#can you Tell i'm a nerd

[eternalflashh]

nahida, irminsul, and representations of cognition throughout: an analysis

As the god of wisdom, it is probably intuitive that Lesser Lord Kusanali is depicted as someone omniscient, uber wise, indomitable in logic and without flaw of reasoning. More often than not, though, throughout the archon quest and story quests, we have been shown some of her shortcomings, from her lack of knowledge in certain aspects, and her susceptibility to certain forms of trickery. In this brief analysis we discuss aspects of human cognition and learning, and compare them to aspects from the story, providing evidence for the contrary—that, perhaps, there is no better representation of wisdom in the challenging nature of Teyvat than a god like her.

(Note: I do not claim to be any sort of expert in the topics I discuss here; this is merely a subjective analysis based on what I've learned of cognitive psychology and observed in canon. And, as with everything else I do, I did this simply because I was bored and I like overthinking things. Read at your own discretion.)

To me, Nahida, Irminsul, and Sumeru's stories are almost like this… super well crafted personification of working human intelligence itself. On a larger, fantastical scale, of course.

We know that the Irminsul is Teyvat’s repository of information—basically the brain. We know that Nahida is a branch of Irminsul, a part of that brain. And, well, this “brain” is actually represented in ways that are almost quite realistic, in many senses.

For starters: one of the most important functions of the brain is that it acquires information—that it learns. It accumulates knowledge, and while neurons do break down (and are not easily replaced, if ever), information is actually quite robust and does not “disappear” easily, besides the natural decay of time. There have been cases where people have lost part of their brains to accidents, yet retain their memories and even cognitive functions intact—the brain is actually far more malleable than one may think.

And in fact, you don’t “unlearn” things. You can’t “remove” things from your mind as easily as you imagine it—most of the time, when you “unlearn” or “extinguish” something, you really are just learning a new association that counters the old one. This new association takes time to develop, and spontaneous recovery often occurs—it takes time to “unlearn” something, or to “relearn” concepts. In life, we often have to correct our false preconceptions (not just in science!) and adapt to an ever-changing world—this constant process of unlearning and relearning and correcting is, essentially, what makes us “wiser”—the more we know, the more we understand. It is a constant growth of the mind. 

Nahida, then, being the deity of wisdom who rules over all knowledge, is a form of being where regular learning processes in cognition are essentially amplified: there is no normal degradation of “memory” (as things are stored in Irminsul reliably); there is no loss of information, and yet Nahida is still able to learn new concepts and understand how they relate to the old ones, revise her understanding based on most recent evidence or events. Basically, she learns quicker than mortals with minimal risk of decay; she is a god, this element of hers (arguably) understandably exists. 

But we also know: Irminsul itself is not perfect. We know that memories of Irminsul have, indeed, been deleted or altered. Of course this could easily be chalked up to the fantasy aspect outside of the analogy, but this could still be explained in terms of regular brain anomalies. Deleted memories could be analogous to memory loss in a sense (anterograde amnesia, cf. retrograde amnesia), while altered memories are, in fact, pretty common in real life—perhaps even more so than memory loss, for various reasons pertaining to heuristics, bias, and preconceptions—even though we tend to not realize it at all, unlike the glaring effects of memory loss.

Putting aside the why’s and how’s for now, memory loss is typically more noticeable than altered memory, but either way, the brain can actually accommodate for memory losses/alterations by bending to fit the “narrative” they previously had. The brain doesn’t like inconsistencies and gaps—it will try to explain something in the most coherent way possible with whatever available facts, which is actually a helpful adaptation to have in case we cannot obtain every piece of data we need. (The phenomenon is most common in terms of visual gaps, but is also prevalent with other senses and also with memory. For more, look up constancy bias.) Though, of course, in the case of memory loss or alteration, this isn’t necessarily a good thing. But in fact, this is what Irminsul does—it restructures itself accordingly with what facts are available, constructing a “coherent” narrative that, as we know, is false.

