jiang Fengmian losing his servant to his beloved or possibly the other way around, Lao Nie’s extremely bizarre marriage situation, and Lan Qiren stepping up unexpectedly to the position of sect leader on account of his brother’s retreat from the world.

According to Wen Ruohan, it hadn’t been anything in particular that had made him stop painting, only a lack of time and then of interest; there had been a severe crisis some time ago, long before either of them were born, and he had been obligated to devote himself exclusively to those affairs for an extended period of time. When he had finally resurfaced, years later, he had returned and found an old painting sitting there half-finished, and staring at it, realized that he was no longer the same man who had begun it.

He had never painted again.

Lan Qiren was unsure if this was a real story or not – Wen Ruohan, he had learned, seemed to consider the truth about his past to be little more than a gentleman’s agreement between friends – as it seemed to be an especially pointed reminder aimed at Lan Qiren’s situation in particular. 

Lao Nie had certainly taken it as such, throwing in his own concerns about Lan Qiren’s work schedule, and when even Cangse Sanren had joined the growing mob of all the rest of his friends, Lan Qiren had finally, if reluctantly, agreed to defer to their concern. He’d finally taken a step back and reorganized his duties as sect leader, standing his ground against the elders and insisting on having more time to devote to his own interests, including those outside of his work as a teacher – music, study, quiet contemplation, even maintaining his training with the sword, despite the fact that he would never match his brother as a sword cultivator.

It had, in fact, made him a better sect leader, less prone to working until he burned out, and he was grateful to his friends for their wisdom and steadfastness in the face of his stubborn grief.

At any rate, though, Wen Ruohan was no longer the painter he had been in his youth, and the hints of burning that marked all such paintings that Lan Qiren had seen suggested that the transition had been an unpleasant one for him. It was a surprise, therefore, to receive, as a gift from the Nightless City, a painting in that immediately recognizable hand which was so freshly made that Lan Qiren imagined he could still smell the grinding ink.

The painting depicted a dragon amidst a misty bamboo forest, its massive coils interwoven throughout the bamboo until it appeared almost part of the earth from which they sprung, or alternatively that speared through from above by a rain of spears; in its claw it held a beauteous dragon pearl, shining bright against the dark haze that surrounded the rest of the painting, and its eyes were fixed upon it as if it had forgotten all else.

The pearl, Lan Qiren presumed, was himself, given Wen Ruohan’s fondness for comparing him to one, which Lan Qiren still did not entirely understand – while he knew it was a sign of Wen Ruohan’s appreciation for him, and an indication that he treasured him, he thought that the particular choice in the type of precious stone was likely to be due to the fact Lan Qiren largely preferred white and grey and silver for his clothing. 

(Privately, he had determined that one day, out of sheer spite, he would wear an outfit primarily composed of blue for no other reason than to give the other man a shock; he just hadn’t found a reason yet to justify the expense of having such clothing made when he would only use it the once.)

Similarly, the dragon was the symbol of imperial might, of overweening power and influence and even arrogance; naturally that would be Wen Ruohan himself. But as for the rest of it – the lonely but beautiful bamboo forest, often associated with moral integrity and loyalty, yet juxtaposed in this painting as piercing spears, penetrating the dragon’s hide as if attacking him – the dark mist that seemed to envelop the dragon, held at abeyance only through the light of its pearl –

Lan Qiren did not understand.

There were too many meanings possible, and he did not know how to differentiate between those that were there and those he only wanted to read into it. There was nothing for it, but that he would need to ask the artist himself what was meant.

When, as expected, an invitation came a few days later, requesting that Lan Qiren visit the Nightless City in his capacity as Wen Ruohan’s sworn brother, Lan Qiren accepted.

There were all the necessary pleasantries when he arrived, of course. No longer could he just slip in through the back door, a younger brother come to leech off some resources from an elder; he was the Lan sect leader, and that came with certain obligations even on a casual visit. There were a few formal procedures, and then dinner with Wen Ruohan and his wives, with whom his dynamics had completely reversed – Madame Wen had thawed towards Lan Qiren on account of his new position as sect leader, which guaranteed that he would never be able to move to the Nightless City and thereby obstruct her personal power, while the new concubine, former maid, seemed to think that his involvement in her ascension to the position she now held was a matter of embarrassment, resulting in her wanting to snub him whenever possible.

Wen Ruohan largely ignored their antics, his eyes fixed on Lan Qiren throughout their meal, and afterwards, he had finally dismissed them all and taken Lan Qiren back to the small study he preferred to use for their time together.

