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canary3d-obsessed · 6 months

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Restless Rewatch: The Untamed, Episode 39 Part 3

(Masterpost) (Pinboard) (whole thing on AO3)

Warning! Spoilers for All 50 Episodes!

Days of Future Past

After they leave Yi City, the gang comes to a proper town where there is a lantern festival going on, or else it's just a town that is really nuts about lanterns.

The juniors go shopping, looking at random trinkets, cell-phone cases, sunglasses, and electric toys that will break as soon as you get them home. Wait, that's my local mall I'm thinking of. But it's the same idea, pretty much.

Judging by the dream catchers hanging up on the right, this particular Ancient-China kiosk is owned by a traveling Ojibwe person.

Sizhui experiences a callback to symbolism from the past as he looks at an array of toy insects.

Jin Ling toy shames him, and Lan Jingyi comes to his defense.

Toys are for every age, people. Even if you outgrow one style of play, there's a lot of ways to enjoy toys, including tucking them in your robe and pulling them out to look at them whenever you have a memory cascade.

When Sizhui was young, he looked at toys with Wei Wuxian. Wei Wuxian didn't give him the toys, however, because "asking is asking, buying is buying." For Wei Wuxian, there was always a vast chasm between what he wanted and what he could actually have. Lan Wangji, of course, promptly gave A-Yuan toys, including a version of this grass butterfly.

The last time we saw A-Yuan with the butterfly is the last time A-Yuan saw Wei Wuxian. WWX frightened him and he dropped his butterfly, and everything went to shit after that. So I think it's fair to say the butterfly symbolizes some stuff.

(More after the cut!)

Jingyi points out to Sizhui that they have all of this same stuff at home in Gusu, which is what happens in a franchise-based retail economy.

Lan Wangji and Wei Wuxian enter the market together, but Wei Wuxian quickly runs ahead, enjoying the energy and the sights. Grown-up Lan Wangji, unlike his younger self, seems perfectly comfortable in this crowded and busy environment.

Lan Wangji pauses at a seller's stall to experience his own callback to the past, as he contemplates a lantern with rabbits on it.

Here the show the show restrains itself and does not show us a flashback to the rabbit lantern of the past. That's ok, though; the first lantern scene is one of the most memorable in the show, so we can just replay it in our heads.

Back then, Wei Wuxian made a special lantern for Lan Wangji, and they released it together. That was the first time we saw Lan Wangji smile, and it's also when Wei Wuxian's pledge of chivalry turned their mutual interest/attraction into something much deeper.

While Lan Wangji and Lan Sizhui are contemplating lost things from the past (sky lanterns, by their nature, are losses, but in a nice way), Wei Wuxian is confronting one of his own losses.

He sees a little kid running to a vendor, and his mind's eye sees A-Yuan.

Lan Wangji sees Wei Wuxian's reaction to the child, and he stops looking at the lantern to watch Wei Wuxian instead.

When Wei Wuxian realizes that the child is not, in fact, A-Yuan, the air goes out of him.

Is it too cruel of me to point out that while Wei Wuxian's heart is breaking from realizing that A-Yuan could not possibly be shopping for toys in this market, the real A-Yuan, Lan Sizhui, actually is shopping for toys in this market?

Wei Wuxian allows himself to feel things, for a moment--and when he turns around and sees Lan Wangji watching him, he doesn't immediately paste a fake smile onto his face, which is some kind of relationship growth.

Lan Wangji takes this opportunity to say "hey, Wei Ying, I forgot to mention that A-Yuan isn't dead."

Ha ha ha ha ha of course he doesn't say that. He's waiting for the right moment to share this information, and Lan Wangji has no idea what constitutes a right moment for verbalizing anything. If he can't use his sword to communicate his devotion or his disappointment, he's in a pickle.