From this, we’ll be branching out to two points. The first is that Nahida’s existence aligns with this analogy in the sense that the removal of knowledge from Irminsul (of which she is an avatar of) is representative of the “weakening” or “shrinking” of the brain. As mentioned previously, this is not in the physical sense, for the case of the brain—but because Nahida is the physical representation of the abstract brain, then it makes sense that she shrunk during the eradication of forbidden knowledge. She lost all that knowledge gained—it would have mean her “growth” and “learning” has essentially reverted, hence she returns to a “younger” form of who she once was (see Nahida’s 2nd SQ) (though in act 5 of the AQ, it was Rukkhadevata splicing a branch off Irminsul itself, the image still stands that what’s left of the knowledge once forbidden knowledge has been taken away is not much). 

Now what, exactly, forbidden knowledge is, we don’t know yet, but how it affects the brain would not be so much of a mystery—there are pieces of insightful or revolutionary findings that can influence plenty of one’s beliefs, or the way one sees and interprets the world, which would then change the way one process information and generates new thoughts in turn. For example, imagine that one day you wake up with the existence of “blue” gone from your mind. Nothing is blue to you—things that you would once call blue will look greenish-yellow to you, even the feeling of “blue” will simply be called “depressed”, or something else, but nothing in the world will be blue to you. That simple “removal” can change a lot of things from how you perceive to how you describe, which is why the effects of removing forbidden knowledge can take a huge toll, or at least a huge change, on Irminsul—hence the big metaphorical brain, hence Rukkhadevata, hence Nahida.

And second, what happened to “Irminsul” being perfect? We cannot call Irminsul a repository of “perfect” knowledge, i.e., that every information it contains is true to the core, because we know the information stored in Irminsul is faulty and malleable. In fact, Irminsul being “perfect” is with respect to its functionality as a brain, as a system. Theoretically, when exposed to true information, a perfect brain should contain only true information. But we know there are forces beyond Teyvat, ones that Irminsul inherently can’t capture/perceive (e.g. the twins). It’s like us not being able to understand a dolphin’s cries, or the color vision of a shrimp, or anything beyond three-dimensional vision—this is inherently the nature of Irminsul itself to not capture that information (with exceptions I'll come to later). Irminsul is still an essentially “perfect” functioning brain, but inherently not designed to capture that beyond its scope. Which then would make sense why it can be altered or robbed of memories in such a way that it would not “break”—it can self-regenerate, it can still function brilliantly. It thinks it functioning perfectly fine means it’s still intact, when in fact, it has been contaminated with false information without it even realizing.

Back again: this is very much like the brain, like human cognition. Because rational humans make judgment based on the available facts, this becomes a problem when your facts are wrong. Usually, with humans, there is a degree of confidence to which you would know whether what you know is right—but if you have a “perfect” brain like Nahida theoretically does, or at least a very highly functioning one, you would have little reason to question your brain. And that, is in fact, her pitfall.

As we've seen from Nahida's second story quest, because she doesn’t have all the facts, she has to make do with what she knows. And she still does that sufficiently, as her godly capabilities should allow. But she also makes decisions that quite mirror her old ones: wanting to eradicate the remnants of forbidden knowledge herself, willing to lose her power and revert her own evolution in favor of apep’s health. One would not make the same decisions if they’ve learned the catastrophic price for it—Nahida is, alas, uninformed now, so she proceeds to make the same mistakes. If it weren’t for the traveler, Nahida would have so easily fallen into the same rabbit hole again; this is what happens when you “erase” memories, or revert time—you are only bound to repeat old mistakes. 

Here I’d also like to briefly mention that because the traveler did not have a good justification for stopping Nahida (they couldn’t, after all), it’s likely that Nahida would not “learn” why this was a bad idea, if not out of sole trust. As in, without the traveler’s continuous intervention, it is highly likely she would fall into this pitfall of her old mistakes one day… or would she?

Aside from her and Irminsul’s story being a very nicely fitting metaphor to the brain, she actually also represents cognitive strategies very well in her speech & personality, which solidifies in the metaphor very neatly. One major thing I'd like to point out is her constant use of analogy—which may sound like a gimmick or just a random personality trait. But in fact, in cognitive research, analogical reasoning has been shown to be a robust predictor of effective learning and success. So the fact that she often spits out seemingly random analogies out of nowhere isn’t just a random trait, but rather, a sign that she is constantly abstracting commonalities between distinct phenomena and learning about them effectively (in contrast to rote memorization). 

