Trans*media Sovereignty and Affective Labor: The Global Circulation of Mo Dao Zu Shi in Platform Economies
presented by shabab m. kabir
Plot Summary
Mo Dao Zu Shi follows the story of Wei Wuxian, a talented and unconventional cultivator who invents “demonic cultivation,” a controversial technique involving harnessing resentful energy. Initially admired for his intelligence and power, Wei Wuxian becomes a feared and hated figure due to abandonment of conventional morality and cultivation. After his tragic death, he is reincarnated into the body of Mo Xuanyu, a disgraced cultivator, 13 years later.
Upon reincarnation, Wei Wuxian reunites with Lan Wangji, a stoic and respected cultivator from the Gusu Lan Sect, who had been Wei Wuxian’s peer and rival. As they investigate supernatural mysteries together, they uncover a dark conspiracy connected to Wei Wuxian’s original downfall. Alongside unraveling this conspiracy, Wei Wuxian reconciles with his past actions, rebuilds old relationships, and gradually realizes Lan Wangji’s deep and longstanding feelings toward him.
Characters
Wei Wuxian (魏无羡)
-Protagonist; mischievous, intelligent, charismatic, and morally complex.
-Invents demonic cultivation.
-Has a carefree, irreverent nature but fiercely loyal and protective of loved ones.
Lan Wangji (蓝忘机)
-Highly disciplined, stoic, righteous cultivator of the Lan Sect.
-Maintains an unyielding moral compass and profound devotion toward Wei Wuxian.
-Known for his elegant swordsmanship and mastery of musical cultivation.
Jiang Cheng (江澄)
-Wei Wuxian’s adopted brother; head of the Yunmeng Jiang Sect.
-Proud, competitive, emotionally conflicted due to his complicated relationship with Wei Wuxian.
Jin Guangyao (金光瑶)
-Ambitious and manipulative head of the Jin Sect.
-Complex antagonist whose schemes drive the central conflicts of the narrative.
Nie Huaisang (聂怀桑)
-Head of the Qinghe Nie Sect; seemingly weak but cunning and strategic.
-Secretly orchestrates the plot to reveal Jin Guangyao’s crimes.
Wen Ning (温宁)
-A gentle, shy young man turned into a powerful “Ghost General” by Wei Wuxian.
-Loyal and compassionate despite his frightening reputation.
The Global Ascent of Mo Dao Zu Shi
A Transformative Moment
The global ascent of Mo Dao Zu Shi (MDZS), authored by Mo Xiang Tong Xiu (MXTX), represents a transformative moment in the landscape of contemporary Asian media, offering a primary site for the investigation of digital labor, platform economies, and the cross-cultural circulation of danmei. Originally serialized on the Chinese web novel platform Jinjiang Literature City, MDZS has transitioned from a localized literary phenomenon into a multi-billion-dollar transmedia franchise, encompassing animation, live-action television, audio dramas, manhua, and high-profile international print editions.1 This transition is not merely a matter of commercial success but a complex negotiation of digital labor, the unpaid, highly organized activities of fan communities that mediate the text’s movement into global markets. By examining MDZS through the lens of digital labor theory, this analysis explores how the intersection of nationality, sexuality, and platform mechanics shapes the visibility of queer-trans* and marginalized communities, while reconfiguring the boundaries of eroticism and creative autonomy in the digital age.1
The Architecture of Platform Labor: From Jinjiang to Global Convergence
The circulation of Mo Dao Zu Shi is rooted in the specific technical and economic affordances of Jinjiang Literature City, a platform that utilizes a micro-payment system and community-driven rankings to dictate the visibility of its works. In this ecosystem, the success of a novel is contingent upon the affective labor of readers who contribute not only financial support but also consistent engagement through comments, points, and social sharing.1 This labor is the foundation of what has become a global platform economy, as MDZS migrated from a Chinese-centric digital space to international giants like Netflix, YouTube, and Amazon.1
Artwork by Gearous depicting Lan Wangji and Wei Wuxian from Mo Dao Zu Shi.
