#if I have to use external tools my sense of self worth will shatter

[deep-spaghetti]

mutual gets into something I don’t know anything about and I see a word associated with it too many times without bothering to look into it so it just makes me irrationally angry and I mute the tag incident: nobody dead or injured but what kind of loser does that I should at least try to understand my friends’ interests before I decide those interests annoy me

oops I put 70% of the post in the tags

[lucemferto]

I talk about the current troubles of the Dream SMP.

If you want to help me out, please reblog! You can also retweet my tweet and upvote my reddit post. Thank you.

Script under the cut

I really hope Technoblade succeeds in breaking Dream out of prison.

Now why would I say that? Well, it’s because there’s this feeling in the fandom right now that Dream SMP Season 3 is … going slow. That there’s not much happening. Some have blamed it on the pace of how lore streams are doled out, saying we get too little lore stretched out over too much time. Others postulate that it’s the quality of the lore – that the individual plot points are badly told or that the high production value of certain streams prevent the story from gaining momentum.

Now, because I’m me, I think I identified the problem as something that’s structurally wrong with Season 3 as opposed to Seasons 1 and 2. In order to explain that we must look at one of my favourite narratological theories: the Three-Act-Structure.

But before we get into that, here’s your obligatory reminder to please like this video, comment your thoughts down below in order to help me with YouTube’s algorithm and subscribe if you really like my stuff. Please feel free to check out my social media presences and share my videos on there so that more people have the chance to see them. Thank you so much.

Let’s get back to the video:

 Chapter 1: The Three-Act-Structure Explained

The Three-Act-Structure as a model to explain narratives finds its roots far in the past with its earliest recorded instance being in the fourth century by the Roman grammarian Aelius Donatus though similar ideas were also expressed by everyone’s favourite Greek philosopher Aristotle.

Since then, the model has been continuously evolved and used throughout recorded history. There are also alternative models such as the Five-Act-Structure, the Six-Act-Structure, the Eight-Act-Structure, the … Nine-Act-Structure, Jesus Christ. But the Three-Act-Structure has reigned the undisputed champion in modern-day creation and analysis of narratives.

The particulars of the Three-Act-Structure as we know it today were codified in Syd Field’s 1979 work “Screenplay: The Foundations of Screenwriting”, which has since become the Go-To-Work when it comes being a screenwriter in Hollywood. You want to write a script? You need the read the “Screenplay”.

The modern Three-Act-Structure is comprised of the following points/sequences:

-       The Backstory/Exposition: Exactly what it says on the tin. Sets up the Ordinary World that the characters inhabit, let’s us know about what character’s general deal is. It serves as an introduction to the story and world of your narrative.

-       The Point of Attack: This one is not often talked about and doesn’t feature in every story, but it’s still worth mentioning. This is where the major tension/conflict/dramatic question (structurally, these terms fulfil roughly the same function) is set into motion. It usually doesn’t include the protagonists of the story, but rather the antagonists.

-       The Inciting Incident: This is where the protagonists are sent on their way. We are introduced to their personal conflict and given a reason as to why they would have to leave the Ordinary World behind.

-       The Turning Point: This marks the end of Act I, where the personal conflicts of the protagonists and the major conflict of the overarching story intersect and coalesce. It is the natural fallout of the inciting incident, the big dramatic status quo change that we need in order to get the story going.

This naturally leads into Act II, where all the minor character conflicts are resolved and integrated into the larger conflict. This is what is referred to as the Rising Action: through the resolution and incorporation of the minor conflicts into the major conflicts, the story gains momentum. The action rises.

This act has two big culminations:

-       The Mid Point: The first culmination or Mid-Point sees some sort of shift in the major conflict. Maybe all the minor conflicts set-up in Act I are resolved and thus the major conflict becomes the full focus or the major conflict gains an additional factor. Instead of defeating the evil bad guy, the Heroes now have to defeat the Bad Guy and save the Damsel

-       The Lowest Point: The Lowest Point marks the end of Act II. Here the villains are just short of victory or maybe even achieve victory. In a romantic movie, this is the cliché end of Act II fallout which naturally leads into chasing the Hero chasing the love interest into an airport.

With the Lowest Point, the Heroes begin the third act almost or fully defeated. The stakes are high and everything seems hopeless. But then comes:

-       The Twist/Resolution: Usually, the twist coincides with either the protagonist or some sort of character having a eureka-moment or resolving their personal conflict – their Want vs. Need.

-       The Climax: With their problems resolved, the protagonists can venture forth to stop the villains or antagonistic force or save their love life.