This is, in fact, an incredibly important thing—as you might’ve already realized—because it combats the dependence on memorization, which we’ve seen is a problem given the inherent state of Irminsul and malleable memory! And we’ve seen these analogies play a very important factor in the progression of the AQs and SQs, like when she transcribed the truth about Scaramouche/Wanderer in form of a fairytale to preserve it from being lost to the void, or how forbidden knowledge was altered into a different form—the oozing stuff in the Chasm. This is such an important aspect of Nahida’s character because it shows that she understands that the power of transformation or abstraction transcends that of simple mass erasure, and can be used as a manner of preservation. Quite literally, the power of analogy was used to show Nahida’s expertise not only through merely being knowledgeable, but also through creativity, just as its role is in the world.

And most importantly, it does imply that she realizes the shortcomings of her “brain” aka Irminsul. (I hypothesize it’s either an effect of her memory loss (memloss on a wide scale, like retrograde amnesia, would show “loss” effects instead of adaptation, like the symptoms Nahida exhibited) or Dottore’s intervention of telling her about false skies, that makes her realize how much she doesn’t know.) Perhaps this, even, is what Rukkhadevata meant when she said “you will be a better archon than I”, because she already has ways of overcoming these past cognitive flaws as well. This—this realization that your brain can be functioning perfectly and still be flawed, exactly because of its perfect nature—this is the invisible yet solid distinction between being knowledgeable and being wise. And this is why Nahida is the god of wisdom, rather than just a library that contains every information in the world.

In sum: Irminsul and Nahida is a really nice representation, whether intentional or just by pure coincidence and overreach on my part, of a "perfect" functioning brain in a world of unreliable information, and Nahida's ability to abstract hidden symbols to preserve truths addresses this issue quite admirably. All of this nicely manifests in Nahida through little quirks that may be overlooked, but (I suspect) may be very significant to her character and the development of the future plot. Thank you I am Done

[barrenclan]

do u have any insight on how you write deepdarks dialogue so effectively.... Odd. cuz oh man its good. like boy can you say one normal sentence

Actually, I can expand on it! I do a couple things specifically to write Deepdark's dialogue, I'll provide some examples and talk about it here:

Deepdark uses more big words than other characters - a loquacious speaker, you could say. I do the same thing with a character from my other comic, Applestar; it sets them apart and gives them a more bureaucratic, old-fashioned feeling to their speech. For example; "paltry", "piquant", and "loath" in the last issue.

I purposefully write some of Deepdark's sentences in a way that is ungrammatical, because it gives his words an off-kilter rhythm where your brain has to take a split second to process what he means. Deepdark's voice is meant to be song-like, with all his words flowing into each other, and his ungrammatical sentences show a clear falseness and intention to how he speaks, rather than it being natural. For example; "Not a touch to her remains", "Death already to me as I speak", and "[...] this does not lead my only path forward".

If you've ever attended a slam poetry competition, you'll be familiar with the kind of patter that slam poets use when they're reaching the crescendo of their piece. Words get shorter, more staccato, more snappy, and it speeds up the rhythm of their voice. You can also use dashed words to speed up how the sentences feel, because you're combining the speed of two words into one. Alliteration also naturally speeds up the way you speak. This lends to the previously mentioned singsong tone, but it also is intended to manipulate emotions and keep your attention focused on the speaker. For example;

Here's a 'slow sentence', from the beginning of Deepdark's unbroken monologue: "I’ve got quite a lot of thoughts of which to sort out, and I think I could use some help from such a bright young buck as you."

Here's a 'fast sentence', from the end when he's threatening Pinepaw: "I own his legacy, bathing in its gore, and swallow the salty-sweet taste of its final extinction."

4. I studied a few transcripts of speeches from famous cult leaders throughout recent history to see how they speak before I started writing Deepdark's character, and how they put sentences together, as well as what emotions they play on. It's a lot of grand promises, repeated phrases, exciting and lengthy and talkative and emotional and bold language that's meant to stir you up.

Hope that makes sense and reads alright! I enjoy thinking about individual character voices and how to write them.

[poorly-drawn-mdzs]

At the start of this project all I wanted was to 'learn how to draw' using comics as a medium and the MDZS audio drama as inspiration.