Also, Lan Wangji is aware of the popular Wuxia trope of "lone survivor of a massacred clan grows up to seek revenge," and the rules say you can't reveal the survivor's identity until they have gotten a job as the bodyguard and/or concubine of their enemy's innocent heir. Sizhui has made a good start by befriending Jin Ling, but he's not showing much inclination to revenge, so Lan Wangji is stuck for now.

Like a Lantern in the Dark

When Wei Wuxian sees the lantern next to Lan Wangji, he breaks into a genuine, sunny smile, and runs up to very gently tease LWJ about it.

Like a lantern in the dark, Follow on now, follow your heart

Back then the lantern had a single rabbit, and was a gift from Wei Wuxian. Lan Wangji said he's used to doing things alone, and Wei Wuxian said that he can change. This rabbit lantern has two rabbits, and is about to be a gift from Lan Wangji to Wei Wuxian. Because Lan Wangji has changed.

"Lan Zhan, let's buy it"

Wei Wuxian has also changed. He asks for what he wants, instead of just wishing, and is delighted when Lan Wangji gives it to him. The lantern, people. Lan Wangji gives the lantern to him.

They take the lantern together, walk with it together, and immediately give it to (their son) Sizhui, telling him to take good care of it. Sizhui is confused but Jingyi knows what's up. Look how happy he is that his favorite teacher has a boyfriend.

I'm pretty sure ceremonial lantern-giving is going to be incorporated into Gusu weddings from now on, at least weddings where there is already a kid who needs a special role in the ceremony.

Brotherly

The kids tell Lan Wangji that Zewu-Jun is here to see him, and Lan Wangji makes this face:

Holy fuck, what is going on between the Lan brothers? It occurs to me that we haven't seen them together since Wei Wuxian came back to life. They were close, in the before times, but 33 lashes and 3 years of forced seclusion might have changed things.

Wei Wuxian gets back into his mask, and they go and show the sword spirit to Lan Xichen. Lan Xichen...absorbs it...into his body? What is actually happening here?

I mean, it looks cool, but that can't be healthy.

Now that Nie Mingjue's body has been - mostly - found, his fears are confirmed. He says that Nie Mingjue qi-deviated in public and "all his veins were broken," which I'm pretty sure should actually be translated "all his meridians were broken." Meridians are what carry your qi around your body. After that happened, nobody knew what happened to him and/or his body.

So he's sad about this, but not shocked. I feel like Lan Xichen maybe could have tried harder to find out what happened, but he never was as stubborn as Lan Wangji.

You Don't Know Him Like I Do

Wei Wuxian and Lan Wangji point out that Jin Guangyao is the obvious suspect in the current situation, but Lan Xichen doesn't want to hear it; he literally turns his back on them while he explains all the reasons Jin Guangyao couldn't be the person who's in control of the Yin tiger seal.

Lan Wangji is hard to read in this conversation; he lets Wei Wuxian do the talking. But he seems deeply suspicious of Jin Guangyao, and is maybe kinda resigned to his brother refusing to hear him.

I wonder how many sketchy things Lan Xichen has forgiven, over the years? How many does Lan Wangji know about?

"He wouldn't do that"

Lan Xichen's statement here is a direct parallel to Lan Wangji's statement way back in epsiode 21, which is the last time we saw the brothers talking about anything besides battle strategy.

Back then, Lan Xichen asked about the deaths at the supervisory office - you know, all those people who killed themselves in horrible ways and/or were killed by vengeful spirits. He wanted to know if WWX killed them using Yin Iron. Lan Wangji said nope, not my sweetie, he sure didn't.

"He wouldn't do anything like that."

Same framing, same camera angle, same blocking. Same message: the one I love would not do bad things using Yin iron. But - here's the thing - Lan Wangji was flat-out lying in that earlier conversation. He saw Wei Wuxian doing forbidden stuff and got in a huge-ass fight with him about it, only to deny it to his brother.

Parallels being what they are in this show, I think this is a strong suggestion that Lan Xichen is knowingly lying in the current conversation.

