areadersuncertaintyprinciple

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Even tho I'm sad that they had to cut so many of the 'stuff' from the webnovel(iykyk) but TELL ME HOW TO HATE YOU TELL ME HOW TO NOT LOVE YOU?!!! Gimme more sire

I almost dropped this show coz of the tonal whiplash that ep6 gave me- Sunday retreat was meh. Yet I loved this episode despite its logical fallacy (Idea for next date: please don't make a patient walk so much and climb a fricking skyscraper😊). I never expected logic from this drama from day1 tbh & despite that there's something in this whole mess that makes me want to prolong my suspension of disbelief every week. Even they leave plot threads weirdly dangling, I still eat up whatever they serve 😂. It's a delicious blend of CLASSIC TROPES with a healthy dose of whatthefuckery.

I wanted the teasing, cat-&-mouse game to go on longer where Saeon frustrates the heck out of Heejoo but then I remembered that it's a 12ep show & we r already past the halfway mark. Sad lol. The editing on this episode also felt tighter compared to the last.

I love Yoo Yeon-seok & it amuses me that he's now going viral for his 'sexy image'🤣 coz I've known for yrs that man's looker & an actor to match that! Oof.

I had wished his last few works coz I wasn't into them,so, I was anxious whether he still works onscreen for me coz I thought the trailer looked badish in a goodish way(Surprise- HE DOES).

Chae Soobin & He do the heavylifting day in & day out on this show but hat's off to the direction too. I have always liked his choice of focusing on Saeon's wedding ring and I liked how that was focused even today. And that Kiss? Dramaland, Cinemaland, etc-land writers...now this is what we call a kiss-after-years-of-yearning. An onscreen kiss is rarely meant to replicate real life kissing, rather, its job is to look "good" on camera while showcasing the apt emotions/script. And Yeonseok+Soobin nailed it

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I shouldn't have watched the First ep of "When the Phone rings" (⁠╥⁠﹏⁠╥⁠)I'd been waiting for it ever since I saw the trailer coz Yoo Yeon Seok in a makjangish role (the second trailer vibes) is too tempting...The first ep dropped today and it's FUN. But the THRILL OF WATCHING AN ONGOING SHOW?! I like it and I don't like it 🤣

I thought- well they showed everything in the trailer, so I am gonna just take a quick peek. nOPe. 90% of the stuff from the trailer happens in the first ep.

Verdict: It feels it's gonna be a crazy show 🤣. Hopefully it's crazy good so that I can learn patience and wait for new ep every Saturday and Sunday 😀 if it's bad(hOPeFULLy NOT), then there's Trunk to watch when it releases 😀 if that too happens to be bad(hOPeFULLy NOT), then I'll find something else ig 🥱(hOPeFULLy)

So hopefully it's a good show coz I rarely watch ongoing shows. The last time I caught up to broadcasts in real time was Revenant(but I only started that after half of the story had already aired)

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About Mist [Unlimited]

I first Mist[Unlimited] in 2021 and since then, I have read it twice more. After my recent re-read, I came to realize the unfortunate consequence of my accursed laziness: i haven't contributed anything to the fandom!*dramatic shrieking*which isn't an appropriate thing at all, especially for a series as underrated as Mist.

In this inaugural post(which will hopefully be followed by more), let's talk about the two different translations available online. 1. The first translation is by the lovely KKTranslates 2. The newer translation is by the lovely Veyrithele

For my first two reads, I relied upon Kktranslates and I'm extremely grateful to them for introducing this exquisite piece of work with me and other Unlimited flow fans. I accidentally came across the new translation by Veyrithele and as such, decided to reread Mist as a refresher.

Translation preference, like every other thing, is highly subjective. I found both of the translations to be adequate and both try to go beyond their duty of simply translating by providing extra details like map of the arc 1/ouroboros in case of KKTranslates or simplied/extra explanations in case of Veyrithele. For new reader or potential rereaders, I would suggest doing a translation taste test by picking up a random chapter and then choosing the translation you happen to like the best.