I've come *very* far from making simple, 3 panel black and white comics, and I truly do intend to go even further. Thank you to everyone who cheered me on throughout 2023, it has been an incredible year in so many ways I never could have imagined. I look forwards to drawing throughout 2024 B*)

[coquelicoq]

what i like especially about the pronouns in the goblin emperor is that this language doesn't just have the T-V distinction (aka informal vs. formal second-person pronouns, in this case 'thou' vs. 'you'), it also has informal and formal first-person pronouns. having BOTH of these distinctions in the same language lets you fine-tune your tone by mixing and matching. with only one axis of formality, when you use informal pronouns, are you being familiar in an intimate way, or in an insolent or dismissive way? when you use formal pronouns, are you being polite or standoffish? you can't tell just from the pronouns; there's ambiguity. but a language where you can use a formal first-person pronoun in the same sentence as an informal second-person pronoun allows you to distance yourself (via the formal first) while also being familiar (via the informal second), thereby achieving the conversational tenor known to linguists as Fuck Thee Specifically.

[winterballads]

🪷 The Lotus Flower in Mysterious Lotus Casebook 🪷

i. Growing Deep Roots

As noted by difeisheng, Li Xiangyi is an image more than he is a person. He’s the “symbol” and “beating heart” of the Sigu sect; “he embodies everything [the sect] stands for” and “has become one with every person he represents” in his role as a leader. As such, one might say he doesn’t exist as an individual who’s allowed the luxury of flawed, fluid humanity. Rather, he’s fixed into an object: a shield protecting those under his care, a mirror reflecting those he’s taken upon himself to be the champion for.  

While a heavy burden to carry, this identity as image is also shown to be brittle, hollow, like a hazy mirage which is more dazzling appearance than substance. Even Fang Duobing introduces Li Xiangyi to Li Lianhua by showing him a painting of his shifu — ink on a page, a person turned into a hero to be worshipped and idolated. 

Li Lianhua, over the ten years that pass after the Great Battle of the East Sea, works to plant and cultivate a new identity in the same way one might grow flowers. Li Lianhua forms deep roots and grows out of the mythical hero’s shell he’d been carrying as Li Xiangyi, thus developing an identity which is solid and grounding in contrast — an identity which involves “walk[ing] within a crowd instead of [soaring] above it.”

This shift from image to person is itself rooted in the lotus mantra (written by Buddhist Layman Pang during the Tang Dynasty) which Li Xiangyi first encounters after monk Wu Liao rescues him:

一念心清净 莲花处处开

The heart attains peace with a single thought; Lotus flowers bloom all around.

Although the exact timeline is left to interpretation, it’s implied that the lotus mantra operates as a catalyst of change for Li Xiangyi and that he changes his name to Li Lianhua after reading it. Now what is it about it that speaks to Li Xiangyi so deeply in that moment? As noted in 《 人間福報 》, the lotus mantra teaches us that a pure heart will result in an open and enlightened mind. One subtle, profound thought rife with compassion is enough for a person to glimpse Buddha in a flower, a leaf, a grain of sand or a speck of dust. In short, “if you can find peace within yourself, then you will find peace everywhere.” Perhaps Li Xiangyi, at his lowest point, finds solace in the prospect of stripping his life down to its very core and searching for purity, wisdom and peace within his troubled heart.    

By renaming himself 莲花/liánhuā lotus flower, Li Lianhua takes his destiny into his own hands; he empowers himself into reshaping his identity and laying down the foundations for the person he wants to become. Similarly to The Yin-Yang Master: Dream of Eternity which tells us that “names are the shortest spells in the world,” Li Lianhua’s new name functions as a spell which speaks a new him into existence. It’s a deliberate choice, a conscious attempt at breaking free from the suffocating shell Li Xiangyi was trapped in and become a person of his own choosing. 

The act of (re)naming notably also extends to Li Lianhua’s abode which he dubs 莲花楼 “Lotus Tower.” In addition to this significant choice of name, it’s interesting to note that Li Lianhua starts growing vegetables inside Lotus Tower when he’s left with nothing after his demise at the East Sea and is facing starvation. As such, his home is quite literally a site not only of self-sustenance and survival, but also of growth — a growth which requires hard work, patience and faith and nearly brings Li Lianhua to tears when his hopes are finally rewarded and the seeds he planted begin sprouting. The act of physically planting vegetables and learning to cook those vegetables speaks of a refreshing and grounding simplicity — of something disarmingly vulnerable and human after playing the role of a god-like figure. Li Lianhua has sweat on his brow and hope in his heart; he plants seeds, watches them grow and keeps himself alive by his own hands.

