I was thinking about NLMG during the night (ok, so maybe I am a little more invested than I thought I was) and about the moment in the trailer on the beach when Neung pushes Palm away and tells him, "Someone like you will never be able to make me happy". I was thinking that maybe the reason behind this could be Neung's frustrations with Palm never being honest and genuine with Neung, instead always hiding behind excuses about looking after him, taking care of him, protecting him as his bodyguard, as someone lower than him and 'out of his league'. All along Neung has been asking Palm to treat him as an equal, to be his friend, to remove the divide between them of 'master and servant'...what if Neung's just frustrated that Palm won't? And that's why Palm will never make him happy?
But then I was reading @respectthepetty's brilliant (as always) post and it does also make narrative sense that Neung will try to give Palm an out, giving "permission to be free of him and a life that requires him to sacrifice himself because that's all Nueng can give this boy who has given him everything." And now I don't know what to think...which is great because now, NOW, with options, it makes the show much more interesting to me.
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Three Body Problem/Dark Forest
I’ve only read the first two so far, and overall I really enjoyed both (with some caveats)! I have it on good authority the third one goes off the rails, but I’ll report back on this one :P Thus far they were very enjoyable as sci-fi epics, TBP takes place in more-or-less now, DF spans centuries, the worldbuilding is great, the ideas it has are very cool and the prose is so good.
That said, they are immensely frustrating, too, in very particular ways (least among which is “wow, this was definitely written by a man”). TBP not so much, that’s just great, but the follow-up...
I’m putting it behind a cut, because spoilers (if you’re thinking of reading the books, avoid spoilers, the spiral they take you on is Something Else)
My particular point of frustration is in how these books are broadly speaking about the relationship between the collective and the individual, how one feeds into and affects the other, but the individuals are... Well, they have names, definitely, and also occupations. It’s less of a problem in TBP, which is very straightforward with the cause and effect, but in DF it rolls out into a whole sprawling... something.
Okay, so book one, Ye Wenjie is so disillusioned with humanity after living through the Chinese revolution and watching her father’s murder that she asks the aliens to come over and destroy it. Cool. There’s a whole organization dedicated to helping the aliens out, which she leads, but she has second thoughts after things start happening, all that.
In DF we get the very explicit consequences of the “humanity over humans” in the form of the history of the Great Ravine(? - not sure how it’s translated in English), and how that lead to a nigh-perfect society based on individual rights, whose only real problem was that they were too trusting and hopeful, to the point that older characters refer to them as children. Also cool. Yes, sometimes bright-eyed optimism will not save the day, which doesn’t make callous pessimism right. Humanity didn’t get to its darkest hour by being too lovey-dovey (though mistakes were made and hubris didn’t help). In the end the only future is one of cooperation and mutual respect.
So, the day is saved by a guy who only really wants to reunite with his family. Again, so far so cool. Humanity is made of humans, who may think of humanity in the abstract, but they are also creatures of the here and now and that’s what civilisation is and should be about. For better or for worse.
The problem is, the guy’s family is a cardboard cutout not only in the meta sense of having hardly any lines and existing mainly between scenes, oh no. That would be... disappointing, but also par the course for, hell, most of literature. No, instead the family starts when Luo imagines a perfect woman, who becomes real to him, to the point he has self-induced hallucinations about her being in the car and having conversations with him, and later uses the societal powers granted to him to get the police (his chief bodyguard with whom he has a reasonably compelling actual friendship) to find him a girl matching that exact description. Who is then lured in to his house under the pretense of working for him. Within a year or so they marry and have a child.
And then the epilogue concludes that humanity has problems with the Dark Forest metaphor because love is so important in human culture (it’s not as egregious as in Interstellar, don’t worry, it actually comes off quite well). Which...
But wouldn’t it be much stronger if they were both actual characters? If they met the normal way, if they fought and made up and had human interactions that weren’t limited to Luo thinking how perfectly in line with his fantasies his mail-order-imagination bride turned out?
That’s not even mentioning that the core tenant of the Dark Forest theory is the complete impossibility of communication between alien civilisations, when the whole entire series is predicated on perfect communication being not only possible, but pivotal from the point of first contact, but that doesn’t actually affect the plot all that much.
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i think anon was probably talking about web view, since my web view also recently switched to something absolutely horrific. LOOK at this. what what WHAT.
WHAT IS THIS WHAT IS THIS WHAT IS THIS WHA - - -- - - NMO N O NO N O N O!!!!!!!! oh my god NO!!!!!
I am QUITTING THE DAY IT HITS ME.
AND NOT RETURNING UNTIL THE DAY ONE OF MY 3 SCRIPT APPS FIXES IT. WHAT IS THIS HORRIFIC UGLY DECISION.
Their TEXT EDITOR STILL DOESN'T WORK, STILL DELETES AND ENTIRE MESSAGE IF GOD FORBID YOU PRESS CTRL+Z BUT THEY SWITCH THE SIDE OF THE TUMBLR DASHBOARD?!?!?!?!
WHA T
THE
FUCK :DDDDDDDDDDDD
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