-       The Dénouement: After the villain’s defeat/the resolution of the final conflict, the protagonist returns to the ordinary world, but changed by their experiences. The Dénouement is the one part of Act III, that can really drag it out – think the many, many endings of Return of the King for instance.

Up until now, I usually focused on that end of Act II/Act III-part when discussing the storytelling of the Dream SMP such as the Final Disc War, November 16th or Doomsday. Because Doomsday wasn’t just the Lowest Point in terms of storytelling quality.

But for Season 3, I instead want to focus on this section, The Inciting Incident and The Turning Point. Because this is where the current storytelling falters. The narrative has failed to pick up momentum, something that is achieved through a successful Inciting Incident and Turning Point.

So, I want to make the theory palpable and apply the Three-Act-Structure – with focus on Act I and early Act II – to all three Seasons of the Dream SMP to see where Seasons 1 & 2 succeeded and Season 3 failed.

 Chapter 2: The Three-Act-Structure Applied

Despite being much less written out and planned and more focused on the roleplay-aspect, both Season 1 and Season 2 somehow stumbled into recreating the Three-Act-Structure pretty well (S2 had its problem, but on the whole, it was still generally discernible).

I’m not here to discuss why narrative conventions and tools of literary analysis are applicable to something as seemingly idiosyncratic as the Dream SMP, I will do that in a future video. For the purposes of this video, we will simply have to take it at face value that these tools are applicable.

Season 1, which was probably the most consistently and competently written out of the three seasons thus far, has a very clear major tension/conflict: Who gets to steer the fate of L’Manburg, whether that be through stewardship or dissolution. It ties deeply into the personal conflict of our protagonist Wilbur as well as the external threat as represented by our villain JSchlatt, the best character in the story.

And not just that, basically every character whether that be Tommy, Tubbo, Niki, Fundy, Dream or Technoblade is invested in seeing this major tension resolved.

All this is achieved through a wonderful inciting incident and turning point. The inciting incident, the personal conflict for our protagonists, is Wilbur calling a presidential election. He wants to solidify power; his personal conflict being gaining full control over L’Manburg – I will talk about it more in my Wilbur-video.

This leads to the Turning Point, which in this case is a very natural cause and effect: Wilbur loses the election his sense of self shattered and JSchlatt, best character, takes over L’Manburg declares himself Emperor and exiles Tommy and Wilbur. The protagonists are forced out of their Ordinary World and the dynamic of the server is changed forever. The Main Tension or Major Conflict has been fully established.

This has server-wide consequences that every character is impacted by. All the many personal conflict are now framed by this all-encompassing major conflict. Thus, everything feels like it’s building up towards the same climax. Whether that be Fundy’s personal conflict as a deep-undercover spy, Niki’s conflict as the resistance in Manburg, Quackity’s struggle for power under Schlatt or the threat of Schlatt trying to expand Manberg into Dream SMP territory.

This even applies to the most disconnected conflict in Act II: The War between Sapnap and Tommy. Because even here, Sapnap’s stated goal is to gather enough power to take over Manberg. Now, that the power dynamic has shifted once it has signalled to other antagonists that the power dynamic can shift once more. The Balance of the Ordinary World is disrupted.

And from the Pogtopia-side, this conflict serves as a great way to not only build up their team, but also as a mini-version of their major conflict. If they cannot defeat Sapnap, what chance do they stand against Big Bad Emperor Schlatt.

Season 2, in spite of all the problems that it has, also managed to pull off the inciting incident and turning point rather well. The Inciting Incident here being Tommy burning down George’s house – his intent being to gain some leverage to win his discs back – which then again lead very gracefully into the Turning Point: Tommy being exiled from L’Manburg.

Tommy’s personal conflict – regaining his discs – was folded into the major conflict: Breaking Dream’s grip over the SMP (and in effect creating a new power dynamic on the server).

Tommy’s exile led to Tubbo being pushed by Quackity to institute the Butcher Army – an antagonistic force intent on making L’Manberg the strongest nation on the server; in effect dethroning Dream. This would of course lead to Hog Hunt and Technoblade’s involvement; ultimately bringing a lot of momentum into the narrative.

Now, Season 2 doesn’t pull this off as graciously as Season 1: You will have noticed that both the Inciting Incident as well as the Turning Point are pretty exclusively focused on Tommy which leads to the major conflict revolving mostly around Tommy and the characters in his orbit – which is not ideal when dealing with an ever-expanding ensemble cast.

While Season 1’s Inciting Incident and Turning Point also had Wilbur as their centre point, they were open enough to allow for other characters such as Quackity, Sapnap and most crucially Schlatt to naturally integrate themselves into the narrative.