It seems it’s not only Li Lianhus’a home, but also his very person, which steadily grow into a lotus flower. Li Lianhua wears a variety of hairpins directly linked to the lotus, and the colour coding of his garments moves from the red he used to wear as Li Xiangyi to a lighter palette filled with greens and blues — colours which are more obviously linked to nature.

ii. Life Borrowed and Given Away

The lotus, both traditionally and within the drama itself, is closely connected to the theme of rebirth. On a literal level, the exotic lotus flowers of Cai Lian Manor grow directly from the corpses of the victims drowned in the pond, thus embodying life born from death. thawrecka writes in their story that Li Lianhua is “nothing but a lotus nurtured by a walking corpse, a body that doesn’t realise it should already be dead.” On a figurative level, the lotus grows in muddy water but blooms unsullied every morning, thus symbolising rising from a dark place and growing into something beautiful and colourful despite all the odds. The different stages of the lotus’ blooming can be taken to represent the beginning, middle and end of a spiritual path in Buddhism — a parallel to the theme of 趟/tāng taking a journey which underscores the drama in various ways.

Li Lianhua’s journey, more specifically, is that of a lotus being reborn. The soundtrack piece 《 一壶莲花醉 》 “A Pot of Lotus Wine” emphasises this connection in the following lines:

问一句莲花的悲喜 断一柄弃剑入青泥

I ask about the joys and sorrows of the lotus; A broken, abandoned sword is thrown into the mud.

Not only does Li Lianhua keep stressing at different points of the drama that Li Xiangyi is dead and all that is left behind is Li Lianhua; he even breaks his own sword Shaoshi at the end of the story, thereby physically reenacting a process of destruction—death—and rebirth. As Li Lianhua writes in his farewell letter: 

剑断人亡

My sword is broken, and I will be gone.

The significance of Li Lianhua’s action is further intensified here by the fact that the sword in the song is said to be thrown into 泥/ní mud, the site from which a lotus flower grows.

Considering that Shaoshi operates as a device embodying Li Lianhua’s character development throughout the drama, the fact that Li Lianhua decides to break it in the last episode should be taken as a key moment in which he chooses how his own narrative is going to end. Li Lianhua decides to kill for good the glorious image of Li Xiangyi which has become sullied with pain and regret in his heart, so that a simple, fragile peace can begin growing in its place like a lotus flower amidst the mud.

However, the tragedy of Li Lianhua’s narrative is that the rebirth he works to achieve for all these years is not his own to enjoy and never was intended to be. After the Great Battle of the East Sea, as Li Lianhua is reborn from Li Xiangyi and starts planting seeds all around him, he has already accepted that he’s nothing but a ghost, “wandering in the jianghu to close his loose ends and finally [...] vanish without a trace, not even a body left behind.” As mx-myth remarks, even the shift in his garment colours to an overwhelming amount of white as the story progresses makes it clear that he’s resigned to go and has “already started dressing for his own funeral.” 

The lotus flower symbolism permeating the narrative accentuates this bone-deep, unshakable resignation. While imprisoned by Jiao Liqiao, Li Lianhua is full of an aching, bittersweet fatalism when he recites a section of Guan Hanqing’s《 窦娥冤 》“The Injustice to Dou E”:

花有重开日 人无再少年 不须长富贵 安乐是神仙

Flowers will blossom again, But a man can never be young again. Seek not eternal wealth; You only need to be content.

Independently from the original meaning of the lines written by Guan Hanqing, the words seem to take on a sad, wistful quality when spoken with a bitter smile by Li Lianhua. In this scene, while the speaker reflects that rebirth occurs outside of themselves in flowers, they acknowledge that their own reality is one inevitably bound to end in old age and decay. Instead of looking forward to a bright future, the speaker doesn’t express any dreams nor ambitions and is only grateful that they’re alive this minute, this second, without any future prospects awaiting them. Perhaps a similar sentiment is reflected in the following lines from 《 一壶莲花醉 》 “A Pot of Lotus Wine”:

了了心事只 不负众生 而已

After settling my worries,  I just want to live up to all sentient beings.