If we look back at that previous conversation, when Lan Wangji asked Lan Xichen "how can we understand someone's heart?" Lan Xichen gave a surprising answer.

"When looking at someone, you[...]shouldn't use a clear right or wrong, black or white to judge them. What matters is what their heart believes in."

When this conversation happened, it seemed that he was giving Lan Wangji advice about his Wei Wuxian situation, but in retrospect, I think he was thinking about Meng Yao, who had recently murdered a guy and defected to the Wen clan.

In the present moment, I think Lan Xichen knows that Jin Guangyao is sketchy, but he also believes there are some lines his friend won't cross. (He doesn't know yet about the fratricide, patricide, and filicide, or the massacre of the sex workers in the brothel where JGY grew up.) I don't think any of these guys really believes that "Yin iron" is one of those uncrossable lines.

The conversation is interrupted by the juniors having a loud argument inside about whether Wei Wuxian is The Worst, or merely bad. Lan Sizhui started this by very very mildly defending demonic cultivators. Jin Ling is super upset, because of the whole "Wei Wuxian killed my dad" and "Uncle Jiang Cheng frequently reminds me to kill people like Wei Wuxian and feed them to my dog" situation.

Lan Wangji immediately drops the important conversation he is having to go inside and deal with the more important problem of a child talking shit about his boyfriend.

Busted

The moment that Lan Wangji goes inside, Lan Xichen addresses Wei Wuxian by name, letting him know that he's recognized him. Watching him fondle his untouchable didi's shoulder might have been a clue. Wei Wuxian is alarmed but makes a quick recovery.

Lan Xichen is surprisingly kind to Wei Wuxian at the same time as being extremely extremely wary of him. He's not pleased to see him, and Wei Wuxian's 1000 watt smile and apparently genuine pleasure in greeting him properly receives a chilly response.

Wei Wuxian gently asks Lan Xichen to think about what they've discussed, but he doesn't press. He gives him time and space to think. In a way, Wei Wuxian is better at handling Lan Xichen than Lan Wangji is; Lan Wangji's stubbornness makes him inclined to push. Wei Wuxian is better at fitting his tactics to the situation.

He says his bit and then leaves Lan Xichen to think things over in peace.

Soundtrack: Follow the Heart by Yaima

#restless rewatch: the untamed #lan xichen #lan wangji #lanterns #twin prides #canary3d-original #the untamed gifs #the untamed #ep39

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haunted-radishes · 1 year

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All I ask for is a fic that kicks off with Wei Wuxian's "that was all in a different life" thing, and Jiang Cheng responding through tears, "you said we'd be brothers in our next life"

#twin prides #wei wuxian #jiang cheng

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pastelcheckereddreams · 1 year

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我做梦都想回去... Even in my dreams, I want to go back… The Untamed locations: Lotus Pier 莲花坞/Liánhuā Wù

It’s finally here! The third installment in my ongoing Chén Qíng Lìng drafting saga, Lotus Pier! As the residence of the Yúnmèng Jiāng Sect, Lotus Pier (莲花坞/Liánhuā Wù) is arguably one of the most important locations in the narrative of Mó Dào Zǔ Shī. Built among sprawling lotus ponds in the lazy shallows of a vast, meandering river, Lotus Pier shapes the halcyon days of the Jiāng siblings’ youth. It is a warm and lively place, its people welcoming and carefree.

The complete diagram:

(Full set details/meta below.)

Part 1: The Jingshi Part 2: The Hanshi

Prints now available at ✨ INPRNT! ✨ You can also support me on Ko-fi ☕

Honestly, the few gifs I have used do not come close to showing you the huge scale, or the level of detail and care that has evidently been put into this set by the CQL production team.

Before I attempt to describe the place that shaped much of our main characters’ lives, let me first share with you the set layout with reference to some aspects of traditional Chinese architecture (and please bear in mind, I’m not an authority on the subject. Links to sources/appropriate references are provided).