The following are a couple of my observations:

Chapter 1 a) KKtranslates:

b) Veyrithele:

2. Translation of 'Tianqiong' KKtranslates keeps Tianqiong as it is while Veyrithele translates it as 'Sky Vault'. It might be just me but I prefer names to be as untranslated as possible. (There are a few other places where this happens as well but I am too lazy and didn't take ss)

3. Minister Lin or Chief Lin? Now, I don't claim to know Chinese nor have I read the original text so I don't know which address is right but I have a preference for Chief Lin(KKTranslates) as opposed to Minister Lin(Veyrithele)

So, choose your pick- it honestly doesn't matter which one you prefer because Mist[Unlimited] is a great book and both translaters have done it justice.

Toodlepip!

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Will rate it 6/10. They could've done so much more- the second half is proof of that. The first half was icky & fanservice-y.

They could've given more depth to their characters so that the first half didn't feel as horrendous as it did. The inclusion of Roxie & that song was entirely unnecessary. They also could've tried to make the plot flow better because at times, it felt like they were just hitting plot points or including nods to popular sci-fi material- Star Wars(that bonding scene between Dulquer Salmaan's character & young Bhairavaa also remined me of The Mandalorian), MadMax, Blade Runner, Dune, etc. The plot, characters, dialogue, VFX...needed to be more fine-tuned.

The second half was where it began to work sorta? When the Mahabharata part was truly brought in. Amitabh Bachchan was the MVP & his scenes were truly my favourite of them all.

Nevertheless, Kalki gave me a hopeful glimpse of rich potential available in adapting Indian epics (& different takes on them) to cinema. I just hope they had done it better. As of now, I'm not willing to waste my money on the sequel, if it comes. Unless reviews of the sequel convince me that it's worth it. But that's for the Future Me.

Did Kalki 2898 AD have issues that could've been avoided? Yes.

Did the screenplay suffer somewhat? Yes.

Were there some unnecessary storylines? Yes.

Did I love it? Also yes.

It's flawed but the vision was there and when it hit, it hit hard.

The vfx effects were very good too. For the most part.

Spoiler-ish

The best part, without a doubt, is Amitabh Bachchan's Ashwatthama. Amitabh Bachchan has shown why he's still ruling. He was so good. His expressions, especially when he met Sumathi. The yearning for redemption, the guilt, the relief, the determination.

Again, the movie isn't perfect and many people won't like it. But as a Mahabharata fan, I loved it. I just hope they'll scrap the unnecessary storylines and develop other characters. The few scenes from Kurukshetra hyped me up so much. Please Nag Ashwin, make a Mahabharata trilogy. And I just love who Prabhas's character is the reincarnation of. I never could've imagined it would be him.

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My part of the wall:

reading the fourth wall is always an unparalleled experience. the way the first many comments are all squeezed together in the central space, some bigger and louder than others. the way people sometimes reply to each other. the way some people share coordinates that you may find what they want to show you. the way others still hide in the periphery like a young child, wondering if anyone will find this hiding spot. maybe they'll hide a drawing there for you to see. maybe a cry into the void - the act of hiding in the margins is also a bet against the world, saying "can you find me?". and often, very often, the answer is a single person who wanted to hide the same way, saying "i found you". no way to be alone on the wall where everyone has left their handprint, it doesn't matter how far away yours is from mine, we've both been recorded on the same wall. i'll find you, someday.

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Mrs. Dalloway captures the sense of rupture caused by a catastrophic war

Beneath the seemingly mundane surface of a single day in London, Virginia Woolf's Mrs. Dalloway paints a haunting portrait of a society fractured by the trauma of World War I. The novel's exploration of this rupture goes beyond explicit references to the battlefields, weaving the threads of displacement and fragmentation into the very fabric of its narrative.

One of the most potent tools Woolf employs is the fragmented narrative structure. The novel leaps between the consciousnesses of various characters, creating a kaleidoscope of thoughts and experiences. This fractured form mirrors the shattered state of post-war society, where traditional structures and expectations lie in ruins, leaving individuals adrift in a world that no longer feels familiar or coherent. Clarissa Dalloway, the novel's central figure, embodies this internal fragmentation. Haunted by the ghosts of a lost past and grappling with the hollowness of her present, her stream-of-consciousness reveals a mind struggling to find meaning in a world irrevocably altered by the war.