What also doesn’t help is that the Rising Action up until the Midpoint is almost exclusively focused on Tommy as I discussed in my Philza-video. There is dramatic and narrative momentum, but it comes at the expense of basically every other character or storyline. The Butcher Army and New L’Manburg are painfully underexplored.

But still, despite its flaws, Season 2 managed to get the ball rolling. So where did Season 3 go wrong?

The main problem that Season 3 has is that it presented us with a large number of potential inciting incidents, but no concrete turning point. We have a lot of personal conflicts, but are as of yet missing the big major tension or conflict that ties it all together; that gives the framework in which the personal conflicts of the characters can intersect and resolve.

I think just to showcase how scattershot Season 3’s storytelling is right now; I’ll have to list all the big plot points of the season as they happened:

1.    Tommy meets with the Egg and shows an immunity to it. The Egg orders the Eggpire to kill Tommy in order to proceed with their plan

2.    The prison gets into lockdown mode, while Tommy is visiting Dream

3.    Tommy gets killed by Dream

4.    Tommy gets resurrected by Dream

5.    Technoblade and Ranboo come into contact with the Egg

6.    Quackity comes into contact with the Egg

7.    The Syndicate meets up and checks out Snowchester

8.    Tubbo loses a nuke

9.    The Red Banquet

10.  Tommy breaks into the prison

11.  Wilbur gets resurrected

Now, quite a number of those could have worked as either inciting incidents or turning point with some narrowing the scope of the narrative more than other. The early points involving Tommy for instance would have pushed him again into the role protagonist akin to how it worked in Season 2, while others like the Syndicate, the Red Banquet or Wilbur’s resurrection would have established the respectively involved groups or characters as the drivers of the major tension.

But none of these avenues are taken. All these conflicts are still insular; their resolutions don’t build to anything.

Tommy’s resurrection – which in my opinion is the first plot point that could have been used as the Turning Point relatively easily – changes the course of the prison and Las Nevadas-storyline, but has little to no impact on the Eggpire, Syndicate or Nuke-storylines.

Similarly, Tubbo losing the nuke could have led to the major tension becoming every faction hunting for the missing nuke in order to fulfil their personal agendas. But again, no dice.

And this just keeps adding up and up. Each new plot point subconsciously leads the viewer to expect that this will be the one to establish a major, unifying tension for the season – and then nothing comes of it. Though the volume of “lore” is still relatively high, the narrative momentum that is needed in order to make the viewer invested in the storyline is diminished with every potential turning point that is ignored in favour of more set-up.

And this structural problem of Season 3 when compared to Seasons 1 and 2 is made the most apparent when looking at …

 Chapter 3: The Eggpire

Oh, my poor boys. Where did it all go wrong?

To give some context: The Eggpire or Crimson-storyline actually started in the middle of Season 2, where they managed the impossible: Establishing a storyline with some narrative momentum and impact outside of the major conflict.

So, how did they do that and do it successfully at that?

The first thing we need to understand is that the Season 2 Eggpire-storyline basically involved no one from the “principal cast”. As such, the story was not chained to the developments that were going on there – such as Exile, Hog Hunt, the Green Festival, etc. – and instead had more freedom to do their own stuff.

The Eggpire-storyline in Season 2 was for the most part self-contained. So much so, that people were viewing it not as a part of the on-going narrative, but rather in the vein of Tales from the SMP: A story that stands alone, the resolution of which would have no impact on the server as a whole.

And, to be fair, they could have gone that route. But the writer(s) behind the Eggpire-storyline decided to be more ambitious.

The Eggpire-storyline in Season 2 follows its own mini-version of the Three-Act-Structure, with BadBoyHalo serving as its protagonist. The big narrative movements coincide and are influenced with dramatic movement in his own personal conflict. He is the Wilbur of this storylines – the once good man (relatively speaking), who falls from Grace.

Now, the thing that makes the Eggpire-storyline in Season 2 quite brilliant is that they ultimately tied the resolution of their tension into the major conflict/tension of the Season 2.

Doomsday saw the Lowest Point of the main storyline of Season 2. With L’Manburg’s destruction and Dream’s future imprisonment, there was a huge power vacuum on the server – a power vacuum that BadBoyHalo, now fully under the control of the Egg, was ready to fill.

The climax of the Eggpire-storyline in Season 2 saw the rise of the Eggpire as they spread the seeds of the Crimson in the L’Manburg-crater, intent on taking over server – thus adding onto the dramatic tension that Doomsday already established, making the Lowest Point feel even more foreboding and successfully linking their erstwhile separate storyline to the main tension of the overall narrative. The villains for Season 3 seemed to be perfectly set-up.