Understanding the set layout:

The main compound of Lotus Pier is set out loosely following the typical, traditional layout for residences containing a courtyard.* Rooms are placed at the four cardinal points, creating a central axis and a secondary horizontal axis. With the courtyard facing south, the most important buildings are placed to the rear (north), such as the parents and grandparents’ bedrooms and the ancestral hall, while the siderooms (typically for the sons’ families) are placed to the east and west according to auspicious philosophies (like fēng shuǐ) and social hierarchy:

* At least, in the northern regions of China. Although Héngdiàn World Studios, where most historical and xiānxiá dramas are filmed, is located in Zhèjiāng, it seems a lot of the sets at Hengdian are based on northern designs.

In true “courtyard houses” (sìhéyuàn or sānhéyuàn, depending on whether the courtyard is fully enclosed), this quadrangle layout would then repeat along the central (N-S) axis if the residence contains one or more ‘inner courtyards’ (Fig.3 below):

However, I would not call Lotus Pier a true “courtyard house” as it is freer and more spacious in form than, say, the Hanshi’s courtyard design** and both sets are part of a larger compound anyway, rather than a standalone residence for a single family - so the comparison may be redundant. For instance, Lotus Pier’s stilt foundation and large, sloping roofs also bear an interesting resemblence to the wooden storied houses of Yúnnán, which is a completely different type of vernacular architecture.

** That being said, there is a wealth of research on the different variations in this type of vernacular architecture [x] [x], which does include differences in siheyuan design based on climate (wherein the buildings are quite generously spaced apart, and the courtyard much larger, to deal with the warmer climate in southern regions of China).

Nevertheless, we can see the cultural and cosmic philosophies which influence these courtyard homes used at times in the design of Lotus Pier.

For instance, we see in episodes 14 and 18 that first Jiāng Chéng, and then Wèi Wúxiàn lived in the eastern room - both seperately and together - in their childhoods. (We can assume that Yànlí would have lived in a room nearer her parents, located in the back of the residence so as to lessen her appearance in public as an unwed daughter.)

(Although the two rooms have been dressed differently, the raised platform, reused props, and WWX’s running shot from the inside to the outside in episode 14 show that it is the same building. Additionally, you can head here for some ramblings on the interior of WWX’s room and some analysis on camera angles.)

You may also be able to see from these gifs that these siderooms are divided into three sections, which relates to the construction of traditional buildings in three or five ‘bay’ structures:

A ‘bay’ is the space between columns of a building. An even number of bays, or jiān/間, was thought to be unlucky, therefore the three bay structure was the basic layout of a commoner’s home, with additional bays added based on the need for space or the wealth of a family.

Interestingly, the room on the west side of the courtyard is shown to be Jiāng Fēngmián’s study, rather than another bedroom as I originally assumed - one that may have been for an older Jiang Cheng, although as the son and heir of the Jiang famly, his room would traditionally remain on the eastern side of the house (where WWX’s is). Then again, the main courtyard is an odd place for a bedroom in the first place, so perhaps we might be looking at a conflation of public and private spaces due to constraints on the set designers.

As a sidenote, JFM’s study appears to back onto a private lake, seen through the rear viewing window. I think this must be CGI, however, as I can find no angle of the set that shows this exists as part of the structure.

With all this said, let’s not forget that this is a xiānxiá drama: historical accuracy is not the goal. Instead, the producers took their time finding a ‘cultural location’ for each Sect, through which they could develop a more artistic aesthetic by drawing on the atmosphere and charm of their desired location. This brings us to the set’s design, and what it may represent about the people of MDZS’s Yunmeng.

The set’s design:

For the Yunmeng Jiang, producer Yáng Xià states in the link above that the showrunners drew inspiration from Húběi province, particularly the Jiānghàn plain that now lies in the heart of Wǔhàn. It is here the Hàn river joins the vast flow of the Yangtze as it meanders its way through the eastern provinces of Central China.