“The painting you sent was lovely,” Lan Qiren said, playing a little with the cup of tea that was warm and aromatic in his hands. “You have lost none of your skill.”

“I rebuilt it,” Wen Ruohan corrected, looking amused. “You ought to have seen the first few efforts; I think I wasted enough paper to feed a small family for a year.”

Lan Qiren smiled at the thought. He could scarcely imagine Wen Ruohan struggling the way he described, making an effort and finding his ability wanting; still less could he have once imagined Wen Ruohan having admitted to that fact in front of another.

It was a little like what Lao Nie had said, that between the two of them they were excavating the residual humanity left in Wen Ruohan, slowly and methodically moving aside stone and dirt in order to find the treasures lurking beneath.

“I like it even more, then,” he said, and decided to be a little bit bold. “I like knowing that you thought of me for as long as it took you to make it.”

Wen Ruohan’s eyes curved in delight. “You need not be concerned on that score,” he said, his voice still calm and unhurried as always. “You are not so easily expelled from my thoughts, now that you have entered them…ah, little Lan, little Lan, you make me impatient! I had made plans on how to broach the subject with you, and yet now that you are here, I find myself rushing forward, intent to get to the point like some savage Nie.”

A savage Nie of whom he was exceedingly fond, he did not say, and Lan Qiren managed not to roll his eyes at him.

Instead, Lan Qiren put down his cup and folded his hands in his lap. “Don’t hesitate on my behalf,” he said, then added, a little dryly, “I’ve had enough indirect statements to last a lifetime.”

“Welcome to politics,” Wen Ruohan responded, just as dry, but his smile faded and his expression grew more intense; he stood and came closer to Lan Qiren, looking down at him for a long moment before taking a seat beside him. “Qiren, why are you here?”

Lan Qiren blinked, a little confused by the question, but before he could put together an answer, Wen Ruohan continued. “You are sincere and true to yourself; you follow your sect’s rules because you believe in them whole-heartedly and wish to live up to their strictures. Yet do they not say Do not associate with evil?”

“I don’t think you’re evil,” Lan Qiren said. “I think we disagree on what actions constitute evil, on what divides good from evil, and that you are more comfortable walking closely along that line than I. I think that there will be many times in the future where we disagree once again on what is or is not the straight path, and what is the crooked, but – fundamentally, I don’t think you’re evil.”

He considered the question for another moment longer, then added: “And if you were, what is there to do about it? You’re still my sworn brother, bound by oath and blood, and that makes you my responsibility whether I like it or not. Even if you were evil, the only thing that would be left for me to do would be to try my best to lead you out of the dark and back to the light.”

Wen Ruohan was watching him again. His red eyes were narrowed a little, his gaze as intense as it had been when Lan Qiren had been little more than a child, although experience had made it a little less overwhelming.

“You know that I see you as a pearl in the palm of my hand,” Wen Ruohan finally said. His voice was low and intimate, and Lan Qiren shivered to hear it. “A treasure I never expected to find, a gem of such surpassing purity that I fear it will burn me to dare profane it with my touch. Time is eternal; the pearl flows, the jade turns, and yet I remain, walking my crooked path and you your straight broad bridge, shining with righteousness. I see you and yearn for you both day and night, and even in my dreams…”

He reached out and put his hand on Lan Qiren’s. “I would have you be mine, if you would have the same.”

No hollowed-out puppets soon to be discarded here, Lan Qiren thought nonsensically, and swallowed.

“I am yours,” he said carefully, pronouncing each syllable at a time. He had to get this right, he thought, and he would only ever have this one singular chance to do so, or else he’d lose something as bright and shining as the pearl Wen Ruohan was always comparing him to. “I am your sworn brother, as you are mine; I will always be yours.”

“I know,” Wen Ruohan said, and it seemed for once that Lan Qiren had expressed himself clearly rather than muddling it up: he hadn’t misunderstood him into thinking that what Lan Qiren had said was a rejection. “If I were not one of those evil men that your rules warn you against, I would find it in myself to be content with that. But I am, and I am not.”

Lan Qiren wet his lips with his tongue. “You know what I told you,” he reminded him. “About how I – I could compromise myself if I had to, if it made you happy, but I don’t want to have to. That is not who I am, what I am. I don’t want to have to bend and yield. I don’t want to break under the weight of love the way my brother did.”

Wen Ruohan was watching him, patient and waiting.