And then Season 3 rolled around and they … bungled it completely.

Though the Eggpire eventually came into contact with almost every active character in Season 3 – such as Tommy, Tubbo, Ranboo, Technoblade and Quackity – they completely failed at driving the major conflict and establishing themselves as the main antagonistic force of the storyline the same way Schlatt and Dream had done in the Seasons prior.

The biggest missed opportunity in that regard is without a doubt the Red Banquet. Now, I talked in the past about how the Red Banquet failed just on its own – at least a specific aspect of it – but now we’ll have to talk about how the Red Banquet fails in the context of Season 3.

Because this was the moment that all the storylines could have been brought together. The Eggpire could have succeeded in their endeavour and established themselves as the most prominent force on the serve. This event would have impacted the server as a whole and thus the entire storyline.

Immediately we would have had a major conflict to drive all other storylines – such as Tommy’s storyline, Snowchester, the Syndicate, Kinoko Kingdom and Las Nevadas – to stop the Eggpire from fully taking over the server. All the character-specific conflicts could have then happened within the framing of this major tension.

Maybe Tubbo and the rest are hunting for the nuke, because they think it’s the only way to stop the Eggpire. Maybe the Eggpire wants to free Dream, because he could be of use for the Crimson. Tommy could get abducted by the Eggpire because he is some sort of chosen one or whatever and the onus would fall on the other characters to save him and stop the villains – so Tommy would become the damsel effectively.

Maybe they decide that the only way to defeat the Eggpire is to bring back Wilbur and that’s how that storyline gets integrated. Maybe the disparate forces disagree on that or other plot-points and there’s some infighting between them.

But still: All conflicts would be unified by this one major tension. The Red Banquet would have been the Turning Point to lead into Act II of Season 3, where all the problems would be viewed with the knowledge that the Eggpire and the Crimson was looming in the distance.

Alas, we did not get that. Instead, the Red Banquet turned out to be just another plot point in a long line of plot points that promises more in the future. Smaller personal conflicts are resolved just within the limited scope of their individual storyline and a major tension is yet to be seen.

When Bad says that there’s just one more Egg-stream planned, I hope he’s either misleading or not being clear enough on what he means. Because if this was it; if the Eggpire-storyline just kinda dies here – too connected to all other storyline to be seen as standalone and yet too separated to be enjoyed in the context of Season 3 as a whole – then it would be a worse writing choice than Doomsday.

 Epilogue: How the Prison Break can bring it all together

To bring it all back to the sentence I opened this video with: I hope Technoblade succeeds in breaking Dream out of prison, because this could finally be the Turning Point that introduces a major tension to the narrative of Season 3.

I hoped that Wilbur’s resurrection would fill that role, but disappointingly that plot point is again relegated to driving the tension of a few chosen storylines instead of providing a major tension for all players involved.

And with five months into Season 3, this Act 1 has gone on for far too long! For comparison, the entire written storyline of Season 1 encompassed 4 months. Season 2 took place in only 2 months. Season 3 has already exceeded both their runtimes and still seems to have yet to truly start.

Whether Technoblade breaks Dream out or Quackity succeeds in trapping Technoblade in Pandora’s Vault – there needs to be a turning point somewhere in sight.

Because my biggest fear is that we’re already past it. That the Eggpire-storyline will just fizzle out and that some other plot point will retroactively reveal itself as the turning point – because that would mean that Season 3 would have a horrifically unfocused, saggy and just generally unengaging second act. And that would be a shame.

Thank you so much for watching. Once again, please feel free to like, comment and subscribe. The links to my social media are all in the description down below. I have a bunch of stuff planned for the future including a very long video on Wilbur as well as two videos that have nothing to do with Dream SMP.

Until then, please be excite.

[panharmonium]

@bloomiii asked: Hey!  Do you think merlin actually hates Mordred?

Heya!  I’m assuming this is a follow-up question to the ask that @once-and-future-gay​​ sent me the other day, and I gotta say, I love this question just as much as I did that one, so thank you!  :D  It’s a great ask - relevant one, definitely, for Season 5. 

I have kind of a lot to say about it, so I’m going to put most of this reply under a cut, but the short answer is this:

No, absolutely not.  I don’t think Merlin hates Mordred.

I think Merlin hates himself.

I wrote in the previous post on this topic (which I think this ask is a response to) about the actual reasons why Merlin is in conflict with Mordred, none of which are based on personal dislike and all of which come back to Merlin knowing that he has to prevent Mordred from killing Arthur, not out of a selfish personal desire to keep Arthur safe, but because Arthur’s survival is supposed to be the thing that is going to bring peace to the land and liberate the magical world.