Quantitative Comparison of MXTX Word Counts and Global Reach
The scale of this literary output is significant when compared to Western fantasy standards. The word counts of MXTX’s major works demonstrate the expansive nature of danmei serialization, which requires a sustained labor of production and consumption over years of updates.6
| Novel Title | Estimated Word Count (CN) | Global Adaptation Reach | Narrative Structure |
|---|---|---|---|
| Scum Villain’s Self-Saving System | 100,000 to 200,000 | Donghua (3D) Manhua | Linear / Satirical Satire 6 |
| Mo Dao Zu Shi | 400,000 to 500,000 | Netflix YouTube Audio Drama | Non-linear / Murder Mystery 6 |
| Heaven Official's Blessing | 1,100,000 | Netflix Bilibili Manhua | Episodic / Epic Tragic-Romance 6 |
The labor involved in moving these texts across borders is facilitated by “media convergence,” a process where the boundaries between amateur fan production and professional commercial interests are increasingly blurred.1 When The Untamed (the live-action adaptation of MDZS) was added to Netflix, it transformed a niche “third space” of fan interest into a massive international franchise, a shift described by some fan leaders as making the fandom “too big” and at times “obnoxious” due to the influx of non-specialist viewers.1
Digital Labor and the “Data Maid” Phenomenon
A distinct form of digital labor emerged with the global popularity of MDZS: the rise of “data fans” or shuju fen. Within the Chinese media landscape, and increasingly in global fan spaces, these individuals engage in highly centralized, top-down activities designed to manipulate platform algorithms to ensure the commercial success of their idols, most notably Xiao Zhan and Wang Yibo, the leads of The Untamed.3 These fans, often referred to pejoratively as “data maids,” perform a variety of routinized tasks:
Algorithmic Optimization
Coordinated streaming of music videos and drama episodes to increase view counts and chart rankings.3
Brand Advocacy
Organized purchasing of products endorsed by the actors to demonstrate their “commercial worth” to brands like Olay or Crest.10
Information Literacy
Developing strategies to make promotional materials more visible and appealing, while being critical of “enjoyment-centered” activities that do not directly benefit the celebrity’s data profile.3
This labor is characterized by conformity rather than autonomy, as fan leaders summarize and instruct methods of data generation for the entire community.3 The psychological framework of this labor is rooted in a sense of “empowerment” where fans feel they are the “shareholders” of a celebrity’s career, yet this empowerment is often exploited by the media industry to secure free labor for promotional campaigns.3
Transmedia Sovereignty and the Construction of “Frankencanon”
The dissemination of Mo Dao Zu Shi into diverse global contexts is complicated by the varying levels of censorship and cultural translation present in its numerous adaptations. Each adaptation (donghua, manhua, live-action, and audio drama) navigates the queer core of the novel differently, leading to a phenomenon fans call “Frankencanon.”12 This term describes a synthesized understanding of the story where fans blend details from various versions to reconstruct the original’s romantic and political nuances.12
The Adaptation Matrix: Censorship and Fidelity
The labor of the fan community often involves navigating the “censorship gaps” between these adaptations. For instance, while the live-action series The Untamed was forced to depict the relationship between Wei Wuxian and Lan Wangji as a “bromance” to pass Chinese regulations, the audio drama remained uncensored, including romantic dialogue and kiss scenes.12
| Adaptation Type | Title Used | Primary Content Focus | Visibility of Queer Elements |
|---|---|---|---|
| Donghua | Mo Dao Zu Shi | Action, Horror, “Elegance” | Minimized; focus on “Aesthetics” 12 |
| Live-Action | The Untamed (CQL) | Drama, Political Intrigue | Highly Censored; “Soulmates” subtext 11 |
| Audio Drama | Mo Dao Zu Shi | Narrative Fidelity | Uncensored; highly accurate to novel 12 |
| Manhua | Mo Dao Zu Shi | Visual Narrative | Moderate; some uncensored panels on Weibo 12 |
The donghua adaptation, produced by Tencent Penguin Pictures, serves as a dark horse in the international market. Its use of “high Chinese style” aesthetics and 3D technology for large scenes attracted over 1 billion views for its first season.13 The broadcast of the second season, Xianyun’s Story, was accompanied by simultaneous large-screen publicity in seven global cities, including Times Square in New York and the MBK Center in Bangkok, symbolizing the completion of the “IP evolution” from a digital novel to a global visual phenomenon.13
The Technical Craft of Non-Linear Storytelling