“I’m not comfortable with that type of intimacy, the type shared between lovers since the start of time,” Lan Qiren finally said. “I don’t want it intrinsically, and I don’t think I want it logically, either. More than that, I don’t think, having never wanted it before and not wanting it now, that I will ever want it. My brother once compared me to a block of ice or a mountain lake frozen over in winter, frigid, and there was something true to what he said. There is no heat that will make me melt as others do…and yet.”

“And yet?”

“And yet you are not the only one who wishes to possess.” He met Wen Ruohan’s eyes. “I, too, would have you be mine.” 

His stupid Lan sect heart, burning a hole in his chest; it should have been enough to make him forget his own wishes and be willing to give in, to want to give everything to his beloved no matter the cost to himself, but it wasn’t – he wasn’t. And yet, at the same time, he judged his own affections to be no less than his brother’s for all that they were quieter and less flamboyant, understated rather than loudly proclaimed

Wen Ruohan leaned forward, bringing their faces closer together. “Then why don’t you claim me?”

“Because I cannot offer you what I should,” Lan Qiren said truthfully. “What you would expect –”

“And when,” Wen Ruohan cut him off, “have I ever cared for the expectations set out by the rest of the world? Would I have done half the things I did if I cared for the world’s conventions and determined my aims through their lens?”

Lan Qiren had to admit that he had a point.

“I know what you are,” Wen Ruohan said. “To taint you would be to ruin my own pleasure, to force you would be to deny myself – and I never deny myself. I am greedy, little Lan; I am not content with what the world would have me want, not when I can have what I really want.”

“And what is it that you want?”

“Lao Nie told me that he told you about his wife,” Wen Ruohan said. “How he stayed and she went, and they were still happy…I want that, with you.”

Lan Qiren frowned, not understanding.

“I want you,” Wen Ruohan told him, and his long-fingered hand traced over Lan Qiren’s cheekbone. “I want to have you, to own you, to keep you. I want to possess you down to the marrow of your bones; I want every inch of you in every way that I can have you. I want you to be mine – and I don’t need to fuck you to have it.”

Lan Qiren stared at him.

Wen Ruohan smile was like his smirk, triumphant and arrogant, certain of his impending victory. “If I want sex, I have my wives or Lao Nie for that, don’t I? To my wives I have only promised power, which I have given them. As for Lao Nie, I know now that he cannot promise me his heart: he is too facile, too free, too easy with others – he is compelled to share not only his body, which I wouldn’t mind, but also his heart, and I find that I am as unwilling to share in matters of the heart as you are to share your body.”

He shifted closer yet again, until their eyes were level with each other and their breath intermingled in the air between them.

“You will not be like him,” he said, voice dark and certain. “You’re barely willing to divide your attention to things you consider less important than your particular interests. Your heart is your clan’s curse and its treasure, taking you to the heavens and casting you down to the hells – if you give me your heart, full and entire, it will be as if you have removed it from your chest and put it in my hand. No one else will have any part of it, not like this, not in this way. It will only be me.”

“That is true,” Lan Qiren said. “I love no less deeply than my brother. My heart is a placid lake with a surface as clear as glass – you can see everything therein. Within it, there are only my interests, my nephew, my few friends, and you.”

Wen Ruohan’s smile widened.

“What exactly are you thinking?” Lan Qiren asked. His heart was beating in his chest so fast that it hurt. “If you want the assurance, you have it already: I am yours, and you are mine, and it would shatter me to let you go now. Is that what you want?”

“It is.” Wen Ruohan laughed, and it was full of pleasure. “Ah, little Lan! It is, it is.”

“What does it change?” Lan Qiren asked. “How is it different from what we have already?”

“It changes everything,” Wen Ruohan said simply, and Lan Qiren thought about and felt that he was right. “Knowing that you are mine makes it easier to release you into the world, to watch you shine and others see it; let them all look and know that it will never be theirs. All good things in the world are mine, and you are the best among them.”

“Pretty words,” Lan Qiren said, aiming for dry but probably just coming off as short of breath. “I’m a little more interested in the practical.”

“I would have you share my pillow while you are here,” Wen Ruohan said. “I do not need you to share your body with me, but I would have your company as a husband has his wife’s…and there are things that can be done without involving your body, depending on your tolerance.”

“Oh? Like what?”

Wen Ruohan grinned. “As it happens, that’s a matter I’ve given some considerable thought to…”

Lan Qiren rolled his eyes, and felt the heat in his ears fade a little; he appreciated the small reprieve from the emotional intensity, the humor breaking the tenseness of the moment.