The novel's temporal tapestry further underscores the sense of rupture. Flashbacks and shifts in consciousness disrupt the chronological flow of time, creating a feeling of disjointedness and dislocation. This temporal disorientation echoes the profound loss of continuity experienced by those who lived through the war – a past that haunts the present and casts a long shadow on the future.

The contrasting perspectives of the characters further highlight the social ruptures caused by the war. Clarissa, clinging to pre-war values and traditions, represents the privileged upper class desperately trying to maintain a semblance of normalcy. Septimus Warren Smith, a shell-shocked veteran, embodies the trauma and disillusionment borne by those who witnessed the horrors firsthand. This stark juxtaposition reveals the chasm that now separates different segments of society, a consequence of the war's devastating impact.

Woolf's masterful use of the stream-of-consciousness technique allows readers to delve into the characters' raw and unfiltered emotions. Their internal monologues, chaotic and fragmented, mirror the psychological fractures caused by the war. Clarissa's anxieties, Septimus's paranoia – these intimate glimpses into their minds reveal the profound emotional ruptures that lie beneath the surface of everyday life.

Through its fragmented form, disjointed timeline, and contrasting perspectives, Mrs. Dalloway delivers a powerful and multifaceted portrait of a society grappling with the aftermath of a catastrophic event. The novel's exploration of rupture is not merely a historical artifact; it resonates deeply with our own fragmented times, reminding us of the enduring consequences of trauma and the ongoing struggle to find meaning in a world forever changed.

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Does the narrator of Mrs. Dalloway take sides?

The narrator of Mrs. Dalloway is a third-person omniscient narrator who can access the thoughts and memories of different characters, such as Clarissa, Septimus, Peter, and others. However, the narrator does not always remain neutral or objective. 

Sometimes, the narrator expresses opinions or judgments that reflect the perspective of a particular character, such as Clarissa’s admiration for Sir William Bradshaw or her resentment of Miss Kilman. Other times, the narrator seems to have a distinct voice and attitude that is not aligned with any of the characters, such as when the narrator criticizes Sir William Bradshaw’s arrogance or Miss Kilman’s self-righteousness.

The narrator of "Mrs. Dalloway" does not explicitly take sides between Clarissa and Septimus, but rather shows the different aspects of the human condition in the post-war society. The narrator's ability to shift seamlessly between Clarissa's stream of consciousness and Septimus's fragmented thoughts without judgment allows readers to immerse themselves in the inner worlds of both characters. It's this compassionate portrayal that brings out the shared struggles and isolation they experience, despite their differing approaches to dealing with their trauma.  

While the narrator presents Clarissa's life as one of privilege and societal acceptance, it also reveals the underlying emptiness and dissatisfaction she feels. Her fixation on social appearances and her suppression of her true desires are portrayed with empathy, rather than judgment. 

Similarly, the narrator's portrayal of Septimus's mental breakdown is one of compassion and understanding. His hallucinations and paranoia are not dismissed as mere delusions, but rather presented as the consequences of war trauma and societal neglect. The narrator's sensitivity to Septimus's inner world allows the reader to connect with his character, despite the challenges of comprehending his mental state. 

In conclusion, Woolf's narrative technique, using stream-of-consciousness and alternating perspectives, serves not to take sides but to offer a multifaceted exploration of human experiences. This approach enriches the novel by inviting readers to empathize with both Clarissa and Septimus, fostering a deeper understanding of their inner conflicts and the broader societal issues at play. 

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Although Mrs. Dalloway is centred on 'the protagonist’s consciousness, it has an outside, socio historical dimension as well.

"Mrs. Dalloway" indeed predominantly revolves around Clarissa Dalloway's consciousness, yet it also possesses a rich socio-historical dimension that transcends her individual perspective. Virginia Woolf masterfully intertwines the personal and the societal, creating a narrative that reflects the broader context of post-World War I London. 

The setting of the novel, London in 1923, provides a backdrop for exploring the social dynamics of the time. Clarissa's preparations for her party, the interactions at the party itself, and the observations of various characters throughout the day reveal the rigid social hierarchies, gender expectations, and class divisions that shaped British society in the interwar period. 

The novel also captures the changing attitudes towards women and their roles in society. Clarissa's desire for independence and her questioning of traditional gender roles reflect the growing feminist movement of the time. The juxtaposition of Clarissa's social engagements with the more radical feminist ideas expressed by Sally Seton suggests the complexities and contradictions within the women's movement. 