A significant factor in the technical success of MDZS is its sophisticated use of non-linear timelines. Unlike the more linear progression of Scum Villain’s Self-Saving System, MDZS utilizes a series of flashbacks, often spanning thirteen to seventeen years, to reveal the slow disintegration of Wei Wuxian’s reputation and the emergence of his “demonic” or “ghost” path.5 This structure forces the audience into a labor of reconstruction, where the truth of the present is only accessible through a meticulous examination of the past.8
In the donghua, this transition is often subtle; the first two episodes take place in the present, while episodes three through fifteen function as a massive flashback to Wei Wuxian’s youth at the Cloud Recesses.16 Fans have noted that teenage Wei Wuxian looks nearly identical to his resurrected body (Mo Xuanyu), distinguished only by subtle cues in clothing—tight sleeves for the Jiang uniform and loose, wide sleeves for Mo Xuanyu’s robes.16 This visual labor of identification is a hallmark of the MDZS fan experience, rewarding those who pay close attention to the details of characterization.16
The “Third Space” of Translation: Linguistic Labor and Cultural Sovereignty
The international reach of Mo Dao Zu Shi was initially built upon the unpaid labor of fan translation groups, most notably Exiled Rebels Scanlations (EXR). This labor constitutes a “third space” that bridges the gap between the original Chinese text and a global English-speaking audience, acting as cultural interpreters who provide extensive notes to guide readers through specific elements of xianxia, such as indigenous immortals and religious traditions.1
Tumblr meme by chaotic bi wei wuxian
The Conflict of Professionalization
The 2021 commercial licensing of MDZS by Seven Seas Entertainment highlighted a significant friction within the fan labor community. Seven Seas opted to hire fan translator Suika and fan editor Pengie, recognizing the existing effective networks they had built.1 However, this led to “bitterness” from the EXR group, who had completed their own translation years prior and felt excluded from the official commercialization of their labor.1
Critiques of both the fan and official translations center on the preservation of cultural integrity. Fans have analyzed the official English translation for “obvious errors,” such as the omission of entire lines of text or the use of inappropriate linguistic registers.12 A primary point of contention is the translation of peasant dialogue using Western slang like “ain’t,” which some readers argue reeks of classism or inappropriate appropriation of AAVE, rather than accurately reflecting the original Chinese linguistic structure.18
Semantic Nuances and World-Building
The labor of translation in MDZS is not merely about meaning but about the technical accuracy of world-building terms. The distinction between “Clan” (shi) and “Sect” (menpai) is fundamental to the story’s social hierarchy.18
| Term (CH) | Preferred Translation | Common Translation Error | Narrative Implication |
|---|---|---|---|
| Shi (氏) | Clan | Sect | Refers to familial bloodlines (Jiang, Lan). 18 |
| Menpai (门派) | Sect | Clan | Refers to institutional cultivation organizations. 18 |
| Guidao (鬼道) | Ghost Path | Demonic Cultivation | Explicitly listed 12 times in the novel; refers to resentful energy. 18 |
| Modao (魔道) | Demonic Path | Ghost Path | Appears only once in the novel as a generic descriptor. 18 |
Weaponized Reporting as Digital Labor
The incident was triggered by a real-person-slash (RPS) fanfiction titled Falling (Xiazhui), which depicted actor Xiao Zhan as a transgender sex worker in a relationship with a high-school student named after his co-star, Wang Yibo.11 Fan leaders of the Xiao Zhan community, acting under a centralized command structure, organized a mass reporting campaign against the story and the platform hosting it, Archive of Our Own (AO3), claiming the content was “pornographic” and harmful to the actor’s reputation.9
This labor was successful; on February 29, 2020, AO3 was permanently blocked in mainland China.9 The fallout was a massive “cyber war” between the Xiao Zhan fan base and the broader subcultural groups of AO3, who united under the “227 Union” to boycott the actor’s brands and productions.9 This incident demonstrates several key dynamics:
Exclusivity vs. Autonomy
The “exclusive” feelings fans had for their idol were leveraged by fan leaders to routinize data-manipulation and reporting activities, prioritizing the celebrity’s “face” over the autonomy of queer creators.3
Market Recovery as Labor
Following the boycott, fans engaged in “commercial atonement” by prodigiously purchasing products endorsed by Xiao Zhan to prove his continued market value.10
Erasure of Trans* Visibility
The reporting of Falling was explicitly an attempt to remove a trans-coded portrayal of a national idol, showing how nationality and traditional gender norms are enforced through digital policing.10