“You know I find you beautiful,” Wen Ruohan said, and this time his hand came to rest on Lan Qiren’s cheek, his thumb brushing over his lips, and as quickly as that the reprieve was gone. “Perhaps you would permit me to find my own pleasure beside you, gazing upon you, or even invite another to share the bed while you busy yourself with your work – you are never as beautiful as when you are focused, your soul and mind wholly absorbed in your passion for the subject. Perhaps I would invite you to read a spring book for me, spilling out dirty words in that cool tone of yours that you use regardless of the circumstance, so that I might torment myself with hearing you at any time and think of that…I have a thousand and one ideas, little Lan, and I would try them all to see which ones you like and which ones you don’t, to yield to your preference and glory in so yielding.”

None of that sounded like something Lan Qiren would dislike, he thought to himself; it really was only his own personal involvement in the act that he truly objected to. And if Wen Ruohan had Lan Qiren’s heart and Lao Nie’s body, and both their friendship besides, perhaps even he in his ceaseless ambition could find a way to be satisfied with what he had for a time.

“I would like that,” he said honestly.

“Then having gained a cun, I will take a chi,” Wen Ruohan said. “I would like to kiss you.”

Lan Qiren swallowed.

“…all right,” he said. “You may.”

And he did.

[bookofmirth]

Fandom! Just curious...like wouldn't SJM be aware of the fandom chaos? Even in some form? Maybe I'm just a bit anal and obsessive but when/if I publish a book I'd look into what my fans are thinking and if things got this bad release a statement or something. Am I just not that intune with what the publishing/author things are like? Or am I just more anti sjm than I originally thought I was. Because this is not okay and no one is holding these people, whatever ship they are, responsible.

No, I really doubt she knows. And personally, I don't think it's her responsibility. We built this mess, we are the ones behaving and reacting this way. It's ours to clean up.

Sorry, I get on my soapbox a bit here re: the acotar fandom.

From what I know, sjm intentionally keeps herself out of any sort of internet discussion. In one of her most recent events, she said that she doesn't even have any social media apps on her phone, and just uses it to play solitaire or something like that. And I think that Steph said she doesn't tell Sarah about any of it because of her mental health. There is 0 reason for her to need to know that people were joking about kidnapping her kid or her husband choking. The fandom is such a clusterfuck right now, that how would she be able to see through the noise to the actual, useful information, not to mention how could she engage with it?

I think there are some good reasons for this - I can't even imagine how I would react to seeing an entire anti community dedicated to me and my work. A lot of the criticism or discussion online is... suspect, at best. What good would it do her to read someone's headcanon? Or someone's completely subjective analysis of a scene? That's also tricky territory because authors aren't supposed to see any written fan work stuff, or they could be accused of taking ideas from people. I'd also rather she not know because I don't want fan service books. I want the organic story she wants to tell.

Also, fandom is a completely separate monster that the books, the publisher, and sjm did not create. Our behaviors are our responsibility. It's like the Wild West out here and some of us are taking full advantage to be assholes they always aspired to be. But there is no Fandom Police, which in cases like yesterday, kinda sucks.

I understand the desire to want sjm to make a statement. When Steph was getting a raft of shit for not shipping elriel anymore, I thought that surely Sarah would say something. I thought now this is personal, so she should get involved. But the thing is - and this is why I often choose not to reblog things with negative content - her response would also give that behavior a larger platform and more attention. And for someone with sjm's following? It would be 1000000% times worse.

And honestly? Even if she did say something, then people would just cry "death of the author" (inaccurately, might I add) and continue doing whatever they want to do. There is a fundamental lack of respect for other people that these behaviors indicate, and Mommy Sarah coming out and chiding everyone isn't going to make it better. People need to be held accountable, but it so quickly spirals into deflection, defensiveness, and then rerouting the conversation to insult OP, that what's the point? Sometimes I want to hold people accountable, but at the end of the day, that's not my job or responsibility, and all I can do is control my own actions.

My advice is to just be vigilant with who you do and don't follow, freely use the block button, and don't go into spaces that you know aren't safe. Right now, that's almost all of Twitter, and from what I hear, BookTok isn't that great either. I stick to tumblr, I have tags blocked, and I have about 40-50 fandom-related blogs blocked.

Unfortunately - and this is what makes all of this even worse - the fandom is proving itself to be very unsafe for people of color, and that's disgusting to me. It's disgusting and embarrassing and makes me want to peace out when people are just here trying to have fun, and a woman of color who rightfully calls out disgusting behavior is then subjected to something 1000% worse, essentially derailing the conversation away from the actual problem - racism, sexism, homophobia, and ableism in the fandom - and turning the discussion into tone policing.