Li Lianhua’s connection to the lotus flower, in fact, was always meant to be one of non-attachment. While Buddhism believes desire to be the root of all suffering, the lotus symbolises non-attachment due to being “rooted in mud (attachment and desire)” while “its flowers blossom on long stalks unsullied by the mud below.” This explains in part why the lotus is considered pure and noble. For Li Lianhua, this non-attachment takes on sorrowful connotations: it means that he stubbornly refuses to reap the seeds he sows and focuses his purest heart and will into ensuring those around him get to reap them instead. Non-attachment means allowing himself enough (a roof over his head, food on his plate) to survive, but rarely letting himself indulge in the precious luxuries of reciprocated love and care — of carefree joy and thirst for adventure.  

The ten years he lives after his first death at the East Sea are, for him, only borrowed time he didn’t deserve — borrowed time not dedicated to himself, but rather dedicated to others.

In many ways, Li Lianhua’s path effectively goes full-circle by the end of the narrative. When he and Di Feisheng reminisce about the moon they remember from ten years ago, they conclude that today’s moon isn’t any brighter than the one alive in their memory: rather, it remains constant, unchanged, as though the past ten years never existed as anything other than a short pause in the story, a coma, long enough for wrongs to be righted but not  for an already-dead person’s fate to be changed.

It’s interesting and particularly significant that the Styx flower (忘川花, from 忘川 “River of Forgetting” in the original Mandarin) is said throughout the drama to be the only thing capable of saving Li Lianhua’s life. In traditional Chinese culture, the Styx or River of Forgetting is part of the process of reincarnation; only by crossing it (and forgetting everything they’ve ever experienced and everyone they’ve ever loved) can a person finally reincarnate. For Li Lianhua, salvation through rebirth comes at a high cost — a price he’s evidently been ready to pay since the beginning, even if it means turning him into a ghost who must vanish from the story in order for those around him to grow and thrive further.

When Li Lianhua breaks his own sword to allow for rebirth, it’s not himself he’s saving. His sole purpose throughout his journey as Li Lianhua is to use whatever meagre strength he has left, whatever passion and drive are still alive in him, to save the world in any small ways that he can. He becomes a doctor who heals people; he looks for answers and solves mysteries to atone for the sins he thinks he has committed and rectify the mistakes he thinks he has made, so that those he has hurt can finally find peace and comfort.

The most powerful legacy Li Lianhua intends to leave behind by the end of the story has nothing to do with himself and everything to do with the people around him who he never truly admits he loves — the messy, imperfect world that’s caused him so much pain but that he nevertheless insists on saving with everything he has. 

Most strikingly, Li Lianhua chooses—whether consciously or not—to leave the life and future he’s renounced for himself to his companions Fang Duobing and Di Feisheng. The only traces he purposefully leaves behind live in them: in the Yangzhouman coursing through Fang Duobing’s body; the home, dog and recipe book he passes onto him; the worthy opponent he leaves for Di Feisheng to fight in his stead after he’s gone… 

Fang Duobing, by the end of the story, has grown into more than a disciple and a friend to Li Xiangyi/Li Lianhua: he himself has become the lotus flower bringing renewed life after Li Lianhua has left the narrative, thereby taking Li Lianhua’s legacy into a hopeful, vibrant future. As mx-myth mentions in their colour analysis, Fang Duobing notably wears bright pastel tones including a large amount of green/blue — a colour coding which emphasises Fang Duobing’s connection to spring and, by extension, new life and beginnings. “Life will always go on if there’s spring”; and so Fang Duobing’s youth, vitality and optimism can grow in the empty space left behind by Li Lianhua after he fades into the autumn of his life.

While Li Lianhua’s predominantly light colour palette might appear to align him with other characters in the drama who have left the past behind and are looking towards the future, Li Lianhua made peace long ago with the knowledge that he’s destined not to belong in that future. Just as the Lotus Sutra teaches us that “the inner determination of an individual has great transformative power” and “gives ultimate expression to the infinite potential and dignity inherent in each human life,” Li Lianhua focuses all his transformative efforts on creating a future which, despite having no place for him, will be fertile ground for the entire martial arts world to grow deep, healthy roots. In Li Lianhua’s own words:

幼芽生枝 新木长成 武林也一样 这未来如何 谁又能说得清楚呢

The young sprouts and the new trees grow. The martial arts world is the same. What does the future hold? Who can say clearly?