The 227 Incident highlights the “power of the fan economy” to both make and potentially break a star’s career, while simultaneously revealing the fragility of queer online spaces when they collide with the highly organized labor of mainstream celebrity fandom.11
@pyxel.kitten on Instagram
Reproductive Labor and the Ethics of Care: The Wen Remnants
A novel and profound insight into Mo Dao Zu Shi emerges through an analysis of “reproductive labor,” the unpaid work of caregiving and community maintenance that Wei Wuxian performs for the Wen remnants in the Burial Mounds. This section of the novel provides a stark contrast to the “productive” labor of cultivation prioritized by the four great clans.21
Wei Wuxian and the “Ethics of Care”
The traditional cultivation world in MDZS is built on a moral framework where “righteousness” is selective and often equates to the preservation of clan power at the expense of the powerless.21 Wei Wuxian’s decision to liberate the Wen remnants, who were largely elderly, healers and non-combatants, is a radical rejection of the “collective punishment” meted out by the Jin clan.21
| Key Character | Role in Reproductive Labor | Symbolic Contribution |
|---|---|---|
| Wei Wuxian | Adoptive Caretaker | Choosing care over "Sect Leader" status; subverting the "Grandmaster" title. 21 |
| Wen Qing | Healer / Physician | Embodies the labor of preservation; her "vow to do no harm" is punished by the state. 22 |
| A-Yuan (Sizhui) | Foundling Legacy | Represents the survival of marginalized lineage; the target of Wei Wuxian’s parental labor. 23 |
| Wen Granny | Community Elder | Represents the non-productive members of society who are deemed "disposable" by clans. 24 |
Wei Wuxian’s labor in the Burial Mounds, i.e., planting radishes, building shelters, and raising A-Yuan, is a form of “doing the impossible,” adhering to the Jiang clan motto while operating entirely outside the “legal or moral right” recognized by the Jin-led hegemony.22 This labor is often demonized in-universe as “demonic,” yet the narrative frames it as a “refusal to accept a version of justice that only protects the innocent when it’s politically convenient.”21
Fanfiction as Transformative Reproductive Labor
The fan community has extensively utilized this “parental” aspect of Wei Wuxian’s character to produce transformative works that focus on “Single Parent/Dad Wei Wuxian” tropes.23 These stories often remove the “demonic” elements and place the characters in Modern AUs (Alternate Universes) where the focus is entirely on the labor of child-rearing and community support.
The “Matchmaker” Trope
Fics where a young A-Yuan (Sizhui) acts as a bridge between a struggling single-father Wei Wuxian and a stoic Lan Wangji.25
The “Found Family” Narrative
Reimagining the Burial Mounds as a site of mutual aid rather than a “den of ghosts,” emphasizing the domestic labor of the Wen remnants.23
This fan labor reclaims the narrative from its tragic ending, where the Wen remnants were slaughtered and only A-Yuan survived (rescued by Lan Wangji).22 By focusing on the “extra time” Wei Wuxian gave the Wens to be with their loved ones, fans articulate a moral position that prioritizes the act of caring over the ultimate outcome of the struggle.24
Queer Visibility and the Eroticization of “Tiantian”
The visibility of queer desire in Mo Dao Zu Shi is encapsulated in the infamous phrase “Everyday means everyday” (tiantian jiu shi tiantian). This line, which refers to Lan Wangji and Wei Wuxian’s agreement regarding their sexual life, has become a central point of engagement for fans seeking the “erotic” core of the novel that is often absent in adaptations.26
Mo Dao Zu Shi Meme (on the right) by @Silver_Sugary_Heaven from Wattpad
The Translation of Desire
In The Untamed, the creators were forced to hide this queer dynamic behind “small nods” and like-sounding phrases. For instance, the use of “a little means a little” (yi dian dian jiu shi yi dian dian) in the show is seen by fans as an intentional linguistic cue that points toward the “tiantian” line in the novel.26 This “hidden BL” requires a high degree of digital labor from the audience, who must engage in “BTS” (behind-the-scenes) analysis and intertextual reading to confirm the romantic intent of the actors and directors.26
However, the explicit eroticism of the novel is not without its critics. Reviews on platforms like Goodreads highlight a divide in the fandom regarding the “extra” chapters, particularly the “incense burner” extras, which some readers find “concerning” due to their graphic nature and questionable depictions of consent.18
| Perspective | View on Eroticism in MDZS | Reasoning |
|---|---|---|
| The "Shameless" Fan | Celebration of "Wangxian" | Views the explicit content as a reward for the "slow-burn" of the main plot. 27 |