But Merlin, as I said in that post, does not want to be in conflict with Mordred.  He likes Mordred.  He says as much, to Gaius.  He cares about Mordred as someone who shares his oppression, as shown in the beginning of the Disir.  He agrees to keep Kara a secret from Arthur, at the beginning of 5.11.  And Mordred’s philosophy - “the love that binds us is more important than the power we wield” - is literally as close to Merlin’s own as it can be.  That is exactly how Merlin, at his core, sees the world.

Everything Merlin does to Mordred, he does for no other reason than that he thinks he has to.  (And I discussed in that other piece how Merlin is not foolish or mistaken for thinking so, either - important to keep in mind.)  But all of the things he has to do go completely against his nature, and by the time we hit the end of 5.11, I really feel that Merlin has descended into a pit of self-loathing that the show, because its ending is so poorly constructed, never allows him to climb out of.  

Every decision Merlin is forced to make about Mordred makes him hate himself a little more.  The decision to let Mordred die in 5.05 is visibly traumatizing for him.  He takes no pleasure in leaving Mordred behind for Morgana in 5.10.  And 5.11 is the ugliest, most soul-killing situation Merlin has been confronted with yet - he is torn between doing what he truly wants to do and what he feels like he has to do, when Kara comes into the picture.  He initially tries to hide Kara from Arthur, because there is no part of him that wants a Druid to be captured and harmed, even if she was with Morgana’s forces.  Mordred tells Merlin, “she’s one of us,” and Merlin agrees.  “Your secret is safe with me,” he says (and those are sacred words for Merlin; they’re exactly what Lancelot says to him in 1.05; this is not something Merlin would ever promise lightly).  He doesn’t betray Mordred’s secret, and when Kara is captured (through no fault of Merlin’s own) Merlin is the one who originally urges mercy, telling Arthur, “you’re breaking his heart/you’ll lose his trust” when Arthur claims he has no choice but to pursue execution.

However, after that, when Merlin learns that Mordred plans to escape with Kara, he boomerangs back to “he’s going to run to Morgana and then he’s going to kill Arthur and I am not allowed to let that happen/magical and godly forces have all told me that the entire fate of Albion and the future of magic all depends on me preventing Mordred from killing Arthur.”  And so he tells Arthur that Mordred is planning to escape, ultimately leading to Mordred and Kara’s recapture.

But THEN, after THAT, when they’re back in custody -  Merlin urges mercy yet again.  He tells Arthur to “free them both.”  He says, “How will one more death bring about the peace we long for?”  Merlin does not want Kara to be killed.  He does not want Mordred to suffer.  He does not want any of this to have happened; he did not rat Mordred out because he wanted to; he did it because he truly believed (for legitimate reasons) that he had no choice.  Like I talked about in that previous post - Merlin, at this point in the show, feels that his life has no purpose beyond the fulfillment of the destiny that has been prophesied.  He has come to see himself as a tool, with no intrinsic worth or value beyond what he can do to ensure Arthur’s survival (and thus the establishment of peace for all people).  He hates the things he’s supposed to do, but he literally cannot see an escape for himself.  This is just what he was “born” to do.

Even as far back as Season 3 we see this helplessness growing in him:

You feel trapped.  Like your whole life has been planned out for you, and you've got no control over anything, and sometimes you don't even know if what destiny has decided is really the best thing at all.

Merlin, in 5.11, doesn’t feel like what destiny has decided is the best thing.  But he also has reached a point where he feels like he has to do what he was told.  He’s seen the future.  He’s been told by multiple magical and divine sources that Arthur is the Once and Future King who is going to build the “the world we dream of.”  And so he does things that he thinks will enable that future to arrive (like preventing Mordred from running away with Kara), but because these things go so completely against his nature and cause him such pain, he then whips around and says, “Don’t kill her.  Let them go.”  He can’t help himself from slipping back into the kind of person he truly is on the inside.

He is trapped between his true self and what he feels is an inescapable duty.  And every step he takes away from his true nature makes him hate himself more.

Kara’s interview with Arthur, where she refuses to repent her “crimes” in exchange for her life, has one of the most telling, devastating shots in the show, when she says, “It is not a crime to fight for the right to be who you are.”  The camera, in that moment, is trained on Merlin’s face, not hers:

That is done on purpose.  The cinematography is trying to say something.  It wants us to look at Merlin and listen to Kara’s word’s and hear the contradiction.  It wants us to recognize that Merlin is dying inside.  The absolute MISERY locked down in his expression here!  He has been forced to do things that seem to work against the very goal he’s been told he’s trying to achieve (to have the right to be who he is), and it’s been going on for so long that it’s shattered his soul.  He listens to Kara being able to say that, proudly, without fear, and he hates himself for not being like her.