The novel's depiction of the aftermath of World War I is particularly poignant. Septimus Warren Smith, a shell-shocked war veteran, serves as a stark reminder of the psychological and emotional trauma inflicted by the war. His struggles with mental illness and his eventual suicide highlight the disregard for veterans' mental health, reflecting broader societal neglect and the consequences of war trauma. 

In conclusion, while Mrs. Dalloway is centered on Clarissa Dalloway's consciousness, it does not exist in a vacuum. The novel is firmly rooted in its socio-historical context, providing insights into the social dynamics, cultural trends, and psychological impact of post-World War I England which further elevates its significance beyond the confines of a single protagonist's consciousness. 

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Lovecraftian Influence in ORV (part 2):

Disclaimer: idk if all the parallels are intentional; I'm not an expert on Lovecraft; this is defo not going to contain all the stuff in detail or even all the stuff coz like I said, I ain't an expert 1. Textual parallels:

Both ORV & Lovecraftian lore emphasize the cyclical nature of time and existence. In ORV, Dokja's regressions and the ever-repeating scenarios of "Ways of Survival" mirror the cyclical dreams of Azathoth. Similarly, Lovecraft's stories often feature ancient entities trapped in endless cycles of slumber and awakening.

The motif of uncaring gods and the dangers of seeking ultimate knowledge is central to both Lovecraftian mythos and ORV.

The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. - H.P. Lovecraft

In the mythos, Yog-Sothoth embodies the totality of time and space, existing outside our linear perception. It has the ability to manipulate time in non-linear ways, creating alternate realities and diverging timelines. Imagine a tapestry of time, and Yog-Sothoth meticulously snipping sections and reconnecting them in impossible geometries, birthing new worlds and realities into existence. Similar is ORV's "square circle". Imagine a perfect circle, representing a closed timeline, yet simultaneously containing its own square corners, moments of choice and potential divergence.

Crawling Chaos(one of the names of Nyarlathotep) is directly mentioned in ORV: (look at the phrasing- myths that were prototype of Ways of Survival)

Character parallels:

Most Ancient Dream & Azathoth: This one's a no-brainer.

Both are dreaming entities who shape reality without conscious intent- while Azathoth is a blind god who's unconsciously dreaming up the universe & MAD is a traumatized child who's dreaming up stories as a coping mechanism.

The "idiot god" aspect of Azathoth resonates with MAD too. Both are unaware or atleast have a lack of choice/control. Their dreams & reality itself are in a continuous loop

The "uncaring god" aspect of Azathoth resonates with the MAD's desire for new stories rather than any sense of morality or concern for its creations.

2. Nyarlathotep & Secretive Plotter:

Nyarlathotep is said to be the puppet/avatar of Azathoth while YJH/Secretive Plotter is labeled as the puppet of MAD.

Worldline Jumpers

All black ensemble (silly comparison ik)

Mocking contempt for their "masters"

Nyarlathotep views humanity as playthings, pawns in his game. He's often described as a harbinger of apocalypse, acts on an enigmatic agenda seemingly tied to chaos and destruction. While Secretive Plotter's goal was to meet-kill MAD & end the cycle of regressions once & for all through an apocalypse.

3. The Hounds of Tindalos:

The Hounds of Tindalos are creatures created by Frank Belknap Long and later incorporated into the Cthulhu Mythos. Both the names of Hounds of Tindalos & Hounds Chasing After the Abyss have been mentioned in the text. So, it's a direct reference.

4. Yog-Sothoth the gatekeeper & Fourth Wall+Dokkaebi King

5. Shub-Niggurath & tls123/1863hsy: disclaimer: Lovecraft's work is unfortunately riddled with racist and xenophobic imagery and tropes, particularly regarding Shub-Niggurath.