And that is what happened yesterday. Instead of reflecting and saying "wow, this fandom is doing shitty, racist, ableist things", the discussion turned into "omg why is OP calling people out, OP thinks she's so smart, OP needs to say these things differently, OP should be nicer", etc. etc. But that means WE NEVER END UP ACTUALLY CRITIQUING THE ORIGINAL PROBLEM OF RACISM, SEXISM ETC. IN THE FANDOM. The entire discussion gets skewed elsewhere and we are right back where we started. With people being problematic assholes, and others being afraid to say anything about it.

(The way those phrases have been used as weapons in ship wars is a separate issue.)

I know I went way beyond your original question, but I think that as a fandom, we have way more responsibility for our own actions than Sarah does for calling them out. And I am putting this in all the tags because I think everyone needs to see it.

[pumpkinpaix]

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;)

[dreamsatdusk]

Analysis:  Baghra and the Apparat

I received an Anon ask a while back and accidentally published it before it was done a while back.  Privated the post but decided to have the final product as a new post just in case; I don’t want it buried in tags from way back.

The Ask:

Hello! Can you do a breakdown on Baghra's character and the Apparat's? I'm interested in reading your thoughts about them

Thank you for the ask!  And apologies for the delay in response.

Baghra

One of the first Grisha meta posts I wrote years ago was about how the way Baghra and her hut are portrayed evoke the impression of Baba Yaga.  Her appearance, hut in the woods (likely amidst birch trees), and something of her attitude all lend themselves to it.  Since then, I’ve also come to think there might be a bit of tie in to the tale of Vasilisa the Beautiful, who was forced to go and bargain with Baba Yaga for a light against the darkness.  

Looking past that surface, in the trilogy we are presented with Baghra as a figure both ascetic and penitential, as well as bitter and unkind.  The latter traits are well explained by what we learn of her history:  she has had a long life filled with a great deal of loss, with countless threats to Grisha and particularly to she and her son, different as they are even from other Grisha.  Her childhood was a sad one brimming with trauma and what she recalls of her parents to Alina causes me to think that she did not feel truly loved by either one of them.  I think their treatment of her and behavior toward each other shaped her perspective on life in profound ways, ones she never got past.

But the former traits don’t have so obvious a cause on page if you look more deeply.  Her lifestyle is very austere despite the fact there is no need for it - she is not on the run and in hiding any longer as she was in the Darkling’s youth.  Her conversations with Alina in regards to her son are couched in religious terms:  she is worried about his being beyond redemption, she speaks of merzost as abomination, and so forth. In R&R, she has Misha read religious parables to her to pass the time.

This clashes with what we know of contemporary Grisha.  It is said at one point in S&B that Grisha don’t put much stock in religion and we see the Darkling does not seem to either.  Not to mention the fact that he and his mother knew at least several Grisha who later became considered saints.  I find it likely they suspected other saints could also have been Grisha - Grisha and martyred for it, their true identities obscured so later people could pray to them and not have to consider the ‘unnatural’ people they were.  It makes a lot of sense that neither Baghra nor the Darkling would invest much consideration in Ravkan religion as it is presented on page.  In fact, it seems like they’d find it more infuriating than anything.  And yet.

The Second Army has no need to lead lives of deprivation.  Yes, they eat ‘peasant-style breakfast’ and such, but their rooms are gorgeous, they have beautiful clothing, sugar for their tea and so forth.  Baghra surely wouldn’t be living in a tiny dark hut in the trees unless that is what she wanted.

There’s also the fact that she shows signs of not using her summoning powers.   Even before S&S, she’s apparently quite chilly a lot.  It makes sense she wouldn’t show she could summon shadows where other Grisha could see.  But the indication is she isn’t using her powers at all.   That is another way she seems to have chosen to deprive herself, to the point of impacting her health.  Perhaps she even hoped that it would lead to her death, but apparently it has not been enough to override the impact of her amplification talent.

Looking back at the woman seen in Demon in the Wood and was glimpsed in the tale she tells Alina of her past, it very much seems to be something happened to turn who Baghra was into who we see in the trilogy.  