But he can’t see any way to escape the things he knows he’s supposed to do.  So ultimately, at the very end, he does nothing, and Kara’s execution proceeds.

He despises himself for it, and when Mordred escapes and runs to Morgana, Merlin’s only reaction is a dull, hollow resignation.  He doesn’t blame Mordred for whatever’s going to happen next.  

He blames himself.

This is, yet again, another reason why the Merlin finale is garbage storytelling.

It makes no narrative sense for the show to give us 5.11, which ends with Merlin in quite possibly the darkest and most miserable, conflicted spot he has ever been in, and to then start the next episode with him having a raucous good time at the tavern.  Merlin, after what happens with Kara and Mordred, is not going to be out laughing and cheering, playing dice, and making casual, tongue-in-cheek, meta jokes about his secret like it isn’t the most painful and soul-destroying burden he’s ever had to carry (“Ah, I knew you’d discover my secret in the end.  There is just no fooling you, my lord!”).  It is inconceivable for him to be out partying, after the previous episode.  It’s insulting to me as a viewer, that the writers thought they could show this to me as if it’s an even remotely rational direction for the story to go, as if I’m not going ask “what the HECK is going on???” when I see Merlin gleefully stumbling home like a drunken frat boy, without a care or concern in the world.

There is ZERO tonal consistency between the end of 5.11 and the beginning of 5.12.  It’s horrendous writing, and it’s why I continuously say that Merlin BBC does not actually end, it just STOPS - abruptly cut off after 5.11, with a slapdash two-episode finale tacked on, one which does not actually resolve anyone’s arcs, or address any of the central questions of the show, or follow where the narrative was naturally heading prior to that point.

Merlin’s arc with Mordred is what finally takes him to a place where he is irrevocably, inescapably confronted with the conflict that he has been struggling with from day one - how is he supposed to justify the things that Destiny is asking him to do, when what it’s asking him to do seems to be hurting the very people he’s trying to help?  How is he supposed to reconcile his responsibility to his people (and HIMSELF) with an externally-imposed responsibility to protect Arthur?  He’s been wrestling with this cognitive dissonance for years, and 5.11 is the inevitable crisis point - Kara is dead, Mordred has defected to Morgana, Merlin’s secret is OUT, and Merlin has never hated or doubted himself more.  It makes no sense for the beginning of the next episode to show us Merlin living it up at the tavern.  Merlin is tortured, at the end of 5.11.  He’s dying inside.  The next episode was supposed to be a natural progression from that moment, meaning Merlin should have had the chance to finally confront his conflict head-on, rather than having it all completely wiped away by the pile of garbage that was the finale.

The correct fallout from Mordred’s “turn” should have been a reckoning.  Merlin never wanted to be in conflict with Mordred in the first place; he hated himself for everything he had to do, and I really think the end of 5.11 took us to a place where Merlin had finally been pushed over the edge; it was the last straw.  The only correct progression from that point would have been change, and Merlin was finally desperate enough to do what he needed to do to find himself again and make things right, but we never got to see it, because the people in charge decided to completely abandon every complicated question they’d been pursuing, in favor of “actually Arthur’s the good guy and we’re gonna pretend we didn’t just spend an entire episode reminding people how Camelot is still an unjust place.”

I don’t understand it.  The same people created 5.11, too.  They wrote Kara’s righteous speech.  They framed her execution as an evil, and they framed Mordred’s flight as something Merlin and Arthur brought upon themselves.  

And then they did a 180 and dumped every ethical question they ever raised.  They never let Merlin find his feet or hold his head up high, and I’m honestly never going to forgive them for that.

[relatetonothing]

[mdzs long ass rant] Would WWX have committed suicide?

I thought about making this post for a while now, it’s a subjective topic and non-core to the MDZS plot but interesting to me all the same.

The cliff jump scene from The Untamed is probably the only scene that I didn’t sit well with me in the show – nothing against the adaptation, it’s more about how this scene chipped away WWX’s main character traits. I feel like WWX is such a memorable and influential character precisely because of his fortitude and resilience, which this scene fails to capture. Let me explain my analysis:

1️⃣ The Yunmeng Jiang Sect’s motto is [明知不可为而为之] or ‘to attempt the undoable’. WWX’s behaviour throughout his adolescent life is an embodiment of this phrase. For someone like him to commit suicide, he would have either: accomplished all he wanted to in life and had no more reason to live, had to die for the benefit of someone else, or had his entire view of world, outlook in life and values completely and irreparably shattered. He’s just not the type of person to choose to die just because someone close to him passed away, even if it’s Shijie.