Just as Wuhan has been a major port city since the earliest dynasties of Imperial China, it’s fair to assume that the river that flows through MDZS’s Yunmeng has likewise influenced those living on its banks:

One of our first, and repeated, impressions of Lotus Pier and Yunmeng is how lively and welcoming this busy harbor and its people are. A major transport hub in its own right, with links to Lánlíng, Yumeng people are at home on the water.

The Jiang are unrestrained and easy-going, open-minded and generous. To reflect this, Lotus Pier was likewise built to be “broad and open”, the easy curves of the roofs and the wide, open walkways creating a sense of transparency and openness; the fluttering gauze curtains soften and compliment what otherwise might be an imposingly broad structure of warm-coloured wood:

The marketplace that sprawls from the main landing likewise tells us that Lotus Pier and the wider Yunmeng area is a place of trade and craftsmanship.

We see lotus seeds and pods harvested frequently, and as strong swimmers and talented fishermen, we might assume that the Yunmeng people are also skilled at weaving fishing nets and other such tools from the abundance of natural materials the fertile floodplains afford them.

As an aside, I do wonder why JFM decided to decorate his seat of power with rolls of reed matting/blinds.

I like to think they’re wares from the market, to display his peoples’ craftsmanship. You have to admit, the effect is impressive, immitating an unfurling lotus:

The one area that intrigues me the most in this main courtyard, however, is the kitchen. The private dock in the kitchen really exemplifies how the river has had such a huge influence on the design of Lotus Pier, by virtue of the waterborne livelihood it has curated among the Yunmeng people:

I like to imagine that fresh produce from the market would arrive by boat early in the morning, and Yanli would be there to help unload the goods while she prepares breakfast for her family...

What struck me most, though, during the course of this whole study was the dreamy, almost fantastical quality to the set. As I said above, the xianxia genre allows much more creative license with the aesthetic of the Sects and their domains, as the genre does not need to replicate a time or place with rigid historical accuracy. As such, much care and ingenuinty has been taken by the show’s designers to merge the Pier with the river, giving the impression that, like the lotus flowers that give it its name, the Pier also floats on the water itself.

To that end, let’s lastly think about the lotus imagery we see around the set, and how it applies to the role of Lotus Pier as a place in the narrative.

The symbolism of the lotus

Revered for its beauty and much loved for its versitility in Asian cuisine and traditional Chinese medicine, the lotus holds significance in Chinese culture for many reasons. As one of the 'Flowers of the Four Seaons' (四季名花, Sìjì Mínghuā), the lotus flower represents summer, blooming through the season in the shallows of slow-moving rivers and river deltas.

「出淤泥而不染 / chū yūní ér bù rǎn」, an idiom meaning “growing out of mud, but remaining untainted”, is often attributed to a poem by controversial Confucian and Neo-Confucian scholar Zhōu Dūnyí called 'On the Love of the Lotus' ( 爱莲说, Ài Lián Shuō). Zhou calls the lotus flower a "gentleman among flowers" (not to be confused with the Four Gentlemen) as, rising dignified from the mud, it exemplifies the cosmic and spiritual harmony all humans should aspire to achieve. As such, it represents a moral ideal of dignity and integrity for a Confucian gentleman. As Zhou writes, “I love only the lotus, for rising from the mud yet remaining unstained; bathed by pure currents and yet not seductive.”

We cannot wholly attribute this idiom to Zhou, however, as this metaphor of the lotus flower, symbollic of purity of mind and body as it rises out of the muddy waters of worldly affairs, actually has its roots in the religious teachings of Buddhism and the Lotus Sutra. In it, the sacred lotus symbolises spiritual enlightenment and self-actualisation, where one is able to detach themselves from worldly affairs and overcome personal sufferings.

N.B. 18/04/2023 Edits have been made to reflect more accurate context regarding the prevailance of Buddhist thought in China since its introduction in the Han dynasty, and how Zhou’s ‘On the Love of the Lotus’ drew upon its teachings. See here for the original text and a review of its inaccuracies, as well as further resources.