I suspect much of the true reason is that she is pretty much a plot device in the story.  She needs to spook and horrify Alina into running.  Her talk of ‘redemption’ and ‘abomination’ are peculiar in terms of many other elements we see in the books.  I’m writing a meta on the amplifiers and merzost and such that goes into this further, but I’ve also written some in the past about how there’s no real reason to believe merzost is inherently bad. Baghra has clearly decided it is though and speaks of it and her son’s actions in absolutist terms.  Because she needs to in order to have the narrative run how it does, more than once.

And again, what reason would this character really have to put so much faith in Ravkan religion?  

What’s a possible in-universe explanation for this?  I think the creation of the Shadow Fold works well for that.  We find out that what the Black Heretic was actually trying to do was recreate Morozova’s amplifier experiments and something went wrong.  (This is the focus of the upcoming meta I mentioned above.). The Fold happened and all of the people within its bounds were transformed into volcra. All in all, a horrific situation, however much an accident.  This could have functioned as such a systemic shock to Baghra’s worldview that she sought solace and perhaps forgiveness in religion.  I suspect she felt guilt, which is pointed to in things she says in the trilogy.  Also, she’s the reason the Darkling even had Morozova’s journals - she went back to the village she was born in and found them, per R&R.

I still think her being invested in the Ravkan religion itself is a weak point, but could be generously explained by just how traumatized she was by the Shadow Fold situation.  She may have desperately wanted something to believe in.  That said, the lack of any sign in the books of what more lies behind Ravkan religion than Saints and the fact that Baghra knows that at least several of those Saints were actually Grisha, doesn’t make this the strongest argument to me.

I also wrote some weeks back on how Baghra was portrayed as emotionally and physically abusive to Alina and according to their own accountings in R&R, other Grisha as well.  In the early days of the fandom, I never really saw that acknowledged, though it has gotten far more recognition this year with new people reading the books since the release of the tv show.

Overall, she is a very bitter person and I think a lot of what we see of her is driven OOC by her being largely a plot device and IC by guilt.  She feels guilty about the Fold’s creation and so forth and lashes out at others in misdirected anger.

I think this also relates somewhat to her treatment of Alina in S&S and R&R.  She blames Alina for not ‘adequately’ running away (went after the stag instead), blames her for the Darkling putting himself beyond redemption (in Baghra’s mind - like too many people IRL, she seems to not understand what redemption actually is), blames her for the sea whip, for wanting to find the third amplifier.  She blames Alina for these things, but it is likely a mask for further personal guilt. Of all people, Baghra is likely the one who would have been most successful in stopping the Darkling before things took the path they did.  He trusted her.

But her nasty treatment of others obscures that Baghra is largely a passive character in the trilogy. Whether out of love or some variety of religious concern, she doesn’t try to kill her son.  She doesn’t remove Alina from the situation in a more final way, only tells her to run.  And in the end, she commits suicide rather than more directly confront the Darkling.

The Apparat

Okay, after all that, I don’t have near as much about the Apparat. *L*

If Baghra’s surface details are meant to evoke Baba Yaga, then I think the Apparat’s point to Rasputin.  His physical description was practically a caricature (if you’ve only seen the show, he looked far less revolting in that than he was described in the books) and he starts out as a trusted advisor to the Ravkan royal family.

One of the big questions about the Apparat is about what he truly believes.  He was in cahoots with the Darkling around the coup against the Lantsov dynasty in S&B, but he later swung his support behind the Sun Summoner.  I think it would be a believable reading of the text to suspect he may have planned to do so since learning of Alina’s existence.  There’s no real reason to think he truly supported the Darkling’s cause or cared much for Grisha themselves; on the latter point, I think the greater support is for the idea that he does not care about the Grisha and just used them to get what he wanted.  

His presentation is a mix of True Believer and power-seeker and a great deal of the questions around him relate to where one thinks he falls most strongly on that spectrum.  Alina’s interactions with him in S&B have the hallmarks of a fanatic, but then, these signs are also seen through Alina’s eyes and you have to consider whether she is seeing reality or a careful act.  I think the case could be made for either.   But either way, I also think he wanted power.  I suppose you could argue he wanted power on behalf of Sankta Alina, but I think his actions in R&R show that an Alina who wasn’t going to comply with his wishes was deemed more trouble than she was worth. If she had died, I don’t think he fundamentally would have cared.  She had established enough of a reputation, was known to enough people, that he could have exploited her as a martyr without having to deal with the reality.

The Apparat was the sort of character I tend to really dislike (religious manipulation, etc.).  Something that struck me in all the books is how more than one character was strangely...tolerant of him. He backstabbed people more than once and yet nothing was every truly done about it.