Why? We all know that his first reaction to the Jiang elders passing was rational and collected – telling Jiang Cheng to stay calm, reminding him that revenge is never too late. We also know from the novel that he died trying to cultivate the other half of the Stygian tiger amulet, which backfired on him during the siege of the Burial Mounds. His inventions were still unrefined – he was trying to put his skills to good use up until the moment of his death! WWX is someone who exists to explore the unknown, hypothesise on the unfamiliar and create new tools for the benefit of the cultivation world. He still had unfinished business!

2️⃣ Many would say it makes sense for WWX to commit suicide – he has no one left by his side; the fact that everyone hated on him would have built up resentment and grief internally; he would have felt everything he’s done and sacrificed for went to nothing. Regarding this, let’s think of some of WWX’s own morals:

His most famous quote [是非在己，毁誉由人，得失不论] translates to ‘Right or wrong is in oneself, one’s reputation is made or ruined by others, there’s no need to discuss gain or loss’. Clearly, this shows he doesn’t care that it’s him against the world. He will stand up for what he believes is right even if he’s the only one to do so, no matter what this does to his reputation as it’s all externally determined anyway. Another famous line [这世上每个人都有各自的事要做，有各自的路要走], means ‘In this world, everyone has their own things to do and own paths to pursue’. This indicates he’s not afraid of loneliness and having zero support system. As if he had anyone to help him when he became the founding father of demonic cultivation! Lastly, he keeps something his mother taught him close to heart: [不要去记你对别人的好], means ‘don’t try to remember your own kindness to others’. He never complained or felt sorry for himself once after donating his golden core. He’s not a believer of others needing to repay him for good deeds he’s done, or for his sacrifices to lead to anything beneficial for himself.

3️⃣ If WWX really had wanted to commit suicide, how could he possibly continue living happily after his resurrection? Based on 1), if he chose to die it would have been a renouncement of the entire world. For someone with his life principles, it would be difficult to be convinced that life is still worth living only because there’s still someone in the world that loves and cares for him.

What we do know is that WWX used his death for his own self growth, rather than let memories of his previous life cripple him. He learnt to take a step back from the world and not let trivial things get to him anymore. After his resurrection, he’s still thrown back into the same circle of people who previously condemned him to death, whose views differ vastly from his, but he chose to not let that hurt or anger him any longer. Instead, he chose to live as a ‘smaller’ character (no longer as the Yiling Patriarch) to focus on the things that matter to him. He still kept his interests in inventions, night hunting, teaching, travelling, keeping the same tastes in food and drink, teasing other people the same way he’s always done. There’s no sign that his death affected him in anyway – heck he practically started studying and cultivating again immediately after coming back as MXY.

5️⃣ In the novel, Mo Xiang Tong Xiu doesn’t ever go into detail about things most would think are crucial to the story: what WWX went through when he was first dumped into the Burial Mounds by the Wens, what made his personality change 180 there in the space of a few months, what actually happened during the final siege and what/who caused his death. The pain he must have gone through when donating his golden core. All of these were glossed over by the author herself. There are two likely explanations for this. One, readers are left to imagine the scenarios for themselves, which may enlarge/intensify the proposed effect better than having the details explicitly articulated. Two, the author didn’t feel the need to emphasise on WWX’s suffering and torment, as he’s much bigger than that. She’s made him out to be an optimistic and resilient person who’s always going to come out stronger, someone who stays true to himself forever and always.

Artist: Oten太一

[lewisgour]

Torture for Info is Illogical.

Why torturing for information fails all logic tests:

1) The frailty & incredibly dodgy aspect of the biological memory process.

The memory process is stored in fragile structures of chemistry, electricity & genetics.

It is extremely prone to physiological inconsistencies.

It is easily damaged by physical trauma.

It is extremely affected by psychology, social pressure & influences, immediate emotions & distorted by deep roots of experience [phobias, biases, etc.].

In short it is not very reliable,

One hundred times so under duress.

2) The 'importance metric' variance from person to person.

Each person is very different in what they consider 'important', ie. the things they choose to not forget.

Genetics, culture, individual experience & interpretations thereof affect what we think is significant & what is especially important to remember.

3) The complete mismatch between trans-dimensional diffuse, complex reality and our moronic idea(s) of the clunky 'certain', 'eternal', 'truth'.

We all have this reflex notion that the truth is a singular, absolute, eternal, [relativily] simple & clear.

If you beat things all around & shatter them the truth will magically pop out whole & intact, like a cartoon?

The 'sword of truth', if you will.

Wow! What could be further from the actual truth?