Shub-Niggurath is said to be the "Mother of All Gods" & we can compare tls123 to her in the same vein as tls123 is the author of TWSA while 1864hsy is the author(or co-author) of ORV. "tls" represents the Korean word for "god" as the keys for T, L, and S correspond to the letters ㅅ, ㅣ, and ㄴ on the Korean keyboard. => tls123 is the author-god of the universe

(tls123 is also kinda similar to Azathoth in having no power over their creations)

6. Randolph Carter & the 0th YJH: Randolph Carter is a recurring character in many stories from Lovecraft's Dream Cycle series. He also features in an unfinished short story called "Azathoth". In Azathoth, Randalph travels through space and time in his dream-form, and is drawn to the nighted throne of the far daemon-sultan Azathoth, the blind idiot god who rules over chaos and creation. Like, Randalph, 0th YJH chooses to regress because he wants to meet MAD

...and that's it for now. I'll add more if I remember. Constructive feedback is welcome but keep in mind: I'm no expert & also a human behind the keyboard.

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Lovecraftian Influence in ORV

On a sleepy bus ride, a few months ago, I was peacefully listening to the s2 this BBC podcast called The Lovecraft Investigations(the name of s2 is "The Whisperer in Darkness").

It is a mystery thriller/horror fiction podcast created, written and directed by Julian Simpson, based on the modernization of several works of H. P. Lovecraft & presented as a podcast-within-a-podcast in which the two hosts of the Mystery Machine, a true crime podcast investigating cases related to the occult and conspiracy theories.

I was listening to ep6 at that time & some minutes in, the podcast describes a "series of things" that strongly remind me of ORV, all traces of sleepiness gone. (following text snippets have been taken from the Pleasant Green wiki, with some additions by me):

Eleanor explains that Nyarlathotep is supposedly the avatar of Azathoth, an entity that is dreaming the universe into existence. But Azathoth is unaware of this? Nyarlathotep goal is to trick humanity into opening a portal to Azathoth's Dreamlands and let Azathoth enter our reality, an act that would send the human race into collective insanity...

The episode definitely goes into more detail but I'm too lazy to do a transcription now. However, I think this short summary from the ep does race a few flags- entity who dreams the universe into existence? avatar of the entity? HEY THIS IS SIMILAR TO MAD & SECRETIVE PLOTTER.

I tried to find if anyone else on the internet(a common fan of Lovecraft & ORV) had noticed this & I found one, very detailed post on Reddit. This confirmed my suspicion & also fueled my curiosity more- I had to see for myself how deep the links went.

so.i.researched...hehe

(contd. in part 2)

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apparently this should be pinned. so, okie.

This account is for those rare meta & analysis; usual babbling, musing, original writing, opinions, blog posts & basically/mostly blah blah, etc.

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"A storyteller was supposed to remain neutral. The thing was, though, all judges secretly rooted for a team they liked. This was true for Bihyung as well. Like a parent looking at his wonderfully-matured children, Bihyung stroked the faces appearing on the screen with a deeply moved expression."

This is one of my favourite quotes from ORV & I really don’t see it being discussed much around in my feeds atleast. So, here we go...

Through this quote, the novel deepens its exploration of the complex and ambiguous(or say, intricate and intertwined) relationship between perception and reality, fiction and non-fiction, storyteller and character, reader and story.

This quote emphasizes the tension between Bihyung’s role as an impartial observer and his personal attachment to certain candidates and their stories, through his acknowledgement that, despite his professional obligation to remain neutral, he cannot help but have preferences and biases.To add to the depth of the story, this particular quote comes up at a crucial juncture in both the story as well as the character development of Bihyung, setting the stage for his eventual sacrifice.

The portrayal of Bihyung's paradox and dilemma challenges the traditional notion of an omniscient and omnipotent storyteller who has complete control over the narrative.  Being a storyteller, his emotional attachment to KimCom influences his perspective and judgments, implying that personal biases within the storyteller, can seep into the narrative, potentially affecting the way events unfold and characters are portrayed. This raises important questions about the reliability and objectivity of the storyteller, as well as the degree of control and freedom characters possess. It also prompts readers to examine their own perception and interpretation of the story and consider how much they are influenced by the voice and choices of the storyteller. 

Ultimately, I think the novel invites readers to question the nature of perception and reality through this & several other quotes/plot points, etc. It challenges the notion that there is a single "truth" or objective interpretation & emphasizes the complex and ambiguous nature of storytelling, where multiple perspectives and interpretations can coexist.