Should we say, then, that Li Lianhua’s story is one of sacrifice, self-renunciation and resignation — of drifting inevitably towards death as a flower carried by a stream? As he disappears on a boat and is asked where he’s going, Li Lianhua gives a response which echoes his first death at the East Sea in a way that feels entirely deliberate:

小舟从此逝， 江海寄余生

From now on I would vanish with my little boat; For the rest of my life on the sea I would float. 

How are we to understand a person being reborn simply so they can pass on that new life to others, and being convinced that their only true value lies in their death?

Perhaps, in spite of it all, we can find some small comfort in the knowledge that, no matter how sorrowful Li Lianhua’s fate, it’s at least one that he chooses — one that he has full control over, even poisoned and robbed of his life force as he is. As the lyrics of 《 一壶莲花醉 》 “A Pot of Lotus Wine” underline, “it’s just a matter of picking an ending that you like.” Perhaps that’s all that truly matters. 

wuxia-vanlifer makes an excellent point when asking: “What would be more tragic? That he never believed he was loved? Or that he did, but vanished anyway?” While I don’t have an answer to offer, there’s one thing I can say. Li Xiangyi, Li Lianhua — they live and die by love. They can’t conceive of themselves as anything other than a sacrificial tool because, for all that they pretend to be aloof and untethered, they actually love others—and the world—in a bone-deep, profound way they’ve never loved themselves. That love is not only the true driving force behind Li Lianhua’s character and the fate he chooses: it’s the beating heart of the entire drama.

“In this life, I have loved and I have been loved. That is enough.”

Shoutout to the following authors and bloggers whose brilliant words and ideas inspire me, as well as this gorgeous video 💖

ao3: @extraordinarilyextreme @thawrecka

tumblr: @difeisheng @extraordinarilyextreme @mx-myth @wuxia-vanlifer @xinyuehui

[lepusrufus]

Ok ok hear me out

Sure Sombra Knows Her Shit when it comes to messing with anything technology and pretty much nothing with an internet connection is out of her reach. Sure. Cool. But what if she's also stupidly knowledgeable in the most useless things the internet has to offer so she knows of every meme that existed since the dawn of memes and quotes them on a regular basis.

Nobody understands a word she says half the time bc this is however many years into the future and she's there quoting fucking ragecomics from the 2010's. Which is fine with her, she likes fucking with people's heads whether through blackmail or comically outdated humor.

But imagine a situation where Talon and Overwatch aren't at each other's throats and become allies and now she has even more people to torment with it. Maybe Angela tries and fails to make edible coffe and Sombra just mutters "none coffee with left borderline medical malpractice" only to hear one of the oldies start wheezing behind her. Probably Rein. Bonus points if Ana. These fuckers are Gen Z and Sombra just awakened ye old memes on an early Thursday morning while Angela is fighting the coffee machine.

Plot twist, Gabriel understood her all along he's just too prideful to crack a chuckle.

[paladinnether]

we should talk more about the imagery that comes with kyle being "the protostar"

what stage of stellar development is he in???? is he an early stage, low-mass protostar??? or has he become a full protostar??? when will he finally ditch callis and become an actual star?

truly important questions

[the-sky-queen]

I'm super excited to see Mephiles in full, in the modern animation style!! We were introduced to him in 06, which had different models that were a lot taller and longer than the ones we're currently using. So I'm excited to see what his updated model looks like!

[practicedvmm13fullofpotatoes]

Whaaat? Projecting on to Janae because I think Janae would have similar thoughts? I would never! (Proceeds to do it)

[magical-regical]

Beelzebub you smooth fucker—

In other news,

I find this nerd absolutely hilarious, please come home.

Also I don't actually know if eiπ actually equals -2, I don't think it does? Because e is about 2.72 and pi is about 3.14 (or they can both be three if you're in engineering!) so multiplying them doesn't get you anywhere close to two? And 'i' is basically the square root of -1 (imaginary number) so either there's some math shit in there I'm not aware of or he's smoking something. People who are actually in math please let me know.

I think his status should've been Euler's identity (e^(iπ) = -1) because that's actually true but maybe they couldn't make the superscript and I always thought using '^' to represent power looks ugly.