An examination of physical reality has it very complex. Avagadro's number [ 10^23] is the number of hydrogen atoms in a gram of hydrogen, & if you have that much measured hydrogen, very likely it is not all 100% hydrogen, adding to more complex messiness.

Actual reality is complicated. Some things hold together into managible mostly singular coherent constructs. Even those things can break under certain conditions at the right location.

Important portions of reality are very diffuse, like the oxygen laden air we need to breathe to sustain life & consciousness.

Think about the electro-polar electro-static storm that is a single drop of life sustaining water.

Electrons have various spin & other quantum characteristics. Other atomic particles are made up of some recipe of several quarks with their specific quantum states.

Quasi-particles are coming into & out of existence all the time which causes the casimir effect, when two flat plates are a too short distance apart for these quasi-particles to emerge from & the external pressure pushes them together.

Think about all the micro-gravity wells around each atom that aggregate together to create large object gravity wells.

Trying to comprehend all the total complexity of even some macro-scale limited span of all this is impossible.

Now imagine the very likely possiblity that other universes exist somewhere[somewhen?] else & then what ever might exist as reject detritus between universes.

Coherence is always transitory at best.

Wouldn't suprise me a bit if the speed of light & other so-called 'constants' gradually change over the long spans of the universe.

Actual complete truth is incomprehensible.

Our brains want & probably psychologically need to believe exactly the opposite.

One of the main functions of the brain is to find extremely simplified behaviors to deal with an incomprehensibly complex reality. Luckily that works well enough often enough to make it mostly worth the effort.

4) How are the murky thought processes of torturers 'deciding' which victim screams are the 'truth' or not?

The torturer is aledgedly torturing the victim precisely because they DON'T know what the truth is.

Yet they have already decided this victim knows some objectified 'truth' they care about.

Wow! how exactly does that make logical sense? it doesn't. They are psychic? Prescient? They guess? They hope?

Flag waving lovers of fascism flying blind, not a stepwise structure of logic.

Torture is not done by sensible people.

Torturers don't dare admit they screwed up, e - v - e - r , because then the public will see it is an outrageous, horrific war crime by villains in power.

How the heck do they supposedly 'know' what the 'truth' is when they hear it?

Isn't is about 100 times more likely they halt the torture when they hear something juicy they WANT to believe, or think their bosses will want to hear.

What one wants to hear is independent of actual facts.

Isn't most probable a victim is fabricating melodramas to stop the pain? Managing to believe them so to deliver them with conviction.

The victim most often rattles on & on till some particular litany halts the source of pain.

The torturer's rabid, ballistic brain is going to be the delicate compass of what the actual, delicate, empiric truth/reality is?

The only actual way to determine if someone is telling a truth/fact is to verify it with corroborating evidence.

5) There is not & never will be a body of honest data that supports the false notion that torture is an effective means of deriving information.

As to the American Psychological Association getting 80 million plus dollars to ramp up torture techniques for the US government,

they have all the intellectual rigor of the Spanish Inquisition,

which is to say they are money parasitic, certified

intellectual trash.

What is the REAL use of torture as a tool?

It is the tool of police state terrorists,

used to instigate fear, horror & intimidation in populations they want to tyrannize.

Let me lay out a recent & illustrative example:

https://billingsgazette.com/news/state-and-regional/montana/waterboarded-terrorist-fabricated-montana-recruiting-effort/article_8636a8fe-1096-5a81-b5f2-83e72b3a6cc5.html

When Khalid Sheikh Mohammed was tortured he said there was a terrorist plot to blow up gas stations in Montana.

The FBI spent millions determining it was a false claim, & Khalid Sheikh Mohammed subsequently admitted he lied.

They kept torturing him, until he confessed he was the mastermind behind 911.

Wow, do you believe that either?

But 'authorities' left that one out there for public consumption,

and paraded it in their show trial,

without even going to the bother of verifiying it.

Why?

Because it fit their agenda.

That made the public think there was closure on the 'official' narrative

AND torture was the self-justified 'key'.

Me?

Having looked at the addmittedly crude video of the Pentagon on 911 i have yet to find a 757 plane in it. That's a pretty large jetplane.

There is a fireball explosion, but there is no 757 that precipitates it.

but what do i know? How dare i use my own eyeballs!

Authorities become married to authority & most of them will do anything to maintain the grip on power.

The only defense you can guarantee is your own skepticism, whenever you hear something & then if possible critically examining it against your own experience, & other, reliable sources.

Call me the Duke of Doubt.

Don't trust the Messiah of Mistrust when he/she/it shows up. They are LYING! They are the deceiving anti-skeptic! 666 on you all! LOL.