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TGCF’s portrayal of "storytelling"

Another aspect of TGCF that I like is its portrayal of "storytelling". The novel questions the reliability and validity of these stories, as well as the motives and agendas behind them. It also shows the power of storytelling in shaping and influencing reality

It is a common belief that many stories, whether they are based on real events or entirely fictional, often draw inspiration from elements of truth. Authors and storytellers often incorporate real-life experiences, historical events, or cultural references into their narratives to add depth and authenticity.

However, storytelling does not always aim to present an objective or factual account of events. Instead, it often employs various literary techniques, such as exaggeration, symbolism, or metaphor, to convey deeper meanings, evoke emotions, or explore philosophical concepts. This can result in a narrative that deviates from strict adherence to reality.

The portrayal of storytelling in Tian Guan Ci Fu raises thought-provoking questions about its reliability, validity, and the underlying motives and agendas behind narratives. MXTX explores the idea that storytelling holds immense power in shaping perceptions, influencing reality, and driving the actions of characters within the narrative. She did a similar thing in MDZS too but it’s on a much grander scale here.

Storytelling, in a folktale-ish nature as mentioned in the book itself, is depicted as a means to shape perception, manipulate emotions, and control narratives. Characters within the story often utilize storytelling as a tool to achieve their goals, whether it be political influence, personal gain, or societal change. This storytelling also shoulders the responsibility of gaining/losing them worshippers. This exploration raises important questions about the nature of truth and the impact of narrative construction on our understanding of events and individuals.

The novel also raises awareness of the inherent subjectivity of storytelling. Different characters may have their own interpretations and versions of events, and the reliability of their narratives may vary. This reflects the idea that storytelling is not always a definitive account of truth but rather a lens through which individuals and societies perceive reality. It acknowledges that stories can be shaped and altered to fit personal biases, cultural contexts, or desired outcomes.

This exploration of storytelling adds another layer of complexity to the narrative, highlighting the power, manipulation, and transformative potential of stories within the context of the novel's world. By delving into the complexities and implications of storytelling, we end up getting a somewhat nuanced portrayal of the interplay between truth, fiction, and the power dynamics that exist within narrative construction.

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Xie Lian and his morality makes for interesting discussions on the so-called moral compass

This is basically two metas, Xie Lian’s morality + evolution of his morality, packaged as one because I was too emotionally exhausted to untangle them

Throughout "Tian Guan Ci Fu," Xie Lian is portrayed as a character with a strong sense of compassion, empathy, and a desire to do what is right. His moral compass is guided by his core values of kindness, selflessness, and justice and  he consistently demonstrates a willingness to help others, even at great personal cost.

As a young prince/god, he initially exhibits a somewhat naive and idealistic perspective on morality, shaped by his sheltered upbringing and limited exposure to the complexities of the world. However, after spending 800 years in the mortal realm and facing numerous trials and tribulations, his morality undergoes a notable evolution and maturation.

While his core values of compassion, selflessness, and justice remain steadfast throughout the entire story, he embraces a deeper understanding of personal responsibility. He acknowledges that he cannot save everyone or single-handedly resolve all injustices. However, he remains committed to doing what he can within his capacity, focusing on the individuals and causes that he can positively impact. He recognizes that sometimes difficult choices must be made and that the outcomes may not always align perfectly with his ideals. He becomes more pragmatic in his decision-making, considering long-term consequences in his moral deliberations.

As Xie Lian navigates the mortal realm and encounters various individuals with differing motivations and moral perspectives, he starts to recognize the shades of gray that exist in ethical decision-making. He learns that the world is not simply divided into right and wrong, but rather a complex interplay of circumstances, intentions, and consequences.

Additionally, Xie Lian's moral compass is not without its own internal conflicts. He grapples with his own past mistakes and failures, questioning whether he is truly deserving of his revered status and struggling with feelings of guilt and self-doubt. This self-reflection adds depth to his character and prompts discussions on the nature of morality, personal growth, and the importance of self-forgiveness.

However, what makes Xie Lian's morality particularly interesting is the way it challenges traditional notions of right and wrong. His innate compassion and empathy remain central to his morality throughout the story. As he matures, he learns to extend these qualities not just to those he deems deserving but also to those who have made mistakes or are considered morally compromised. His ability to see the good in people, even in the face of their flaws, prompts reflection on the complexities of human nature and the potential for redemption. 