How can we relate this back to the setting, Lotus Pier, and the Yunmeng Jiang? I think the most obvious parallel has to be the burning of Lotus Pier.

The event is the catalyst for a number of tragedies that occur throughout the narrative, and the Jiang siblings' attempts to reconcile the many layers of guilt, blame and grief they each feel with the enormity of losing their entire Sect, their home, their bonds with each other - the lotus emblem of their Sect is perhaps a reminder that there is no happiness without hardship.

Of course, more important than its cosmic symbolism, for these siblings lotus ponds represent home, and are a way the three siblings can remain connected as they travel seperate paths in life, forming new families after the tragedy of their own:

In the scene pictured above - where WWX, after many months in self-imposed exile, succeeds in cultivating his lotus pond in the Burial Mounds - the pond represents his longing for Lotus Pier while also bringing him some comfort and connection to what he has lost. Just as Jīn Zixuān seeks to bring comfort to Yanli by planting a lotus pond for her, too:

(Bonus gif of a different type of "gentlemen rising from the mud”):

But as an aside, it's also interesting to note that WWX tells A-Yuan in that above scene, that the lotus seeds are not to be eaten because they are grown in the soil of the Burial Mounds. Instead, they are 'the perfect thing to protect from evil spirits'. This may be a simple child’s tale for WWX to discourage A-Yuan from eating the tainted seeds, or it may refer to the spiritual purity the lotus symbolises. But as an interesting coincidence, lotus plants actually have the potential to filter nitrogen, phosphorous, and heavy metals from watersources, so it’s possible they taste bad because they are literally cleansing the soil of the Burial Mounds.

It seems appropriate, then, that WWX is tied closely to this lotus motif, perhaps even moreso than Jiang Yanli and Jiang Cheng. This is especially poignant when we consider that the lotus is also symbollic of resurrection and rebirth: the blooms, closing and opening with the sun in a daily cycle, can be compared to the cycle of reincarnation.

A great deal of the narrative focuses upon WWX’s decision to forge his own path through life, a ‘single-log bridge’ that sweeps him away from convention and propriety that governs the rest of the cultivation world as he struggles to maintain his own integrity and compassion. He suffers for this choice, especially once he gives up his golden core and is thought to be actively choosing an ‘evil’ path. Yanli even dreams of him floating away from Lotus Pier, carried on the rapid current of the river:

After his resurrection, however, it seems WWX has been able to finally rise above the Sects’ biases and political machinations. Once the Yin Iron has finally been sealed away, and the mystery of the Fierce Corpse solved, he no longer has any obligation to stay in those muddy waters of the cultivation world. He is free to wander, as his parents did - the single log bride widening to encompass the whole world.

Although still tied to the world by his love for his family and friends, we could say that WWX is close to that enlightenment the lotus represents. He has risen from the mud and, despite all his suffering, has remained untainted.

Bonus details!

If you’ve made it this far, congratulations! This got... so long... But of course, I had to do Lotus Pier justice as such a beautiful and thematic set. As a final point, here are some small details you may have missed or that I couldn’t fit in the main analysis!

Here is a cute interior shot of WWX’s room, and a view of the rear courtyard that shows the moon gate entrance, which presumably provides access for boats to dock in the kitchen:

Also join me in appreciating how detailed the design on the door panels is! So much so that I couldn’t do the finer details justice in my sketch:

Special mention to the fish doorhandles on the main hall, as well. As a Pisces, this brings me joy.

And finally, some reference shots for the gate:

As always, thank you everyone for your continued support and encouragement - and your patience! Lotus Pier was a massive project, that has taken me over a year to complete. I am so proud to finally present it to you, and bring you the news that I have finally opened a print shop! As always, you can also buy me a coffee on kofi to show you support.

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twilightarc-gm · 1 year

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Piggy Back rides from Shidi!