| The "Literary" Critic | Critique of "Fan Service" | Argues that the extras add nothing to the story and neglect unfinished plot threads. 18 |
| The "Purity" Critic | Concern over Consent | Questions the "graphic rape fantasies" found in the incense burner extra. 28 |
| The "Translation" Purist | Critique of Nuance | Argues that EXR’s literal translations (e.g., "stop for a bit") alter the tone of the sex scenes. 12 |
This tension reflects a broader debate within queer studies about the visibility of the “erotic object” versus the “erotic subject.” Chinese female fans have been noted for their transformation from erotic objects to erotic subjects through their consumption and creation of danmei, yet this subjectivity is still limited by “heterosexual hegemony” and the “exclusivity” of the fan community.3
Trans* and Queer Subversion
The “227 Incident” and the blocking of AO3 highlighted how “nationality and sexuality” are often at odds in digital spaces. While MDZS provides a site of “humanity through the eyes of the supernatural,” the actual visibility of marginalized trans* and queer identities (as seen in the Falling fanfiction controversy) is often sacrificed to protect the “mainstream” marketability of the franchise.15 This suggests that while MDZS is a “global” work, its queer visibility is strictly policed by both state actors and the organized labor of “data fans” who prioritize national image over subcultural expression.9
Comparative Framework: MDZS as the “Middle Child” of MXTX
To understand the specific “rise to fame” of Mo Dao Zu Shi, it must be compared to MXTX’s other major works, Scum Villain’s Self-Saving System (SVSSS) and Heaven Official’s Blessing (TGCF). Fans often describe MDZS as the most “technically sound” of the three, striking a balance between the feral energy of SVSSS and the epic, world-spanning angst of TGCF.15
Pacing, Tone, and Emotional Intensity
| Work | Pacing | Tone | Narrator Type |
|---|---|---|---|
| Scum Villain | Fast / "Rollercoaster" | Satirical Comedy / "Funny Horror" | Unreliable / First-person denial 30 |
| Mo Dao Zu Shi | Moderate / Flashback-heavy | Murder Mystery / Tragedy | Omniscient / Third-person 27 |
| Heaven Official | Slow / "Slow Burn" | Epic Tragedy / Romantic Devotion | Third-person / Convoluted 7 |
MDZS is favored by many because it is “more grounded in reality” than TGCF, focusing on human cultivators rather than gods, and offering a “richer story” than the satirical SVSSS.7 While SVSSS is praised for its “razor-sharp wit” and its subversion of xianxia tropes, MDZS is cited as the series that “kick-started” MXTX’s empire, providing the technical blueprint for the massive “devotion” seen in TGCF.15
The angst in MDZS is often described as the most “heart-wrenching” because it is rooted in character-driven tragedy, the loss of siblings, the destruction of clans, and the “misunderstandings and miscommunication” between the leads that span decades.15 This emotional labor required of the reader, navigating the “pain and suffering” of Wei Wuxian’s first life, is a primary reason for the deep affective investment seen in the fandom.30
mo dao zu shi
Conclusions
The study of Mo Dao Zu Shi reveals that the globalization of danmei is not a passive process of “spread” but an active, labor-intensive construction. The movement of MDZS from Jinjiang to the global stage has been facilitated by three distinct tiers of digital labor:
Mediating Labor
The fan translators (EXR, Suika) who built the “third space” necessary for cross-cultural accessibility.1
Affective/Market Labor
The “data fans” and shuju fen who routinize algorithmic manipulation to demonstrate the commercial value of the transmedia adaptations.3
Transformative Labor
The fanfic writers and artists who reclaim the narrative from censorship, expanding on themes of reproductive labor and queer eroticism to maintain the “visibility” of marginalized identities.23
However, this labor is increasingly subject to platform capture and state policing. The “227 Incident” serves as a warning that the “organized fan community” can be used as a tool of exclusion as easily as it can be used for empowerment.9 The future of MDZS and danmei in the global market will depend on whether fan labor can maintain its “subversive” queer roots or if it will be fully subsumed into the “conservative” order of national celebrity management and platform algorithmic control.3
Ultimately, the technical mastery of MDZS, its non-linear mystery, its technical “elegance,” and its profound “ethics of care,” ensures that it remains the “all-around best” site for observing the complexities of modern digital labor.7 As Wei Wuxian himself reflects on his “ghost path,” his journey is a testament to the fact that “one’s deeds will be paid, one way or another,” a sentiment that applies equally to the tireless labor of the global fan community that has made his story immortal.22
Works Cited
References, Sources et al.