Xie Lian's moral journey also invites exploration of moral relativism and the idea that morality can be subjective and context-dependent. His actions and decisions are influenced by the specific circumstances he faces, the motivations of other characters, and the consequences of his choices. This opens up discussions on the fluidity and subjectivity of morality and the notion that there might not be a universal moral standard.

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Despite the wealth of tragic elements present in TGCF, it is funny at unexpected times which only adds to the richness of its reading experience.

The novel weaves humor deftly into its narrative, offering unexpected moments of levity amidst the tragic elements. 

The juxtaposition of unexpected humor and tension, if done right, can serve to enhance the overall reading experience by creating a dynamic and multi-dimensional narrative. It showcases MXTX's skill in balancing different tones within the story, allowing for a more engaging and varied emotional journey for readers- she successfully adds depth and richness to the reading experience, creating a more nuanced portrayal of the story and its characters.

The unexpected humor in TGCF serves multiple purposes. 

Firstly, it acts as a counterbalance to the darker and more intense aspects of the story. By injecting humor into the narrative, MXTX provides moments of relief and respite for readers. This unexpected humor not only elicits laughter from readers but also serves to break the tension and offer a momentary reprieve for both the characters and the audience.

Moreover, the humor acts as a tool for emphasizing the resilience and strength of the characters. This adds depth to their characterization- enriching what we knew about them through their handling of this humour in tense situations or through their usage of humour as a coping skill.

The humor, particularly the moments involving the ghosts, contributes to some classic comedic elements in the novel. The interactions and antics of the ghosts provide light-hearted moments of humor as well as serve to humanize the ghostly characters and add layers of complexity to their portrayal.

There are many many examples but right now, I’m thinking of the ghost den scene. In this scene, the mention of a ghost fainting adds a surprising and comedic element that contrasts with the “All of this silence and patience, Pining and anticipation” between Hua Cheng and Xie Lian. 

This delectable blend of humorous and tragic elements amplifies the impact of both. The unexpected humor hits harder when contrasted with the cruelties and challenges faced by the characters. It creates a sense of emotional whiplash, eliciting a range of emotions and underscoring the highs and lows of the narrative. The balance between humor and tragedy creates a more nuanced portrayal of the characters and their journey throughout the novel.

Additionally, the inclusion of humorous elements within intense moments can serve as a reminder of the inherent unpredictability and complexity of life. It reflects the idea that even in the midst of difficult situations, there can be unexpected moments of levity and lightness.

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MXTX subverts tropes and expectations about heavenly realm and ghostly realm in TGCF.

I love love loooooooove tgcf...so, my dissecting it, analysing it, is longtime overdue. 

 “Despite the negative portrayal of ghostly realm, the ghostly realm is far cleaner metaphorically compared to the heavenly realm where everyone has something to hide as well as the hypocrisy and corruption of the heavenly realm”

The novel subverts tropes and expectations associated with the heavenly and ghostly realms, presenting a more nuanced and complex portrayal of these realms and their inhabitants. In the novel, MXTX challenges the conventional notion that the heavenly realm represents purity and righteousness while the ghostly realm is associated with darkness and negativity. Instead, MXTX portrays the heavenly realm as a place where individuals have something to hide, and where hypocrisy and corruption are prevalent.

The heavenly realm is depicted as a realm of power struggles, political intrigue, and hidden agendas. Characters in the heavenly realm often manipulate others for personal gain and engage in unethical practices to maintain their positions of authority. MXTX explores the idea that the heavenly realm, despite its outward appearance of righteousness, is not immune to the flaws and vices of its inhabitants.

On the other hand, the ghostly realm is portrayed as a place of transparency and honesty. While there may be conflicts and challenges within the ghostly realm, the characters inhabiting it are often portrayed as more genuine and sincere. The ghostly realm becomes a refuge for those who have been cast aside or rejected by the heavenly realm, allowing for deeper exploration of their struggles and personal growth.

By subverting the conventional expectations associated with these realms, MXTX challenges readers' preconceived notions of good and evil. The novel highlights the complexities of morality and the flaws that exist within seemingly virtuous realms, emphasizing that individuals and institutions are not inherently defined by their labels.

This exploration of the heavenly and ghostly realms encourages us, the readers, to question traditional dichotomies and consider the multifaceted nature of morality and power dynamics within the story.