[doubleedgemode]

So who was gonna tell me that, in the book, Victor Frankenstein's studies take inspiration from Paracelsus (as far as I'm into the book, one could argue that other factors and scholars were more important to the doctor's posterior infamous work, but young Victor's studies? Definitely of paracelsian inspiration)

Ugh aside from the more obvious homunculus/creature parallels, arcsys really struck genius making A.B.A take inspiration from both Frankenstein and Paracelsus' homunculi

[ponuchuu]

modern au niko developed mekal originally as an android (still the same as og mekal) but mekal can basically be carried everywhere on his phone as his own personalised siri

[hollowsart]

[this is my only context for this]

The Spider-Man of this world had been taken out. Gone is he and now the villains have taken over. Mysterio had finally gained wealth and fame and recognition.. but it was all for not. His time in the limelight was not exactly how he had hoped it would be.

With all this in his grasp, he had no need to keep up and use his life long skills.. his true passion for art and performance, for special effects. The other villains were stealing and wrecking everything, anything that could be used for making. Quentin Beck did not approve of this. He had no intentions of really harming anyone.. yet the others.. They weren’t so forgiving, so merciful as he was. They were destructive and careless. The ways in which they acted, he had seen it before when working with them when Spider-Man had been around. But this? This went too far.

If only there was still a Spider-Man to take them out, then perhaps he could still have what he wanted. And that was it. Quentin knew what he had to do. With the real Spider-Man gone.. there had to be another to take his place. He hadn’t been the first to pretend to be Spider-Man, nor was he the only one, but this time.. He would do it again. This time, he would do things differently.

He had no powers, no superhuman abilities, he was just a man in a tricked out suit.. but that’s all he really needed to help him get by. His time spent studying Spider-Man for all those years they had gone head to head, he had developed his own imitations to replicate the powers that Spider-Man exhibited. His helmet fitted with radar to alert him to his surroundings and more, he had developed special gear to walk on walls, jump high, lift heavy objects, punch and kick through solid walls.. and even a gun to replicate the webs that Spider-Man could shoot. Yes, Mysterio was a master of the art of props and robotics, engineering and replication. He was also a master at costuming from his time working in the film industry long before he became ‘Mysterio‘, he had gained a lot of knowledge, repairing his costume time and time again. Putting together various disguises and alternative costumes over the years.

He can do it again, he will do it again. Redesigning his ‘Mysterio‘ costume, adjusting the screen inside his helmet, remaking his gauntlets and everything else. Quentin remade his image to be reminiscent of the late Spider-Man. Fitting himself out with those tools to recreate what Spider-Man could do. He would use them for himself, to take out the other villains and reclaim that glory he desired. Along with his own tools to help even the field in his favor.

At first, many had found his new appearance and name rather tasteless and ridiculous, they had already thought him insane. A crazed theater nerd putting on yet another mindless show, but for what? No one ever really knew his bizarre goals, even when announced aloud they occasionally made no sense. But that didn’t matter anymore, not to him.

Picking off the villains that lacked any powers, petty thugs included for practice, the new Arachnid Arcanum worked hard to capture and do away with them. The civilians of the city were afraid.. but they were not harmed. That was good.. He kept his focus on getting rid of these threats to his name, to that limelight. The color of which began to shift, from one of selfish pride to a light of selfless sacrifice. He began to flip his reputation, turning how the public had seen him around as the time passed.

Quentin Beck had redeemed himself in the public eye. No longer was he stealing money, gaslighting and tormenting innocent people, no. He was helping to protect them, fighting off the new Sinister Six and more. Using his smoke and illusions for the greater good of the city.

And he liked it. He loved it. It wasn’t easy, but he got creative with his methods, using he prior knowledge of his old villainous friends against them, to take them on and take them out.

This.. This was the fame and glory he had longed for. His name recognized and his face known. Not with hatred or fear.. but with reverence and acceptance.. Quentin Beck had finally found what he wanted.. and he would do anything to protect it. Protect the people who no longer hated him, protect them no matter the cost.

[which-qsmp-egg-would]

What Egg would have a weird obsession with drinking straight up ketchup because they wanted to be like sans from undertale?

[lavenderpanic]

ty @numberonestuckyshipper for the taggg

rules: list 5 of your favorite books on a poll, so your followers can vote which book they think captures your vibe the best

[kyluxtrashpit]

Beloved followers, I also need your help. Pls reply or reblog with ways to say “fuck you”, “fuck off”, “go fuck yourself”, etc. in any languages you know other than english. I'm doing something and it’s gonna be better the more I get it lmao