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Labour of love: Chinese-to-English fan translations of BL web novels
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Mo Dao Zu Shi – Wikipedia
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Fan leaders’ control on Xiao Zhan’s Chinese fan community (ResearchGate)
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Exiled Rebels – Serving BL since 2017
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A Beginner’s Guide to The Master of Diabolism (Mo Dao Zu Shi) – Crunchyroll
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MDZS, TGCF, and SVSSS | General Discussion – Flight Rising
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SVSS or MDZS : r/MXTX – Reddit
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What order did you consume MDZS? What order would you recommend? : r/MoDaoZuShi – Reddit
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View of Fan leaders’ control on Xiao Zhan’s Chinese fan community … (Transformative Works and Cultures)
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Face and (im)politeness in Chinese fandom: A case study of the ‘227 Incident’ (ResearchGate PDF)
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Actor Fans’ Fight Over ‘Boys’ Love’ Stories Sparks Boycott Campaign – Caixin Global
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Mo Dao Zu Shi – Fanlore
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China’s ‘Mo Dao Zu Shi’ Attracts Anime Fans from Around the World – ACN Newswire
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China’s ‘Mo Dao Zu Shi’ Attracts Animation Fans Worldwide – Nasdaq
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What are the Main differences with TGCF, Scum Saving Villain, & MDZS – Reddit
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i need help about this timeline : r/MoDaoZuShi – Reddit
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Favorite addition/aspect of the MDZS adaptations? : r/MoDaoZuShi – Reddit
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Grandmaster of Demonic Cultivation: Mo Dao Zu Shi (Novel) Vol. 1 – Goodreads
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CN fans are collecting translation errors of 7s : r/MoDaoZuShi – Reddit
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The Xiao Zhan Controversy and the Case of Misplaced Fan Activism – OSF
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THE WEN REMNANTS, and the unfair expectations from WWX : r/MoDaoZuShi – Reddit
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This is why the clans condemned the Wen Remnants… : r/MoDaoZuShi – Reddit
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Wei WuXian taking care of A-Yuan : r/MDZSFanfictions – Reddit
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Thoughts about A-Yuan’s significance in MDZS? : r/MoDaoZuShi – Reddit
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Wei Ying | Wei Wuxian Adopts Lan Yuan | Lan Sizhui – Works | Archive of Our Own
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I just realized THE UNTAMED used EVERY DAY MEANS EVERY DAY : r/MoDaoZuShi – Reddit
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魔道祖师 [Mó Dào Zǔ Shī] by Mò Xiāng Tóng Xiù – Goodreads
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Grandmaster of Demonic Cultivation: Mo Dao Zu Shi (Novel) Vol. 5 – Goodreads
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(Might be Controversial) Which MXTX Book is the best? – Reddit
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How are tgcf and svsss in terms of heart wrenching compared to MDZS? – Reddit
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What book do you prefer more? SVSSS or MDZS? : r/MXTX – Reddit
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After MDZS: Heaven officials blessings or scum villain? : r/MXTX – Reddit
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Tgcf vs Mdzs? : r/MXTX – Reddit
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GDC Chapter 1: Prologue – Exiled Rebels