#chengxian #canon jiang cheng #yunmeng shuangjie #云梦双杰 #twin prides #yunmeng prides #wei wuxian #jiang wanyin #jiang cheng #江澄 #魏无羡 #mdzs #mo dao zu shi #grandmaster of demonic cultivation #founder of diabolism #魔道祖师 #gif #澄羡 #twi posts

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the-forever-obsessed · 2 years

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Wei Wuxian: Am I going too far?

Jiang Cheng: No, no, no. You went too far about seven hours ago. Now you’re going to prison.

#the untamed #mdzs #mdzs incorrect quotes #untamed incorrect quotes #wwx #wei wuxian #jiang cheng #yunmeng shuangjie #twin prides #twin prides incorrect quotes #chengxian #mo dao zu shi

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biennatodd · 1 year

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some thoughts on the jiang family and classism:

i feel like the jiangs’ have one of the most interesting relationships with classism in MDZS, because the beliefs they espouse don’t necessarily align with their actions.

there is this perception that ymj is kind of this wild and free (...untamed perhaps? ba dum tshhh) land that doesnt subject itself to the same standards of classism as the rest of the jianghu, which is why wwx was able to thrive there. but there is also a cognitive dissonance because wwx is not treated particularly well due to in part his status (there are many other factors but thats a different post!)

one of yzy’s most constant criticisms of wwx is that he’s the son of a servant, and although jfm elevates his status--he never expresses any illusions of actually making wwx his heir or attempts to adopt him. jfm is the cause of most of the contradiction here.

jfm doesn’t actually elevate wwx, not in the way he thinks he does. he gives wwx the status of being jc’s personal attendant, expecting him to grow alongside and take care of jc and jyl. however, this is the status wwx wouldve already had if his father wcz had stayed in ymj. so he wasn’t really giving wwx anything that he wouldn’t have already had rights to. but at the same time he elevates wwx’s status in other ways: allowing him to eat with the family, letting him study in gusu with the other young masters, letting him choose whether or not he wants to go to the wen indoctrination camp. (notice i do not list him being head disciple here. that’s because i very much so believe wwx earned his position as head disciple through his own merits.)

and the reason i think jfm gave wwx these privileges is because they’re the privileges he wishes he could give to wcz. removing social barriers between himself and his best friend so that they could be as close as he wanted. and this goes along with jfm believing that he isn’t classist.

but the thing is jfm doesn’t realize that he is actually just practicing exceptionalism. he doesnt actually take issue with the system itself, he just thinks that wwx (and wcz and cssr) are too great to be limited by the system. they’re the exception to the rule. and this internal dissonance causes further issues with his family, particularly jc and yzy.

yzy has no illusions about her stance on classism. she IS classist in the way society would expect her to be and she shows no desire to change that. she is sticking to the status quo!

jc however recognizes that he (and his father) are practicing exceptionalism. he just doesnt care. he shows favoritism! he doesn’t treat all people equally because 1) he doesnt care about all people and 2) society doesnt expect him to either. it is not unreasonable of him to have a vested interest in the people closest to him and to prioritize them over other people (His Family+WWX --> YMJ --> Literally everyone else.). In fact this is what most people tend to do. But this causes tension between him and jfm, as well as tension between him and yzy!

bc jfm is an idealist who thinks jc should do MORE and be more like him, and yzy is a realist who thinks jc is already doing TOO MUCH. he is caught between them both physically and philosophically, because he is actually representing the middle ground between them.

#jiang family #canon jiang cheng #canon wei wuxian #mdzs #meta #pulled my thoughts together after a convo in the cx discord #and this isnt even touching on the intricacies of how the TYPE of servant wwx/wcz are isnt actually *low class* at all #wwx is a class of servant in the same category as madam yu's spiders and would actually garner a degree of respect for that #if he was a conformist of course. but since hes not theyll use anything against him #but again thats a different post!#in order to understand the ymj bros u must first understand that yzy and jfm fucked them up EQUALLY #just in *different* ways #theyre both equally impactful #twin prides

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